Robert Delaunay was a paragon, with his wife Sonia, of the profuse, frantic energy of the Roaring Twenties in Paris--the parties, the collaborations and the multifarious inventiveness of art, architecture, design and the high, often hallucinatory life of Paris itself. Delaunay's transition from the cubism of Picasso and Braque to the pure abstraction of Kandinsky was often delineated this way, as an ecstatic combustion of circles--planets, suns, orbits--forms that could be both connotative and abstract.
The second is a serial work by the neo-constructivist, Francois Morellet, in which white balls resembling ping-pong balls are suspended in cubic mirrors, creating multiple reflections.
In both works, one madly symphonic, one mathematically precise, one may see the same profusion of circles.
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