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cavetocanvas: Robert Delaunay, Saint-Séverin No. 3, 1909-10 From the Guggenheim: Robert Delaunay chose the view into the ambulatory of the Parisian Gothic church Saint-Séverin as the subject of his first series of paintings, in which he charted the modulations of light streaming through the stained-glass windows and the resulting perceptual distortion of the architecture. The subdued palette and the patches of color that fracture the smooth surface of the floor point to the influence of Paul Cézanne as well as to the stylistic elements of Georges Braque’s early Cubist landscapes. Delaunay said that the Saint-Séverin theme in his work marked “a period of transition from Cézanne to Cubism.”
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cavetocanvas:

Robert Delaunay, Saint-Séverin No. 3, 1909-10

From the Guggenheim:

Robert Delaunay chose the view into the ambulatory of the Parisian Gothic church Saint-Séverin as the subject of his first series of paintings, in which he charted the modulations of light streaming through the stained-glass windows and the resulting perceptual distortion of the architecture. The subdued palette and the patches of color that fracture the smooth surface of the floor point to the influence of Paul Cézanne as well as to the stylistic elements of Georges Braque’s early Cubist landscapes. Delaunay said that the Saint-Séverin theme in his work marked “a period of transition from Cézanne to Cubism.”

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    Saint-Séverin No. 3 (1909-10). Robert Delaunay.
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