Orphism or Orphic Cubism, a term coined by the French poet Guillaume Apollinaire in 1912, was an offshoot of Cubism that focused on pure abstraction and bright colors, influenced by Fauvism, the theoretical writings of Paul Signac, Charles Henry and the dye chemist Michel Eugène Chevreul. This movement, perceived as key in the transition from Cubism to Abstract art, was pioneered by František Kupka, Robert Delaunay and Sonia Delaunay, who relaunched the use of color during the monochromatic phase of Cubism. The meaning of the term Orphism was elusive when it first appeared and remains to some extent vague. History The Orphists were rooted in Cubism but tended towards a pure lyrical abstraction. They saw art as the unification of sensation and color. More concerned with sensation, they began with recognizable subjects, depicted with abstract structures. Orphism aimed to vacate recognizable subject matter by concentrating exclusively on form and color. The movement also strove toward the ideals of Simultanism: endless interrelated states of being. The decomposition of spectral light in Neo-Impressionist color theory of Paul Signac and Charles Henry played an important role in the development of Orphism. Robert Delaunay, Albert Gleizes, and Gino Severini all knew Henry personally. A mathematician, inventor, and esthetician, Charles Henry was a close friend of the Symbolist writers Félix Fénéon and Gustave Kahn. He also knew Seurat, Signac and Pissarro, whom he met during the eighth and last Impressionist exhibition in 1886. Henry brought emotional associational theory into the realm of art: something that ultimately influenced the Neo-Impressionists. Henry and Seurat agreed that the basic elements of art—line, color and form—like words, could be treated independently, each with its own abstract quantity, independent of one another, or in unison, depending on the intention of the artist. "Seurat knows well" wrote Fénéton in 1889, "that the line, independent of its topographical role, possesses an assessable abstract value" in addition to the particles of color, and the relation to emotion of the viewer. The underlying theory behind Neo-Impressionsim had a lasting effect on the works of Delaunay. The Neo-Impressionists had succeeded in establishing an objective scientific basis for their painting in the domain of color, but only as regards the spectrum of light (for paint pigments the result was less scientific). The Cubists ultimately employed the theory to some extent in color, form and dynamics. The Symbolists perceived Orpheus of Greek mythology as the ideal artist.