With phenomenal connoisseurship, comprehensible categories, the inclusion of periphery artists, and [ this] catalogues diverse scholarship, Orphism is amplified, and we experience a re-enchantment and new ways of seeing old works. -- Ann McCoy * Brooklyn Rail * 'Harmony and Dissonance: Orphism in Paris, 1910-1930,' the Solomon R. Guggenheim Museums exhilarating immersion in the spark and ensuing conflagration of modern European abstraction, transforms Frank Lloyd Wrights rotunda into a carnivalesque whirl of color. Rarely has the Guggenheims towering white voidnow enlivened with tumbling, kaleidoscopic geometries and, seemingly, showered firework burstslooked more dynamic and in sync with its art. -- Lance Esplund * The Wall Street Journal * Featuring rich illustrations and thoughtful essays, this book brings an underappreciated movement back to life. * Artnews * Orphists, the subject of the Guggenheim Museums 'Harmony and Dissonance' show in New York, bundled the ages breathless dazzlement and musical jangle into kaleidoscopic canvases. -- Ariella Budick * The Financial Times * This Guggenheim blockbuster, which surveys work made between 1910 and the early 40s, proves that Orphism was less a movement than a pivotal transitional moment in Western art history. -- Alex Greenberger * Artnet * With around 100 pieces, this exhibition looks at that moment in time when the avant-garde in Paris, comprised of émigré artists from around the world, made the city the capital of modern art. -- Jeanne Malle * Air Mail * Between cubism and full-blown abstraction came Orphism, a colorful, almost musical style of painting pioneered by Robert and Sonia Delaunay and named by the poet Guillaume Apollinaire after an ancient Greek mystery religion. This show of more than 80 paintings, sculptures and works on paper brings the music to all five levels of the Guggenheim. -- Will Heinrich * The New York Times *
