Back in Paris after the war Delaunay resumed painting in a semi-figurative manner somewhat in contradiction to his early theories of nonobjective art. He exhibited little during this time, and it is considered a period of regression in his work. He also painted frescos for which he invented new techniques for mixing additives to paint to create unusual textures and colors. He worked with painter Fernand Leger on murals for the International Exposition of Decorative Arts and he designed film and stage sets. He became friendly with artist Jean Arp and poet Tristan Tzara. In his 30s he continued to do commissioned wall paintings, completing a mural at the Palais des Chemin de Fer and at the Salon des Tuileries.
Robert Delaunay work
Delaunay's career as a painter was meteoric. He was a prominent spokesperson for a specific point of view at a time of much artistic fermentation in the years preceding World War I. Unlike such other highly regarded artists of that period as Picasso, Matisse, and Kandinsky, he did not sustain the innovations that propelled him into the limelight in his youth into his later work. As a result, his painting seems uneven after 1920 and his most significant work in the 1930s was murals and public commissions, an extension of his wife's early experiments. After his death in 1941 she continued to work prodigiously, designing books, tapestries, and fabrics, as well as interior decors and murals. Her work, as an extension of her husband's theories and early discoveries, helped to establish his reputation as a significant painter of the 20th century.