When I was in my late teens, I used to love Sonia Delauney's early 20th-century colourful abstract paintings, with their pleasing geometries, muted colour spectrums and deliberately unclinical execution. They'd sit perfectly on my shelves, in postcard form, alongside the paintings of my real artist hero of the time, Paul Klee.
I never dug deeper.
What's so brilliant then with the current Tate Modern retrospective of her work (on till August 9th) is finding out that what Sonia Delaunay did before and after her most famous period was actually much more interesting.
Her brilliant early portrait paintings, for example, have a flat, graphic quality, with uneasy colouring and strong lines - but the real star of the show is definitely the room given over to her amazing textiles and designs for women's fashion.
Everything in this room still feels hugely relevant. It's amazing how the optimism and experimentation of that particular moment in time, before the European 20th century was crushed by two terrible wars, still feels so avant garde.
Architecture may have caught up with modernism and gone beyond it in any number of post-modern takes, but Sonia's vision of women's clothing is still on the money: stylish, geometric and sensual - and utterly liberated and revolutionary.