Albert Gleize S 1881 Robb
Albert Gleize S 1881 Robb
Albert Gleize S 1881 Robb
in
Solomon
R.
Guggenheim Museum
and Archives
http://www.archive.org/details/albertgleizes1881robb
ALBERT GLEIZES
1881
A
1953
RETROSPECTIVE EXHIBITION
BY
DANIEL ROBBINS
THE SOLOMON
R.
COLLABORATION WITH
PARTICIPATING INSTITUTIONS
MUSEUM OF
ST.
LOUIS
ILLINOIS,
CHAMPAIGN
New
York, 1964
THE SOLOMON
R.
GUGGENHEIM FOUNDATION
TRUSTEES
HARRY
F.
GUGGENHEIM. PRESIDENT
THIELE. VICE PRESIDENT
ALBERT
H. H.
E.
DANA DRAPER
PETER
A. O.
LAWSON-JOHNSTON
CHAOTCEY NEWLIN
MICHAEL
F.
WETTACH
WHELPLEY
MEDLEY
G. B.
CAUL ZIGROSSER
It is
first
among
French
artist, a
He was
also a
member
of Der Sturm,
and
his
many
most
the Bauhaus
New
life
Thomas M.
Messer, Director
Paris
Museum
Am Ostwall, Dortmund
is
first
retro-
collection
numbers no
less
than 58
museum
in this countrv.
Such richness in the Museum's custody contrasts with a prevailing indifference toward
Gleizes' art
- an indifference that
to date
museum
survey in this countrv. As a result, judgements about Gleizes and his work have been
based too often upon ready-made assumptions and too seldom upon inspection of the works.
As we look
again, or
more
likely, as
we look
for the
first
time,
in-
sufficiency of categories
effect of generalizations.
as a pigeon-
hole
becomes
accomodate the
we
term should
As
is
made
his thoughts
means. His aspirations deserve better than to be judged, as heretofore, in terms of their
closeness or remoteness to an imaginary prototype.
The
and generalized
criticism
is.
to
contemplate
them within
the amplitude of Albert Gleizes" creative development, this exhibition and cata-
The reevaluation of
conceived - one for North American, the other for European circulation - as well as of this
catalogue that covers both. These separate parts of a comprehensive project were carried out
liears of
Robbins
to
undertake a selection
and documentation
that
now
is
gratefully
acknowledged
as
tribution to scholarship.
Thomas M.
Messer. Director
ACKNOWLEDGEMENTS
My particular
cooperation
to Dr.
gratitude
is
due
to
Madame
made
and documentary
resources
my
related dissertation,
submitted to the faculty of the Institute of Fine Arts, .Aezf I ork University; and
to
to
C.
Nan
Mme. Madeleine
De'roudille,
Mme. Marie
Latour of Marseilles;
Mme.
Matthew Robbins,
J\eic 1 ork.
M. Edouard
Thanks are due William Camfield and Edward Fry for the contribution and generous exchange of important documents entered
list.
in the
Many entries
to
Arthur G. Altschul,
20. Jahrhunderts,
Vienna and
Marlborough-Gerson Gallery,
and
the staff of
The
in the
Susan Tumarkin, Linda Konheim and Cara Dufour, who typed much of the
manuscript and Dr. Louise Averill Svendsen, who edited the catalogue.
D.R.
Ann
Arbor, Michigan
Pedro \
allenilla Echeverria,
Caracas
New York
Lyon
Ham-
Lewis
J.
^ inston,
Birmingham, Michigan
Madame Henri
Rene
Benezit, Paris
Zacks, Toronto
Deroudille,
Richard
S. Zeisler,
New York
\^ alter
Firpo, Marseilles
New York
New York
The
Cincinnati Art
Museum
Madame
Madame
P. de Gavardie, Paris
The Columbus
Musee de Dijon
Stadtische Galerie
im Landesmuseum, Hannover
New York
^ adsworth
Atheneum, Hartford
Gallery,
Fleche, France
London
Geneva
Messrs. Kennedy-Garber,
New
Rex de
C.
Nan
Kivell,
London
la Ville
de Paris
Museum
of Art
Madame Ferdinand
Moller, Cologne
Saarland-Museum, Saarbriicken
Musee d'Art
et
Nationalmuseum. Stockholm
of Toronto
New
Museum
London
Galerie Moos. Geneva
New York
Leonard Hutton
Galleries,
New
'iork
Marlborough-Gerson Gallery.
Galerie L. Bourdon. Paris
New ^ ork
11
1881
8.
1900
1902
1903
1905
until 1905.
1906-1908 1909-1910
1911
Founded and
participated in the
Abbaye de
Creteil.
Commenced
1912
DuchampA illon
family:
Published
Du Cubisme
Army.
with Metzinger.
1914 1915
Called into
New
\ork.
1916
1917
Autumn.
1916.
Returns
to
New
"i
isits
Bermuda.
1918
Summer
Returns
in
Pelham.
Xew
1919
1921
to France. Spring.
1922-1926
art
world:
1927
community of
artists-craftsmen in Sablons.
1927-1928
make
1930
Strongest
Romanesque
La Forme
1934-1935
1937 1939
1941
et L'Histoire,
Permanently moves
Rejoins
to St.
Remy-de-Provenee.
Roman
Catholic church.
at
1947
1949-1950
1951
Pensees of Pascal.
at the first
1952 1953
The Eucharist
is
12
IN
MODERN PAINTING
BY D1X1EL BOBBINS
Albert Gleizes was the son of Sylvan Gleizes, a successful fabric designer and talented amateur
painter. His maternal uncle,
Leon Commerre, was a fashionable painter who had won the Prix de Rome
in
official
and
objects.
The name
Gleizes, traced to
Languedoc
origins, is a
Provencal version of eglise (evidence, as we shall see, in support of Lawrence Sterne's theories on the importance of names). The Gleizes' lived in Courbevoie, which at that time was quite rural, in a comfortable
villa
surrounded by a garden large enough to include a separate studio for Albert. two
sisters
He was
to his
Suzanne and Mireille (an elder brother had died in infancy), and his paintings frequently
It
geois education but, rebelling against the discipline of conventional methods, he frequently
and secretly
When
his
substituted
comedy
classes at the
drama conservatory
authoritarian father discovered what was going on, he promptly put Albert to
work
fifteen or
found the
nouveau influence
Before his twentieth birthday, Gleizes was called to military service, a prospect which
father with
the
it
did the son, for the youth already exhibited a tendency toward pacifism
and a desire
become a
if
follow the example of his academic uncle but, since he appeared to prefer the Impressionist
sionist painters, his
and Neo-Impres-
ambition was frowned upon. Despite lack of encouragement, however, Gleizes began to
paint seriously while serving in the north of France, and even submitted his works to the Salon Nationale
des Beaux-Arts. 2 His early subject matter reveals a preoccupation with social themes: laundresses, workers
'Some of these
2
fabrics are
still
preserved in the
home
of the artist's
sister, Mireille
Houot-Nayral, at La Fleche.
The
Societe Nationale des Beaux-Arts was founded in 1890 by a group of dissident artists, including Puvis de Chavannes
in opposition to the Societe des Artistes Francais, the official salon. See
to
and Rodin,
Gauguin,
New
York,
Museum
of
Modern
13
on the
writing
but
it
also included
solitary figures
by lantern
and
light in front of
camp
sky. Gleizes
sym-
bolist poetry
\^
and Michelet.
these contained concepts which influenced the two friends before they began active participation in the
For the
little
first five
life,
to
have had
even
less contact
work of
young painters
like
as Gleizes' friends,
were
later to share
many
struggle for recognition. In Paris they learned the channels for success, the structure of relationships
contacts, the
and
art
The unsophisticated
it
evils,
the worst of
group of
sympathetic young writers who had been associated with the shortlived review La
(including Duhamel,
allies, all
Romains. \
ildrac
artists, intellectuals
chafing under the inequalities of the same system, and inspired by Gustave Kahn's Samedis Populaires and
other mutualites. they helped to establish the Association Ernest Renan, a kind of popular university" de-
men and
intellectuals
particularly artists
new
friend,
men
established the
Abbaye de
artists
and
more
Obviously, although Gleizes did not enter the Abbaye with a specific program and a crystallized
ideal, the conditions of his earlier fife
and
interests anticipated
even necessitated
his desire to
found such
a community. His early works, developed in isolation, consistently investing a vista or a genre scene with
broader significance than the subject normally permitted, often reconciled the contrasts of exterior and
terior or united ancient usage with
in-
modern
seems never
to
something more,
and
city,
within the broader context of surrounding countryside. Similarly, he was haunted by the synthetic possibilities
of a river, not as an idyllic setting but as a source of life, an intrusion of external time and substance into
all
brought
to the
and matured.
itself
many
Symbolists, but
it
members began
to
had been practiced by the admired older generation. Like many Symbolists, the Abbaye
scorned
In an unpublished part of his Souvenirs Gleizes wrote that an initial idea for the Abbaye of Creteil was to escape from corrupt Western civilization to the simplicity f life in the South Seas, as he then believed Gauguin had done.
politics as
Barzun had been as deeply involved with had served as secretary to Paul Boncour.
14
communal
society,
themes of modern
life
in favor of the
to create
modern
life:
crowds,
man and
itself.
and
that
their
dream,
Abbaye
intention to create a total future a priori ruled out the Symbolist technique of
creating solely
from an
If the physical
scope and appearance of the world in 1906-07 hinted at the vast changes in progress,
the
Abbaye
artists
expected
much
more.
It is
the conditions of
modern
life,
did not seek to imitate those conditions, as Gleizes later accused the Futurist
associates
and his
collectivity, multiplicity,
especially in the
Unanimism
of the future. Their images invariably encompassed broad subjects winch, although dealing with reality, were
restricted neither
by
by
from
intellec-
tual
meaning
too vast, both physically and symbolically, for one man's limited participation.
circulated even in
writers like
artists.
defend Cubism), Pierre Jean Jouve, and Paul Castiaux are typical
of the artists
who wanted
to
have the Abbaye publish their works. Nevertheless, after only two years, the
to close,
mainly because of material hardship. There simply was not enough money to
Gleizes' style
changed rapidly
at the
to Pointill-
ism and a
paint handling
color
and
phenomena
and
diversity, at
many
linear perspective,
by
flat
form
in the distance
would be brought
to the
foreground
by making
it
bright.
to
be reduced
uniformly as
on any one part would jeopardize the whole dehcate balance. In 1908, although
river scenes
color range
line
and higher.
Unknown
to Gleizes,
was pur-
suing similar ends. The strange, red-bearded northerner, a former student at the Academie Julian and a
friend of Denis
sea.
and
yet exhibited in that salon, appears not to have seen the work, for the two artists, although
introduced by Jouve or Castiaux, (the editors ofLes Bandeaux a" Or) did not
know each
other's
work
until
1909 when they met again through Alexandre Mercereau. Mercereau, perhaps, realized even be-
common
interests.
In the Salon (TAutomne of 1909, however, Gleizes saw his new friend's portrait of Pierre Jean
in his Souvenirs,
See Gleizes, "Des 'ismes'; vers une Renaissance plastique", Tradition published in La Vie des Lettres et des Arts, 1921).
et
p.
168
(first
15
Fig. 1.
Henri Le Fauconnier:
PORTRAIT OF PAUL CASTIAUX. 1910. Oil on canvas, 40i X 31+" (100 X 80 cm.).
Private collection.
PORTRAIT OF
in
It is
arose from the fact that Le Fauconnier's painting, actually less geometric than Gleizes' 1908 Pyrenees landscapes, applied sympathetic techniques to figure treatment. Gleizes
because his search for a synthetic \ision that would reconcile disparate elements had fostered a natural predilection for landscape, his figure paintings
were few. The Salon des Independants, 1910. saw the immediate
Rene Arcos.
An
oil
Madame
Gleizes
and
its
an enor-
mous
landscape. In 1910 both artists continued to concentrate on figures: Le Fauconnier on a portrait of the
poet Paul Castiaux and Gleizes on a majestic portrait of his uncle. Robert Gleizes. The two works are very
close
and
Le Fauconnier
Mercereau
that
is
same year
Moscow
exhibition
probably the
by
first
Jack of Diamonds
Exhibition. (Even before this meeting, Gleizes and Metzinger had been linked
auxcehVs disparaging
and
Gleizes'
Abbaye
in order to ac-
to
Marne
in a
pleasure in having brought together three painters whose works exhibited similar interests and
identified with his
who could be
As
own
synthetic ideals, ideals which had been influential in the Abbaye's development.
Gil Bias, March 18, 1910. quoted in John Golding, Cubism, London, 1959, p. 22.
16
own concepts
reau s noted that the 1905 Les Thuribulums Affaisses had been an attempt to adjust the methods of the
fading Symbolists to
work Les Contes des Tenebres. Mercereau had bansame character and
(like the
made
to
The
of course, the chameleon Apollinaire participating in almost every literary and artistic
that Apollinaire"s conception of
but
it is
clear
Abbaye
art.
circle.
come
a simple
and noble
expres-
to discover beauty-,
to
and Braque. which had already contracted to the intensive study of form, had almost annihilated subject
confined in extremely shallow space. Instead,
circle,
it
by the Mercereau-Gleizes
concepts which were at that time visible only in the paintings of Gleizes. Delaunay. Le Fauconnier
so
markedly
different
still fifes
or figures
vital significance
not diminished by the fact that the subjects themselves changed in the course of con-
by the
and Delaunay.
As .Allard wrote
"Thus
is
born
at the antipodes of
little to
episode, but which offers to the intelligence of the spectator the essential elements of a synthesis in time, in
all its pictorial fullness." 10
The
was destined
to
develop and to be
Gleizes. In order to
from an
opposed
important
to
under\^ e
differences
from our
Cubism.
have ahead}- discussed some of the thoughts stemming from abstract considerations of relationships that
intervened between appearances and the paintings of Gleizes and his friends. These involved the interaction
of vast space with speed and action, with simultaneous work, commerce, sport, and flight: with the
city-
modern
all.
of time
involving memory,
and
tradition
and accumulated
created the
to
reality-
of the w-orld.
modem
is
life;
unity of
known and
why Mercereau
why Barzun
problem of simultaneously
developing lines of action by choral chanting. Similarly Gleizes and his painter friends sought to create a
vision free
treat collective
and simultaneous
factors. This
necessitated a
new kind
of allegory opposed to the old meaning which presented one thing as the symbolic
October-December, 1911,
p. 122.
'For a discussion of the Abbave. see Daniel Robbins. '"From Svmbolism to Cubism: the Abbave of Creteil", The Art Journal, "Sinter, 1963-64, XXIII 2. pp. 111-116.
'"Roger AUard.
"Au
op.
V Art Libre,
"See Metzinger,
17
equivalent of another.
became the
real
Modifications of one form by another are quite apparent, to be sure, but their relationships are
made
life
and
civilization,
moving
background indicated by
r
instead presented in concrete and precise terms. Gleizes Harvest Threshing, the masterpiece of the Section
is
it is
and
and future
as well as
present.
In contrast to Picasso
and describe
daily Hfe
visual reality.
satisfy
all
more
from
could not
his
complex
and
idealistic
concepts of true
reality.
He
social
cultural meaning.
He
regarded the painting as the area where mental awareness and the real space
of the world could not only meet but also be resolved. nier
The iconography
to explain
why
there
is It
why
it
more
theoretically sympathetic to
Picasso,
Braque and
Given the already established principle that the space of the physical world
space of a picture plane and accepting the conviction that perception of the physical world
deformed by
the effects of distance, Gleizes' artistic concern was to reconstitute and synthesize the real world according
to his individual consciousness.
to
convey the
to this the
known
solidity
upon each
other.
Add
inseparability of
we
and
splintered.
sober,
it is
many works by
placement of the form in a shallow space, usually down the center of the canvas, the edges
with a tex-
tured horizontal brushwork. sometimes modifying the composition into an elegant oval. Having always to
do with the synthetic treatment of a broad subject, no part of his canvas received
less attention
than another.
Consequently, Gleizes always had to grapple with the problem of getting into the picture plane, a search that
led
him
in
1913
to
tilting
Nothing
testified
more
time.
lj
in-
and Braque, in
to (an
spite of every-
impressionism
Du
Cubisme, Paris, 1912. The authors begin their work with a discussion of Courbet.
Rue
"Gleizes and Le Fauconnier are supposed to have met Picasso for the first time when Apollinaire introduced them in a bar, d'Antin, at the moment of the Salon d' Automne. 1911. They accompanied Picasso and Apollinaire to Kahnweiler's gallery to look at Picasso's paintings. See: Gleizes, Souvenirs: see also Gleizes. "L'Epopee", Le Rouge et le S\oir, October, 1929, p. 63; see Golding, op. cit., p. 23: see Cabanne, L'Epopee, Paris, 1963, p. 163. Kahnweiler, however, in conversation and in letters to the author, claims, to the best of his recollection, that Gleizes visited his gallery before this date.
"From
18
1913.
1913.
considered the analytical Cubist works of Picasso and Braque. those fugues of intersecting
set
up by parts
to establish
of a dissected subject.
He
from
his
among
work
as
bears
similarity to the
word
Cubism.
Paris, Gleizes
In the
little
War I
as one of the Cubist avant-garde. In the journals that chronicle the development of French
modernism in
the twenties, he continued to hold a prominent place, but he was no longer identified with the avant-garde
because Cubism
itself
it
phenomenon
that
had passed, or
groundwork
for the
newer freedom
of Dada or the more specific program of Surrealism. Even after historians began their attempts to analyze
the obviously vital role played by Cubism, the
early
name
nism
a Cubist he remained. Unlike Picasso, he had neither participated in Surrealism nor returned to reality.
Nor
were
art,
Neo-Plasticism. Although in
many ways
his theories
by Mondrian,
his paintings
they did not look Neo-Plastic. In fact, they looked like nothing else that was being done and
indeed, they were rarely seen in the art world because Gleizes deliberately held himself aloof from extensive
participation in the Paris scene. In the 1940's, after a decade of infrequent
criticism
art press,
who regarded
]5
Albert Gleizes, "L'Art et ses representants, Jean Metzinger", La Revue Independant, no. 4, September, 1911, p. 164.
19
him
as
claimed and admired by a small group of dedicated followers, fervently respected by his few former pupils,
critics for
some
thirty years.
The
literature of
Cubism,
(as
of
all
may be
historical study
Serious historical study of Cubism, (distinct from criticism), began in the late 1920"s. Drawing at sources of limited original data, chiefly the opinions of Apolliniare.
it
from
came
to rely heavily
Kubismus. (published in 1920 although begun in 1915). an important book by Daniel Henry Kahnweiler,
which concentrated on the development of four Cubist painters. Picasso. Braque. Leger and
tional
Gris.
to
Our
tradi-
understanding of Cubism has evolved from Kahnweiler s discussion, which was based,
some
extent,
on the ideas of Juan Gris 16 and the two major terms "analytical" and "synthetic", which subsequentlv emerged,
have been widely accepted since the mid-thirties 1 ". Both terms are historical impositions that occurred after
the facts they identify, for neither phase was so designated or explained at the time corresponding works
at least partially
due
to
continuity to the course of a painting tradition which by 1911 had been irrevocablv affected
revolution. This, of course, does not invalidate our use of the words analytical
bv the Cubist
it
does
them might be
well advised.
Analytical and synthetic, due to their clear applicability to the paintings of Picasso. Braque and
Gris.
have long seemed to be perfectly acceptable descriptions of Cubism's development. By 1911. the shat-
initial subjects
new
reality
the painting
itself. T\ ith
emerged
flatter
new
"synthetic" whole that was. in fact, an image of reality". In addition to the ruin phases
of
Cubism
the traditional -view also relies heavily on another pair of significant elements: the remarkable
d'Avignon
particularly African
and Cata-
The most
origin of
on
it.
symptomatic of Cubism's
relation-
ship to primitive
that such deductions are unhistorical. Despite the tempting advantage of simplicity,
adequate consideration
to the complexities of
and during the period when Picasso's new painting developed. More than
years later,
we
Germany. Holland.
changes in
art. If
new
style
was
we
we must
double point of view or that the Symbolists (who admired Cezanne, too) flattened the picture plane, reducing
their subjects to simple geometrv. Y\ e find ourselves
and subject matter, not because we do not admire Seurat. but because we cannot see his preoccupations
reflected in the Demoiselles, (or in the subsequent
Similarly,
by accepting the
literature
Y\ e
we tend
development of
and
even
them only
cut ourselves off from a satisfactorv explanation of Fau\ism. especially with regard to Braque's Fauve period
and
its
activity.
These, brieflv. are some of the major objections that can immediately be raised to the dominant
historical view of
Cubism
as descending
as a
synthetic phases
16 See Daniel Henry Kahnweiler, Juan Gris: Sa T'ie. Son Oeuvre, Ses Ecrits. Paris, Gallimard. 1947. (English translation by Douglas Cooper, New York. Valentin, 1947, pp. 144. 145). Gris" reply to the questionnaire "Chezles Cubistes". Bulletin de la Vie Artistique, Paris, 6th year, no. 1, pp. 1517, January 1, 1925.
17
Jr.,
Art.
New
York, The
Museum
of
Modern
20
it
has both validity and understanding but as historical analysis of the general develop-
ment of painting
it is
it
Certainly,
what designation
later historians
apply to events.
If
Kahnweiler considers
to the rigors of that
Cubism
hmited
as Picasso
definition.
works
The contemporary
must be added
qualifying adjective
to differentiate
The
But
it is
difficult to
apply to
men
who
from the
traditional Cubist
Cubists at
all.
If the
it.
now
naturally these
men
To
varied from the traditional pattern they deserved to be relegated to a secondary or satellite role in
is
Cubism
it is
foolish to
\rithout
assume
which
would be useful
to
if
examine their intentions, techniques and theories as carefully as we have those of Picasso and Braque,
necessary adjusting or redefining our theories to take account of what
we
find.
Our
were
first
theoretical understanding of
little
since the
main interpretive
fines
explored during the 1930s. Recent studies have gathered and sifted a quantity of important docuoriginal period but this information has generally
details
been
framework,
many
The
word "Cubism"
illustrates the
to the history of
art
movements,
The
traditional
approach stresses the fact that Matisse referred to cubes in connection with a Braque painting of
critic
It is
interesting
made
a reference to
Cubism
since
it
to
to Picasso or
Braque,
its
possible
been explored. 19 Recent studies have confirmed that the term did not come into anything
Gleizes, Metzinger.
in attaching special
meaning
dence in connection with Metzinger and Delaunay rather than with Picasso and Braque. Chassevent' s use of
the "cube" might have assumed the retrospective significance the significance of the
now
word
itself is
general
suited an historical
framework
from an already
nizing
its
1906 usage and the context of its general acceptance in 1911 as the
justified in identifying
would
suffi-
be equally
efforts of a
second group of
ciently products of their art-culture to fight their battles publicly in the traditional arena: the great salons.
In
its earliest
usage, the
word was
on behalf of
group of
artists
invited to
year. Gleizes
Du Cubisme. an
work was,
effort to dispel
first
the confusion raging around the word. Clarifying their aims as painters, this
in effect, the
definition of
Cubism and
its
it still
intelligible.
artists
The
between
circle of
who
'
Gil Bias,
November
14.
May
cit.,
p. 20.
"Louis Chassevent, "Les Artistes Independants, 1906", Quelques Petits Salons. Paris, 1908, p. 32. Chassevent discussed Delaunay and Metzinger in terms of Signacs influence, referring to Metzingers "precision in the cut of his cubes...'
20
21
it
whom
parts of
Why
taken for
much
to
be understood?
It
relish (any
madmen. Their
visual ideas were susceptible to formulation and. conceiving art as a social function,
Such mental
at the
attitudes, while
understandable in
that
life
and
especially
that
art, affecting
expand
its
human
consciousness.
art
and
life
of -Albert Gleizes
testifies to his
and influences
it
manifests
we
dominant
supplementary information.
Gleizes
a particularly
good
was he a
left lucid
and
Du
Cubisme,
when they
yet.
An art cannot be
pure
Delaunay painted
single unprecedented
jump
beyond
Gleizes'
Meudon
Landscape. 1911, and Metzinger's Port. But the audacity of Delaunay's synthesis of the sun and moon, daylight
and darkness
had
all
the globe!
owm
wrote: "...In 1913 Delaunay defined the goal of Cubism... Behind that luxuriant color... one could realize
"azure', the
final, circling,
astronomical.
wondering child."21
for plastic equivalents of the great
sorbed him for so long but he also became convinced that for every combination of perceptions there was a
plastic truth.
This development can almost be charted in his portraits of Florent Schmitt. In the 1915 Song
of War. (no. 71) the musician's features and movements were described, even though they were contracted
to forceful
later version (no. 72) the figure itself has disappeared, replaced
by
a synthesis
(no. 75)
and
its
preparatory water-
which draws
life
from the
river.
His old
interests
earlier
suspended in
a specifically described circus environment. In Stunt Flying, however, imitated forms are abolished, replaced
by soaring rhythm,
the exultant sensations of height and velocity. This synthesis of controlled kinesthetic
is
own technique
of volumetric relationships.
21
ALbert Gleizes, Robert Delaunay, an unpublished manuscript prepared for Abstraction-Creation in 1933, revised in 1937
and 1945.
22
Gleizes' evolution
artist
did not conceptually lead his painting toward unshakeable convictions. His w'ork was always directly engaged
with environment, especially an unfamiliar one. Thus, his 1916 voyage to Spain resulted in a
viously Spanish paintings, (no. 104) hot and
number of
ob-
with the general course of his development in synthetic abstraction) and few of his paintings are as sensual
for light-modified
efforts. Gleizes'
concern for
human and
the very basis of both his subject matter and his individual plastic treatment, did not diminish as his style
developed certainty.
activity in 1918,
it
On
the contrary,
to
it
even seems
most modern
city in the
its
occurred
life
at the
very
Russia.
reality.
He was
These
1918
summer of
said,
house in Pelham. New York. One afternoon. Albert Gleizes came to his wife and
to
"A
happened
me:
believe
am
new
not from any mystical visions but instead from Gleizes' rational confrontation of three urgent problems
collective order, individual differences
role.
until
1941. his next twenty-five years were spent in a logical effort not only to find
God but
also to
have
faith.
The
many-levelled struggle was enacted on the plane of painting, supported by writing and by the manner in which
he chose
To him,
all
human
activity
post-war w-orld the principles once thought to be the foundations of society were exhausted, no longer valid.
"...In all the spheres of the
human
spirit,
art. It
it
. . .
The
Artist [had
become] a curious being, an anarchist, a product of spontaneous generation, a being apart from the crowd." 24
His dissatisfaction with the old system and with the anarchy of art led Gleizes toward a passionate
pursuit for an absolute order. His self-discipline was extreme, including even renunciation of the broad and
all
textures, surface
plastic interest
own
make;
would henceforth reside in the relationships among forms and shapes, relationships
the austere essentials usually clouded by appearances.
that
would communicate
The most
disciplined works
their effects
even in their extreme austerity a more varied pallette than any of his contemporaries:
yellows acting on each other.
pinks and
He
regarded as false and pernicious the distinction between easel painting and
decoration, developed and sustained for so long only because of the pretensions of class society. Thus, in his
effort to abolish that distinction,
he created paintings
like
to
wliich, of course,
was never
realized. 25 Yet,
even as he
"Such
work
also reveals in a direct fashion the influence of early training in his father's design atelier.
"Juliette
Roche
Gleizes,
Memoirs,
to
J.
New
York, 1917.
25
The
is
Musee de Grenoble.
23
purged
doubled
its
intensity
and
his
own
became a
the
New York
by
side,
hidden by the uniformity with which they were painted and by the
constant effort to
tie
the plastic realization of the painting to a specific, even unique, experience. In the absence
less
and
less in
accord with
painting style.
tried to reconcile the
universality of painting
with the particular image, the source of each work's visual idea. Extending and clarifying his older value
distinctions about subjects, he concluded during the twenties that a painting
total in itself)
which retained
had
little
universality,
even an imaginary
reality. Gleizes
him, in 1924,
subject matter: the Imaginary Still Lifes, Blue and Green. In effect, Gleizes would have inverted Courbet's
will paint
I'll
you an angel"
it."'
to
me,
paint
changes in the
artist's life.
By 1919
had been
was dominated by a strong reaction against those dreams of revoluwhich Gleizes continued
to cherish,
common
effort
him and,
by conservative painters 2 ^,
was
constantly nourished. Although supported by Archipenko and Braque, an attempt to revive the spirit of the
artists'
had enjoyed considerable prestige both as a man and a painter, gradually beart world.
came
alienated
Madame
Gleizes had
to material considerations,
artists.
other
The
Gleizes spent
Madame
Gleizes' family
home, or
at Cavalaire,
then an even
he was
Union
Intellectuelle
continued to write and in 1924 the Bauhaus. (where certain ideals analogous to his
requested a
own were
practiced)
in 1927, he
Abbaye
26
ed.,
27
See Gleizes, "L' Affaire dada", Action, Paris, no. 3, April, 1920, pp. 26-32. Reprinted in English in Robert Motherwell, Dada Painters and Poets, New York, 1951, pp. 298-302.
Gleizes painted an ironic
it
Homage
to the
Salon d'Automne.
Between 1920 and 1926 Gleizes and Charles Henry became close friends and intended to write a book together on Art and Science. See Gleizes, "Charles Henry et fe Vitaiisme", in Cahiers de I'Etoile, Paris, no. 13. Januaiv-Februarv, 1930,
28
pp. 112-128.
29
Albert Gleizes, Kubismus, Bauhausbiicher 13, Munich, Albert Langen Verlag, 1928.
24
modern
life.
money and
tion
all his
who were
to
and
manage
many
years
especially
her
during World
War
II
it
more
to the strength of
at a
and
industrialization.
art
rhythm of
Gleizes
embarked
art
his
book La Forme
et VHistoire, Celtic,
Romanesque and
Oriental forms particularly were studied for their innate and unselfconscious presentation
human
life.
From
all
form derived from human movement, from the kinesthetic sense of man
bred form. Architecture was the supreme plastic
activity, for
it
in space,
and
that
all
human
activity
socially organized.
The
natural cadence of
life
fruitfully than in
Romanesque
art,
where painting
Consciously drawing on traditions that he recognized to be Xllth century. Gleizes exposed himself not only
to the
exhaustion of his financial resources in Moly-Sabata but also, more cruelly, to the charge of extreme
slogans of Marshal Petain's Vichy government and this ironic mental association, coupled with the Gleizes'
long-standing (and intensely sincere) pacifism and work for European unity, eventually led to an understandable bitterness
among
those
who were
his
active in the
French
resistance.
own
painting suffered.
One
also resulted
from
to his studies of
Autun and
St.
church of
St.
graphy depicting the Descent from the Cross, were again rejected
The Church he
so
came only
when he was
too old to do
much
of the
execution himself. In a pediment high above the altar in the Jesuit Chapel of Les Fontaines at Chantilly, 32
Gleizes' design for the Eucharist ironically concedes
more iconography
in
title
In
La Forme
et VHistoire, Gleizes
he resumed
almost feverish painting activity in 1931 his energies were absorbed in the large abstract Paintings for
Contemplation. His relatively brief plunge into Scholasticism had naturally strengthened his old hierarchy
of values but the key to his entire effort
is
found
Executed in
fife,
human
of
life:
the sufficiency of reason, the verifiability of experience, the plausibility of revelation, the exercise of
Western
human
30
Dangar under
his influence
became
social ideafs
and participating
selflessly
fife
of Isere.
32
ma
f'resque 'L'Eucharistie'",
25
It is
titles
of Gleizes'
first
which the
circular
movements of
earlier
are reconciled
also trace
From
we can
to other works.
deur of Man", (see no. 177). Furthermore, the complex development of Gleizes' attitude toward perception
is
theme
pictures,
divertissements. Reprises of these paintings are juxtaposed ~ith Pascal texts that demonstrate
why man
can-
not remain
idle, for
all.
he then
falls
own
misery.
Above
final style
we
change which, in the mid-thirties, gradually allowed the austere matte surfaces to metarnorphize
into an exuberant
freedom of application and reintroduction of brushwork. even while keeping the sense of
by
The
result is the
most
lyrical
work of the
the reintroduction of fluid parallel brushstrokes, serving the double function of texture
and
cross-rh> thms. his paintings of the late thirties point toward the perfect ease, the lyricism of his last
paintings. This
development
is
flat,
forthright,
uncompromising
is
virtually
Pascal's
Geometry". His
The
period)
is
"Spirit of
Gleizes' ascetic
coolly reasoned. In painting, the shapes are intellectually, if also elegantly, arranged
and they
"Spirit of
represent the structural principles of reality manifest in the solution of pictorial problems.
The
Finesse", however, as in the Paintings for Meditations (see especially no. 168). produces shapes that have
opened, like a rose relaxing into bloom, creating fullness, grace and a more liquid movement which suffused
the picture plane. In his final paintings Gleizes surrendered pure reason to the back of his consciousness
and
returned (with delight) to the pleasures of paint. Paint was his faith and theory was
of struggle, the two could coexist, complementing and nourishing each other.
Gleizes' individual development, his
Iris
unique struggle
to reconcile forces,
of the few
painters to
by
later artistic
movements. Al-
He
never
repeated his earlier styles, never remained stationery, but always grew more intense, more passionate.
Albert Gleizes
the
is
perhaps the only painter of our century to have consciously struggled between
faith, in a
it
reasonable
indeed a
who
brilliant
manner and
finally to
on the side of
is
Like PascaL
is possible to regard
him
as
him
as a lucid sceptic
activity.
its
possible in
He was
ended
a metaphysician in
metato
life
remain
an abstract
art of
human even
and
truth.
CATALOGUE
Except for certain works which are juxtaposed beside the
final
are abbreviated,
1901.
1905.
1.1.
London.
An
modern
year
Literature:
began
to paint seriously.
Although
clearly related to
Albert Gleizes:
Hommage. Lyon,
1954, p. 127.
is
Musees de Lyon,
The
density-
with which
painted
Gleizes' affinity with Pissarro
city life.
and
its
solid
framework suggest
critics.
affinities
IN
THE RAIN.
1901.
6.
THE CHURCH NEAR THE ABBEY OF CRETEIL. 1908. (L'EGLISE, SOUVENIR DE L'ABBAYE DE CRETEIL).
Ink, 133 x 11" (34 x 28 cm.).
l.r.
The
Abbaye, possibly
results
from a reworking
in
3.
1903.
MARCHE
D'ABBEVILLE).
23+/' (73
CHURCH AT CRETEIL
Oil
(EGLISE A CRETEIL).
1908.
on canvas, 281 x
1.1.
x 60 cm.).
Lent by
Madame
Lent by
Madame
Exhibitions:
for solidity, a
much
moved
closer to Impressionism.
in
the foreground
is
Man
on the Bal-
1904.
cony
(no. 32).
xl8"
Lent by
Madame
SEINE.
1908.
and color
on canvas, 21 i x 25i" (54 x65 cm.). Signed and dated l.r.-"Albert Gleizes 1908".
Oil
theless continued.
Lent by
Madame
27
Exhibitions:
By
Musee
become
Still Life
of
Cezanne
is
Flowers
seem
to
show
affinities to
14.
1908.
1908.
Lent by
Madame
Lent by
Madame
Exhibitions:
Musee
15.
1910.
was
brief, lasting
even when his paint was thickest and color brightest, his concern
for structural
New
York.
Provenance
10.
He
1908.
ordinating his former concern for social activity to his fresh interest
in construction. Here, an overall rose tonality was
employed
to
New
York.
16.
Madame
a,
Rene Gimpel
Paysage
New
(as
la couleur simplifiee).
3.
cm.).
l.r.
Musee
Lent by
Calvet, Avignon, 1962, no. 7.
3.
Madame Alb
Exhibitions:
Duchamp,
Gleizes, Metzinger,
summers
Montross Gallery,
in
New
this
key work
in
Aven and Nabi principles than to Cezanne) is well advanced. The painting also bears a marked affinity to the work of Le Fauconnier, although the two artists had not yet become friends.
akin to Pont
4), in
11.
DONKEY
CARTS.
1908.
17.
1909.
xl2i"
(23,5
x31 cm.).
1.1.
1.1.
1909.
1910.
Lent by
Madame
his
During
1909
trip to
19.
THE TREE
Oil
(L'ARBRE). 1910.
(91,5 x72,5 cm.).
primary shapes.
on canvas, 36 x28i"
l.r.
WALLED CITY
Oil
Exhibitions:
Moderni Umeni, S.V.U. Manes, Prague, 1914, no. 33. Trente Ans d'Art Independant, Grand Palais, Paris,
1926.
Rene Gimpel
Galerie,
New
6.
28
Passedoit Gallery,
New
2.
The
Paris,
rhythms of
panorama
resulted in
Von Bonnard
1961.
Literature:
bis Heute,
23.
1911.
gray,
c.
"Gleizes",
p. 208.
habasque,
Exhibitions:
(as
Le
Chemin).
In this work, one of Gleizes' most important paintings of the crucial
artist's
union of a broad
of vision with a
flat
picture
Literature:
plane. Earlier studies, such as nos. 17, 18, clearly anticipate this
dorival,
Musee d'Art
development.
Moderne,
golding,
New
j.
20.
PORTRAIT OF
Oil
R. G. [LEIZES]. 1910.
Man
is
on canvas, 55i x44" (140 xll2 cm.). Signed and dated 1.1. "Alb Gleizes 10".
Private Collection, Paris.
Literature:
owed
to
Le Faucon-
24.
1911.
1909 Portrait of P.
J.
x71 cm.).
York.
1.1.
Bandeaux
d'Or,
New
working
Passedoit Gallery,
New
York, 1949.
1950,
gray,
c.
"Gleizes",
21.
(LA
FEMME AU PHLOX).
p. 207.
1910.
on canvas, 31 J x39+" (81 xlOO cm.). Signed and dated 1.1. "Alb Gleizes 10".
Lent by Marlborough-Gerson Gallery,
Exhibitions:
Begun
York.
New
summer Gleizes realized that his intervening made it impossible to complete the portrait in
development
style.
homogeneous
1913,
25.
1910.
Rene Gimpel
Galerie,
Passedoit Gallery,
no. 5.
4.
20x15"
le
(51
x38cm.).
l.r.
pour
au Salon d'Automne
1911".
Lent by
Madame
26.
c.
gray,
"Gleizes",
1950,
1911.
p. 208.
golding,
J.
Lent by
Continuing his new interest in the figure, Gleizes strove to manipulate a genre subject with the
Madame
Exhibitions:
scale that
Musee
27.
1911.
22.
LANDSCAPE (PAYSAGE).
Oil
1911.
(71
x91,5 cm.).
on canvas, 70 J x51i" (180 xl30 cm.). Signed and dated l.r. "Albert Gleizes 1911".
Exhibitions:
Salon d'Automne,
29
XIX
Literature:
and
c.
XX
Moderne, Paris,
gray,
"Gleizes",
1950,
p. 208.
gleizes,
et le Noir, Octo-
a.,
"L'Epopee", Le Rouge
Noir, Octo-
Literature:
gleizes, a. "L'Epopee", Le
ber, 1929, p. 64.
Rouge
apollinaire,
(cf.
G.
L 'Intransigeant,
This painting
is
p. 199).
Menagere
in
the
volumetric
later
married Mireille
Cubism of
tion of
this
work.
It is
Gleizes.
an
and
ger's
and Metzin30.
Du Cubisme
1912.
Tous
les Arts.
Gleizes'
Courbevoie garden,
Mme.
Barzun.
Theodore Schempp,
28.
Paris.
THE HUNT
Signed
l.r.
Exhibitions:
Moderne Kunst Kring, Amsterdam, 1912, no. 113. Societe Normande de Peinture Moderne, Rouen,
1912, no. 92.
"Albert Gleizes".
Provenance Rene
:
Museum,
1951.
Jaffe, Brussels.
Exhibitions:
Salon d'Automne,
1955.
The Collection of Mr. and Mrs. Harry Lewis Winston, Detroit, Institute of Arts, Virginia
Museum
of
Museum
of Art,
The Milwaukee
Institute,
This study, developed in connection with the large Bathers (no. 31),
is
no. 51.
new
no. 5.
apollinaire,
(cf.
g. L' Intransigeant,
October
10, 1911.
p. 199).
granie,
et
"Au
d Europe
31.
THE BATHERS
Oil
Cahiers
d 'Albert
B.
on canvas, 41i
1.1.
dorival,
p. 76.
Les Peintres du
XXe
1957,
de Paris, Paris.
no. 36.
which
ele-
Trente
Palais, Paris.
symbolic relationships
to
each other,
Les Createurs du Cubisme, Paris, 1935, no. 31. Les Maitres de I'Art Independant 1895-1937, Petit
Palais, Paris, 1937, no. 6.
human
similar subject the following year. Dorival has suggested that the
may
Literature:
apollinaire,
g.
20, 1912
(cf.
of Duchamp-Villon in 1914.
bonfante,
e.
and Ravenna,
THE KITCHEN
Oil on canvas, 46 J
laume Apollinaire, Venice, 1945, no. LVIII. Musee d'Art Moderne de la Ville de Paris, CatalogueGuide, Paris, 1961.
New
York.
In
The Bathers
(as in
no. 34.
extent, in Metzinger's
Meudon Landscape,
Passedoit Gallery,
7.
from modern
temporary
9.
life
30
32.
1912.
is
point (1912).
It
summarizes Gleizes'
interests,
Lent by Philadelphia
Museum
of Art,
man
in
Arensberg Collection.
Provenance
:
is
Gleizes' parallel to
it
Le Faucontheme not
nier's
Abundance, and
seems
likely that
takes
its
Exhibitions:
poem
La Montagne, poeme
La
Terrestre Trales
Literature:
eddy,
1914.
a.
j.
Cubists
Tendency and
35.
gleizes, A. "L'Epopee", Le
ber, 1929, p. 68.
Rouge
Noir, Octo-
Provenance:
Exhibitions:
Mme.
F. Picabia.
Societe
golding,
j.
The
office
on
Cezanne
till
Picasso,
Avenue de
The
netti
painting
lively debate
between Mari-
The
many French
its
Cubists,
and
historical synthesis
context as the
focal point of
He was wrong
for,
although not primarily concerned with the reality of visual sensations, Gleizes was, nevertheless,
36.
THE PORT
Pencil,
6x71"
xl9cm.).
"Alb Gleizes 12"; on reverse, "Dessin pour
le
psychological relationships.
l.r.
Un
Madame Duchamp-Villon
Rue Lemaitre a Puteaux (Seine) No. 2". Lent by The Solomon R. Guggenheim Museum, New York.
33.
sketch for "harvest threshing". 1912. (Etude pour "le depiquage des moissons").
Oil on board, 20 x25i" (51
artist,
1938.
x65
cm.).
37.
Signed
l.r.
"Albert Gleizes".
THE PORT
Oil
(LE
PORT MARCHAND).
1912.
New
York.
Mme.
P. de Cugio, Paris.
bis.
Signed
no. 37.
Lent by The Art Gallery of Toronto, Gift from the Junior Women's
34.
HARVEST THRESHING
1912.
Oil on canvas, 106
(LE
Exhibitions:
no. 43.
l.r.
New
York.
and Company,
New
1938.
Paris, 1912, no. 43. Paris, 1926, no. 1058.
Le
Cubisme,
1907-1914,
Musee
National
d'Art
Literature:
hourcade,
gray,
Literature:
"Gleizes",
1950,
p. 208.
The
j.
was another
golding,
characteristic
theme appropriate
to
the interests
of the Passy
31
Cubists.
The word on
is
probably the
first
41.
THE METRO
Signed
l.r.
"Alb Gleizes".
La
Gare).
Embodying
38.
as
it
LANDSCAPE (PAYSAGE).
Oil
1912.
on board, 14i \17i" (37,5 x43,5 cm.). 1.1. "Alb Gleizes 12".
less heroic
than Delau-
Hommage
to Bleriot,
it is
symptomatic of an
essential over-
New
York.
Provenance
from the
artist,
1938.
no. 114.
Exhibitions:
42.
With
this
work
(actually the
mouth of a
up
1913.
earliest paintings.
on canvas, 56i x40i" (143 xl02 cm.). l.r. "Alb Gleizes 13".
Salon d'Automne, 1913, no. 768. Moderni Umeni, S.V.U., Manes, Prague, 1914, no. 47. Les Maitres de V Art Independant 1895-1937, Paris,
1937, p. 94, no. 16.
Galerie Drouant-David, Paris, 1943, no. 12. Galerie des Garets, Paris, 1947, no.
1.
1912.
Exhibitions:
Signed
"Albert Gleizes".
des 20. Jahrhunderts, Vienna.
Lent by
Museum
New
York.
Paris, 1912, no. 41.
Paris,
Der Sturm,
Heute,
Museum
Les Sources du
XXe
Siecle,
Moderne,
Paris, 1961.
seum
G. Paris- Journal, 1914, (cf.
apollinaire,
Chroniques
Literature:
salmon,
golding,
J.
allard,
r.
3.
pi. 9.
synthesis of the
modern
city
its
steel
bridges, this
work probably
among
indi-
deroudille,
no.
1, p.
R.
Bulletin des
Cubism.
12.
Vincent, M. Catalogue du
p. 315.
Musee de Lyon,
1956,
40.
rosenblum,
R.
New York,
Eugene
strove to be
Private Collection,
New
York.
modern development. In
this portrait
which
is
Provenance:
Exhibitions:
Salmon admired
friends:
Fort, Gustave
Literature:
apollinaire,
g.
Chroniques d'Art,
43.
MAN
Signed
IN
l.r.
1909.
Montjoie, no.
4,
March
41.
Lent by
Madame
The
role of
team
mass audience
of Passy.
44.
participation,
reflects
artists
(cf.
V Action Nouas
MAN
IN
1913.
(as
Lent by
Y\ alter
Firpo, Marseilles.
32
33
34
10
35
19
37
38
21
39
40
22
41
23
42
24
43
27
44
45
46
47
34
48
49
39
50
40
51
41
52
45.
MAN
Oil
IN
on canvas,
1913.
48.
THE HARBOR,
sketch for
l.r.
Literature:
1914.
(cf.
Rouge
el le Noir,
Octo-
49.
1913.
Lent by
Madame Ferdinand
goes back to a
number
large
of related sources in
no. 44.
85.
among
and
den), the
man
apollinaire.
1913.
339).
(cf.
g.
kuppers,
46.
P. E.
pi. 3.
1913.
gleizes, A. "L'Fpopee", Le
Rouge
et le Noir, Paris,
7ix6i" (19,5x16
cm.).
l.r.
dorival,
B.
Ville et le
1957, p. 97.
Fleuve".
New
York.
one of Gleizes'
known record of most important works, The City and the River,
fig. 3, p.
18)
is
all
his attitudes
toward the
life
modern
the
establishment and
on
50.
bank of a
An
oil
1913.
l.r.
New
"iork. Gift of
1913.
"Alb Gleizes
13"';
les
51.
HEAD
IN
1913.
Kroller-Muller, Otterlo.
Lent anonymously.
Exhibition:
Galerie
Komter
Exhibitions:
sale,
Hans
Goltz,
Der Sturm,
no. 65.
Berlin, 1913.
1928,
The work
is
probably a
self-portrait.
Sous
sels,
le
52.
Circa 1912-13.
x5+" (18x14
1.1.
cm.).
New
York.
English
edition,
New
York,
pi. 5.
53.
LANDSCAPE (PAYSAGE).
Oil
1913.
The artist's mother and two sisters were the models for this work. The treatment of faces and hands shows the close relationship between the individual
publication of
styles of Gleizes
oil
on canvas, 35J x28}" (91 x72,5 cm.). Signed and dated 1.1. "Alb Gleizes 13".
Lent by Ferdinand Howald Collection, The Columbus Gallery of
Fine Arts, Ohio.
after the
is
Du Cubisme. An
in
New
\ork, 1927.
New
York.
Ferdinand How-aid.
53
One
of a
number
58.
TWO WOMEN
Oil
suburban landscape
(no. 47)
Women
x45
cm.).
Pierre Matisse.
1913.
Exhibition:
Literature:
Carroll Galeries,
New
x3H"
New York,
Signed 1.1. "Alb Gleizes 13". Lent by Mr. and Mrs. Arthur G. Altschul,
New
York.
The
Connecticut,
artist's
mother and
motif
sister
New Haven,
window
Literature:
apollonio,
p. 67.
u.
New
York, 1959,
Kitchen,
now
in Lyon.
Concentrating more on
effect,
the
for
59.
with
x8" (27x20
1.1.
cm.).
Zacks, Toronto.
1914.
There
is
New
York. Both are the basis for one of Gleizes' rare early etchings,
for the
10ix7i" (26x20
cm.).
l.r.
now
private collection,
60. 56.
1914.
on canvas, 28i
l.r.
Lent by Richard
Provenance:
Exhibitions:
New
York.
Provenance:
Nell Walden.
Stuttgarter Kunstkabinett, 1954.
Madame
Frigerio, Paris.
Montross Gallery,
New
Exhibitions:
UOeuvre du
XXe
siecle,
Wege
5,
no. 284.
London, 1955.
Sammlung
no. 237.
degand,
l.
3, no. 5,
June
1952, p. 24.
86.
exist half a
oil
inscription,
Petroushka,
Theatre
de
should be compared with the Landscape, no. 53, to demonstrate that although he continued to deal with deep space and wide vistas,
reality.
music since
Doyen
at the
Abbaye.
61.
57.
TWO WOMEN
IN FRONT OF A WINDOW. 1914. (FEMMES ASSISES DEVANT UNE FENETRE). Gouache, 18i x21i" (47,6 x54 cm.).
Signed and dated
l.r.
1913.
Not signed or
dated.
Lent by Philadelphia
York.
Museum
of Art,
New
Arensberg Collection.
Literature:
1954,
pi. 93.
54
62.
PIANO).
1914.
Literature:
Lent by Philadelphia
Museum
of
-Art.
^ alter
Arensberg Collection.
Exhibitions:
Literature:
Carroll Galleries,
New
rosenblum,
1960, no. 118.
r.
At
New York,
1914
began
to fuse circular
rhythm
This painting of one of his sisters playing the piano in the house at
Courbevoie
is
first
Portrait of Florent
MY FRIEND
THEO
M.). 1914.
"Alb Gleizes
THE
14th
OF JULY
Toul 1914".
Lent by The Solomon R. Guggenheim Museum,
Ink. 153
artist,
1938.
14 Juillet".
In terms of picture construction, sketches such as this for the unfinished 14th
WATERCOLOR FOR "CITY OF TOUL". 1915. (AQUARELLE POUR "U\ YILLE DE TOUL").
Watercolor, 8 xlOi" (21,5 x26 cm.).
of July are of
critical
and
rotation.
They
l.r.
New Jersey.
in 1914.
The Moselle
river,
this composition,
City of Toul.
64.
The
of these, in the
Bourdon
collection, Paris, is
STUDY
(ETUDE
NO. 2
2
an echo of the City and the River theme. The second, (exhibited
Marlborough, London, 1956, no. 11) converts the subject into
powerful circular rhythms, akin to nos. 72, 73, 75.
Militaire
New
York.
1914-15.
1938.
cm.).
14, 15".
STUDY NO. 7 FOR "PORTRAIT OF AN ARMY DOCTOR". (ETUDE 7 POUR "MEDECIN MILITAIRE"). 1915.
Ink with crayon, 9i x 7i" (25 x20 cm.).
Signed and dated
l.r.
Exhibitions:
Montross Gallery,
New
(as
The
Man
at the Piano).
6.
pour Medecin
Militaire
Paris,
New
York.
1938.
MILITAIRE). 1914.
Toul with
New
York.
ment
in
circles.
The source
such a method
is
found
67.
71.
cm.).
PORTRAIT OF FLORENT SCHMITT, THE SONG OF WAR. (PORTRAIT DE FLORENT SCHMITT. CHANT DE GUERRE).
1915.
Oil
l.r.
New
York.
on canvas, 39i x 39i" (100 x 101 cm.). l.r. "Alb Gleizes; Chant de Guerre,
Rene Gimpel
New
55
still life
paintings. (Throughout
Montross Gallery,
New
Several studies,
among them
La Musique, Besancon,
195..
Rome, 1960.
Literature:
Musee de Grenoble, 1963, no. 14. dorival, b. The School of Paris in the Musee National d'Art Modeme,
cm.).
New York
1962. p. 262.
ill.
The Song of War realized the fusion sought in the first portrait of Florent Schmirt and successfully integrated schematic indications
of the composer into the overall whirl of the composition.
Exhibitions:
7.
p. 316.
Juliette
COMPOSITION.
Oil
1915.
the River at the 1913 Salon d Autonrne, had arranged through her
friend
on canvas, 38i x35i' (97 x91 cm.). l.r. "Alb Gleizes 15".
Canudo
to
first
year
Lent by
Exhibitions:
11. (frontispiece).
Hommage, Lyon,
is
1954, pi.
1.
77.
NEW" YORK.
Gouache and
1915.
ink,
comis
New
York".
and
circular
movement
Lent bv
Madame
students version of
this
Remy-
de-Provence.
""JAZZ"). 1915.
New
\ ork.
COMPOSITION.
Oil
1915.
Provenance
Literature:
p. 1225.
Feragil Gallery,
New 1 ork,
1938.
The
Literary- Digest,
Lent by
Madame Henri
Literature:
New
New York
is
of
new
subject matter
is
apparent. In a photograph
first
published
and
72.
at
work on
74.
1914.
79.
1915.
"Albert Gleizes
New York
1915".
W ilham
deroudille,
r.
1915.
Jazz again exploits circular
tilting planes,
movements
into an inner
20
s.
New York.
80.
Bourgeois Galleries,
Rene Gimpel
Galerie,
Passedoit Gallery,
New \ork, 1916, no. 14. New \ork, 1937, no. 10. New York, 1949, no. 6.
new
its
CHAL POST.
Gouache with
1915.
oil
on board, 39i x30" (101 x76 cm.). 1915"". 1.1. "Alb Gleizes New York
New
"i
ork.
movement,
1938.
many
Montross Gallery,
Albert Gleizes:
New
Hommage, Lyon,
56
81.
KELLY SPRINGFIELD.
Gouache with
oil
1915.
85.
BROOKLYN BRIDGE.
Oil with sand
1915.
on board, 39s x30" (101 x76 cm.). Signed and dated 1.1. "Alb Gleizes N.Y. 15"".
Lent by The Solomon R. Guggenheim Museum.
"Albert Gleizes
New York
10.
1915".
New
York.
Lent by
Madame
:
P. de Gavardie, Paris.
artist,
1938.
Exhibition
Montross Gallery,
New
is
totally abstract,
Gleizes
New \ ork,
especially those
its
criss-cross of intersecting
first
use of sand on a
new
BROADWAY.
Oil
1915.
Signed
"Albert
Gleizes"-.
1917.
"Albert Gleizes
New \ork
1917 sur
New
Brooklyn-Bridge"
New \ ork.
Literature:
Literary Digest.
New
artist.
1937.
The
3,
initial
American reaction
this painting
to Gleizes
might be typified by a
Literature:
letter
about
c.
1950,
Among
the
p. 208.
most closely
to the
1915
drawing (no. 83), attempts to synthesize the City under the symbol
of the Bridge. Lnified by whirling circles, the composition shows
is
in the
both ends of the bridge with the river below and buildings of Manhattan and Brooklyn beyond. Gleizes and Joseph Stella had been
friends since 1915
Howald
and
it is
interesting to
compare
this painting
later.
BROOKLYN BRIDGE.
TtiI-
1915.
and gouache, 9i
>:
On
Lent by
Madame
THE ASTOR CLP RACE (FLAGS). 1915. (LE PRIX ASTOR CLP 01 LES DRAPEAUX).
is
The
first
a study
Gouache with
oil
on board, 39i x29i" (99,5 x74 cm.). 1.1. "Alb Gleizes 15 N.Y.".
New
"i
ork.
1938.
BROOKLYN BRIDGE.
Oil
Exhibitions:
1915.
Montross Gallery.
New
and mixed media on canvas, 40i x40i" (102 x!02 cm.). l.r. "Alb Gleizes 1915 Brooklyn Bridge".
New
York.
de Paris. Despite the exuberance realized here, however, a
is
(Sale, 1927).
B.
Neumann, 1944.
Exhibitions:
Montross Gallery,
New
Modem
Art,
New
OVERLAND.
Oil
1916.
Museum
Literary Digest,
November 27,
on canvas, 31i x25+" (81 x65 cm.). Signed and dated l.r. "Alb Gleizes 1916".
Lent by Galerie L. Bourdon, Paris.
Exhibitions :
in photograph of Gleizes).
SEtPHOR, M.
Montross Gallery,
New \ ork,
ROSESBLOl,
New
York. 1960.
in elevation in
Chal Post
seen
89.
1916.
YORK).
first interview-
given after
his arrival in America, Gleizes stated his admiration for the Brookit
European
Lent bv
Madame
57
Tk
49
58
47
59
m
51
^m
62
60
54
61
62
63
67
64
73
66
72
67
75
68
76
78
....
,:
.ii
:
,I.U!.i.i.iii,
.IIJ
88
70
80
81
71
72
73
74
90.
New York
'Downtown'
New
York. La peinture a
Gug-
96.
CLOWNS.
1916.
genheim Foundation".
Lent by The Solomon R. Guggenheim Museum,
Provenance: from the
artist,
cm.).
New
York.
1938.
Lent by
Madame
:
Exhibition
91.
TARRYTOWN.
1916.
The
"Alb Gleizes Terrytown 1916 N.Y."; on
circus
pre-war Paris works (no. 119, for example) and continuing through
1920, (no. 120).
We
also
know
second version of
this painting
from 1917,
(see
comment
New
York.
97.
artist,
1938.
TO JACQUES NAYRAL
(A
JACQUES NAYRAL).
1914.
1.1.
New
York.
COMPOSITION (TARRYTOWN).
Oil on canvas, 36 J
1916.
l.r.
Gleizes
first
Woman
when
a postcard
it is
little
more
patience,
much
longer...
"disparu".
TO JACQUES NAYRAL
Oil
(A
JACQUES NAYRAL).
"Alb Gleizes
17, a
1917.
93.
Jacques Nayral".
New
York.
50 cm.).
Galerie Lucien Blanc, Aix-en-Provence, 1954, no. 9.
Lent by
Madame
This
is
memorial
to his
closest friend, a
94.
program.
7}x7i"
Tete de Clown".
STILL LIFE
Ink, 10 J
WITH FLASKS.
(27,5 x21,5 cm.).
l.r.
1916.
New
York.
Provenance
Rose Fried,
Royal
1916
This
is
le
Gleizes'
regiment
at
Toul.
New
York.
artist,
1938.
95.
1914-17.
Lent anonymously.
Exhibitions:
STILL LIFE
Oil
WITH BOTTLES.
1916.
Ardsley Studios,
New
8.
1.1
at
Toul in 1915
75
still lifes,
105.
BERMUDA STUDY
Signed and dated
Paysage,
la
I.e.
Weimar Museum,
is
un-
maison du Gouverneur
Bermuda
1917.
le
tableau ap-
(no. 75),
New
York.
1938.
101.
JEAN COCTEAU.
Signed and dated
1915.
106.
BERMUDA STUDY
Signed and dated
l.r.
Lent by
Madame
Exhibition:
Gleizes
first
became
on an unrealized
107.
production of
the
first
A Midsummer Night's
1917.
in the
summer
New
York.
Provenance
A. Stieglitz,
New
York.
collection of the
H. D. Walker, Minneapolis.
102.
1916.
Returning
to
mediately for Bermuda, where they stayed about two months. The
effect
l.r.
Cocteau".
Rene Gimpel
Literature:
Galerie,
Passedoit Gallery,
no. 11.
7.
The
temporary return
to a
Cezannesque technique.
1,
108.
BERMUDA DRAWING
Signed and dated
l.r.
(LES BERMUDES).
x8J"
1917.
same vein
basket of
as their
fruit, (as
did Ariel
who produced
Red Cross
would be
thinking.
in
1917.
DANCER (DANSEUSE).
Oil
1916.
Provenance:
Gleizes, Barcelone 16".
Pierre Faure.
Bourgeois Galleries,
New
York, 1917.
l.r.
"Alb
A
104.
is
in the
1916.
collection of the
Paris.
New
\ork.
110.
BARCELONA HARBOR
Provenance:
Exhibitions:
Gift,
Bourgeois Galleries,
Ardsley Studios,
(LE PORT DE BARCELONE). 1916. Mixed media on paper, 18i x23" (46,5 x58,5 cm.). Signed and dated l.r. "Barcelone. 1916 Albert Gleizes": on reverse
"No
15)
Barcelone 1916, Le
II
Guggenheim Foimdation,
a ete
The
which
an
effort to
peint a New- York en 1917". Lent by The Solomon R. Guggenheim Museum, New \ ork.
artist,
1938.
76
111.
HERE
Oil
IN
PORT (DANS LE
l.r.
PORT).
1917.
New
York.
New York
New York. Provenance: Gift, Solomon R. Guggenheim, New York, 1937. Exhibition: Ardsley Studios, New York, 1919, no. 3.
This work incorporates part of the harbor scene explored in the
Exhibitions:
Rene Gimpel
and On a Circus Theme
rise to the
Galerie,
New
(collection Baltimore
An
Madame
Gleizes, executed
Gleizes
112.
1917.
116.
STUDY FOR "BUILDING CONSTRUCTION". 1916. (DESSIN POUR "NAISSANCE D'UN BUILDING").
Ink and crayon, 9j x 7J" (25 x20 cm.).
Signed and dated "Naissance d'un building
New
New York
1916 Alb
New
York.
Gleizes"; on reverse
"No
II
8)
Dessin a
la
building'
New York
1916 Le tableau a
a ete
dans une
Ardsley Studios,
New
collection allemande
New
York.
robbins,
d.
"Gleizes
and
Delaunay",
3,
Baltimore
Provenance
from the
artist,
1938.
Spring, 1962,
117.
last
is in
many
Madame
Gleizes
where
trapezists,
is
work
abstract,
employing
tilting planes
and
circular
movement
Ardsley Studios,
New
7.
dynamic rhythm.
schoener,
a.
it)
1916.
thesis of
New
York. In
it
we
1920's,
Ink and pencil, 11 x 8i" (28 x21,5 cm.). Signed and dated l.r. "Alb Gleizes 'Vaudeville' Broadway N.Y.
1916"; on reverse "Dessin a la plume pour 'Sur im Vaudeville', Broadway New York 1916 La peinture a Fhuile appartient a le Guggenheim Foundation".
118.
1916.
New
York.
artist,
1938.
le Flat-
iron 16".
Ann
Arbor, Michigan.
ON A VAUDEVILLE THEME
Oil
(SUR
UN VAUDEVILLE).
1917.
119.
Solomon R.
SKETCH FOR "THE EQUESTRIAN". 1914. (ETUDE POUR "SUR UNE ECUYERE DE CIRQUE").
Crayon, 10! x8i" (27 x21 cm.).
Signed, dated and inscribed
l.r.
work
is
also a return to
an
This drawing furnished a departure point for an etching of the same
year, as well as serving as the basis for a series of paintings.
and
relates to the
115.
120.
HALL).
"Alb Gleizes,
New York
19"
No
New York
1917".
77
Exhibitions:
Ardsley Studios,
New
Musee
This
(no. 119),
last
version from
124.
COMPOSITION.
Oil on canvas,
1921.
Moderne,
Paris, 1924,
and
is
Musee National
d'Art Moderne, Paris. Both works, as well as the study, relate not
only to the Vaudeville theme (nos. 113, 114) but also to the
Circus
On a
Lent by
Madame
Theme
in the
Baltimore Museum.
Gleizes' reputation as
121.
1920.
him
Mainie
Jellett
methods
for his
now
characteristic
movements
to
"rotation".
about 1914
Der Sturm,
Berlin, 1921.
63).
The developing
et ses lois, ce
book La Peinture
In Paris after the war, Gleizes retained specific themes from
New
in 1922.
\ork City
life
modern
collective
powerful touches of
Circa 1922.
among
thought
forms.
He
eliminated
it
the
canvas, 47i
cm.).
he
to
ness in his painted surface, Gleizes retained vibrant color and even
Exhibition
Literature:
began
result
to
make
his
was an extremely
such as
this
found their
the Grenoble
Museum.
of a chosen plane
to right
and
left,
122.
1920.
100 cm.).
1.1.
126.
OCTAGONAL COMPOSITION.
Oil
Circa 1922.
Signed
"1920".
(COMPOSITION OCTAGONALE).
on canvas, 35i x27i" (89,5 x69,5 cm.).
1956,
no.
Lent by
Madame
Exhibitions:
Femme
Musee
Literature:
Assise).
Calvet, Avignon, 1962, no. 17.
Madame
no. 23.
This
is
(ed.).
Dictionary of
Modern
at
work.
an example of the principles of translation and rotation A related drawing, the final illustration of La Peinture et
1956, p. 113.
ses Lois,
when
it
et des
Arts
it
to the
Museum
There are a number of small versions of this painting which one aspect of Gleizes'
specific reality
illustrate
picture construction.
1923.
x20
cm.).
123.
COMPOSITION (TABLEAU).
Tempera on
panel, 36}
l.r.
1921.
l.r.
('?).
Leonce Rosenberg,
Paris.
128.
Islands.
COMPOSITION OCTOBER.
Oil
1922.
Power
Literature:
Sale, Sotheby's,
November
7,
1962, no. 17
Signed
1.1.
"X BRE
1922".
(as Abstraction).
Lent by
Madame
Bulletin de
pp. 8-9.
I'
Effort
13,
Literature:
78
to a
Dame
134.
IMAGINARY STILL
Oil on canvas, 41 i
BLEUE).
cm.).
2eme Salon des Tuileries, Paris, 1924. Rene Gimpel Galerie, New York, 1937,
Passedoit Gallery,
no. 23.
x28i"
(92
x73
cm.).
New
Literature:
gray,
c.
"Gleizes",
Madame
p. 209.
Exhibitions:
Musee
no. 26.
135.
still
occasionally
STUDY FOR "IMAGINARY STILL LIFE, GREEN". (DESSIN POUR "NATURE MORTE IMAGINAIRE.
VERDATRE).
Pencil. 10}
1923.
1920 drawing
work
is
reproduced
The Solomon R. Guggenheim Museum; and a whereabouts unknown) was exhibited at the
New
York.
Gleizes exhibition,
artist,
1938.
130.
Circa 1923.
136.
Lent by
tt
Rene Gimpel
Galerie,
New
2eme Salon des Tuileries, Paris, 1924. Rene Gimpel Galerie, New \ ork, 1937,
Passedoit Gallery,
no. 24.
The
Gleizes' spent
much
community, Moly-Sabata,
in
New
1927.
Literature:
gray,
c.
"Gleizes",
p. 209.
131.
THE SCHOOLBOY
Oil on canvas, 34i
By
the time Gleizes painted the two Imaginary Still Lifes of 1924,
x26+"
Signed
l.r.
"Albert Gleizes".
Illinois.
as
a subject in itself
was
he
felt
that
An
"imagi-
nary"
still life,
it
W.
Faulkner, Chicago.
relations,
132.
THE SCHOOLBOY
(L'ECOLIER). 1924.
(92
137.
x73
cm.).
IMAGINARY STILL LIFE. GREEN, second version. (NATURE MORTE IMAGINAIRE, VERDATRE).
on canvas, 39i x28i" (100 x73 cm.). Not signed or dated.
Oil
1924-36.
Lent by
Madame
Exhibitions:
Rene Gimpel
New
FAMILIAR THEME, STUDY FOR "IMAGINARY STILL LIFE. BLUE" (PEINTURE FAMILIERE, DESSIN POUR "NATURE
MORTE IMAGINAIRE,
Signed and dated
l.r.
BLEUE").
1923.
138.
SERRIERES.
Pencil, lOi
1923.
(27
x8i"
x21 cm.).
"Alb Gleizes, Serrieres 23"; on reverse
5) "Pein-
l.r.
Huile
New Y ork.
New
\ork.
1938.
artist.
1938.
79
92
80
81
82
102
83
84
100
104
85
86
114
115
87
89
90
125
91
123
124
131
92
126
128
93
-iTwnwr-
"
136
137
139
94
139.
1924.
144.
COMPOSITION.
Oil
1930-31.
l.r.
Madame
Exhibitions:
Rene Gimpel
Passedoit Gallery,
Exhibition:
National
Museum
of
Musee
145.
it
(no.
STUDY FOR TRIPTYCH. 1930. A. STUDY FOR LEFT PART OF TRIPTYCH. (ETUDE POUR TRIPTIQUE, PARTIE GAUCHE).
Gouache on board, 13i x5}" (34 xl5 Signed and dated "Alb Gleizes 30".
B.
cm.).
the village of Serrieres, looking across the hilly village with its
church steeple
Rhone and
and
hills
140.
SERRIERES.
1927.
STUDY FOR RIGHT PART OF TRIPTYCH. (ETUDE POUR TRIPTIQUE, PARTIE DROIT).
C.
New
York.
New
York.
Provenance: Galerie
7, Paris.
Margit Chanin,
New
York.
141.
FORMS, ADORATION.
Oil
tonalities
seems
itself
to
has been
New
York.
146.
By
A.
in fact,
God and
that
He was
Oil on canvas, 63
Thus
in this
work
and in the related gouache (no. 142), the painter and divine
love.
B.
Oil
GOUACHE.
Gouache,
1932.
(30 x25,5 cm.).
New
York.
Hi x 10"
l.r.
New
York.
During the
Romanesque
architec-
143.
SYMPHONY
IN VIOLET. 1930-31. (SYMPHONIE EN VIOLET). Oil on canvas, 77 x51i" (196 xl31 cm.).
Signed and dated
l.r.
ture, sculpture
et L'Histoire)
and frescoes
(in
Forme
number
of compositions
St. Savin.
Rene Gimpel
chevalier,
1962, p. 51.
j.
Galerie,
New
147.
Signed
Gleizes wished to infuse his large compositions of
(typified
on canvas, 29i x49" (75,5 x 124,5 cm.). l.r. "Alb Gleizes 32-33".
many elements
lyrical
Lent by
Madame
made
to
by
earlier
moveGleizes
his first paintings for "meditation" or "contempla-
made
tion" in 1932-33
(the
and
is
key
which
found in his
illustrations to the
Pensees of
95
drawing for
this painting is
reproduced in
J.
Chevalier
s
is
Albert
in the
This painting
no. 122.
is
Woman
153.
JAUNE).
1933.
148.
LIGHT (LUMIERE).
Oil
1932-33.
on canvas, 33i x44$" (84,5 x 114 cm.). Signed and dated l.r. "Alb Gleizes 1933".
Lent by
no. 50.
Literature:
Madame
Rene Gimpel
Galerie,
Exhibitions:
Rene Gimpel
GRAY,
c.
Passedoit Gallery,
"Gleizes",
51.
1950,
pp. 209-210.
"The problem of
problem of
faith.
For
Believing that space, time and light were one and the same, he
that
if
154.
PAINTING,
Oil
MOVEMENT (PEINTURE
l.r.
MOBILE). 1932-33.
Lent by
149.
Madame
Exhibitions:
Rene Gimpel
New
1932-33.
l.r.
Lent by
Madame
Pensees of Pascal.
Exhibitions:
Musee
CRUCIFIXION.
Oil
1935.
150.
first
version.
l.r.
x 103,5 cm.).
Gleizes".
Lent by
Exhibitions:
34.
1936,
is
in the collection of
This
first
is
one in a
series of large
VIRGIN
Oil
AND CHILD
dated.
(LA VIERGE
A L'ENFANT).
1935.
1924-34.
Not signed or
Lent by
Exhibition:
Madame
Musee
adapted in ceramic
tile
literal
it
31.
and
many works
of this period,
This
is
first
157.
MATERNITY (MATERNITE).
Ink, 10}
1936.
circular
x7i"
painting)
identified as
illustration for
from
totally replaced
by a
series of
158.
SKETCH FOR AIR PAVILION MURAL, PARIS EXPOSITION. (ETUDE POUR LE PA VILLON DE L'AIR A L'EXPOSITION
DES ARTS,
Gouache,
Signed
152.
SEATED WOMAN.
Oil
1934.
PARIS). 1937.
Hi
x25i"
(28,5
x64
cm.).
l.r.
New
York.
Lent by
Madame
Exhibitions:
Margit Chanin,
New
^ ork.
Musee
96
Gleizes was
commissioned
to
at the
and the
and Leger,
Union des
Artistes.
The
de
163.
mural
Paris.
itself is in
storage in the
la Ville
COMPOSITION.
Oil
1939.
The
as
known
and again
by
Lent by
Madame
Frank Perse.
Exhibitions:
Musee
no. 40.
1939-41.
164.
Gleizes".
"39^0-41 Albert
cm.).
immense
triptych in the
Musee des Beaux- Arts de Lyon. A related gouache of the same subject is in the Musee d'Art Moderne de la Ville de Paris. These works
represent Gleizes' final attempt to reconcile traditional iconography
165.
understandable to a wide public. The iconography of the Transfiguration, however, had been largely forgotten
traditional,
14ixll" (36x28
l.r.
cm.).
and inclusion of
its
artist
Lent by
V\ alter
Firpo, Marseilles.
160.
1938.
166.
PAINTING FOR CONTEMPLATION, DOMINANT ROSE AND GREEN (COMPOSITION, DOMINANTES ROSES ET VERTES).
1942.
Oil
New
York.
New
York.
FOUR LEGENDARY FIGURES OF THE SKY. 1939-40. (QUATRE PERSONNAGES LEGENDAIRES DU CIEL).
Oil
Provenance:
Literature:
Gift,
Madame
"Presence
1952,
d'Albert
Zodiaque,
January,
on canvas:
to obtain, Gleizes
painted on burlap, sizing the porous material with glue mixed with
paint.
He had used
it
now
found
Madame
Exhibition:
Literature:
de
France,
9,
167.
Gleizes",
"Presence
1952, p. 37.
d'Albert
Zodiaque,
January,
SKETCH FOR "MOVEMENT WITH BLUE SPOTS". 1943. (ETUDE POUR "MOUVEMENT A TACHES BLEUES").
Gouache, 4} x5+" (11 xl4 cm.).
Signed and dated
l.r.
While working on murals for the 1937 Paris Exposition, Gleizes and
Jacques Villon conceived the idea of executing a mural for the
auditorium of the Ecole des Arts et Metiers, Paris. Their plan was
to integrate
168.
dream of
space.
it
were
on canvas,
45+.
l.r.
Madame
Gleizes, Paris.
Exhibitions:
of man.
to
Musee
The Gobelins
Government began
translate the
tapestry.
169. 162.
COMPOSITION.
Signed and dated
1943.
COMPOSITION.
Signed and dated
1937.
97
170.
FOR MEDITATION (POUR MEDITATION). Oil on burlap, 25i x2H" (65 x54,5 cm.).
Signed and dated Lent by
l.r.
1944.
New
York.
The drawing
(Chapter
is
Madame
way
it
Exhibition:
171.
IMAGE.
1944.
178.
x234" (73 x60 cm.). Signed and dated l.r. "Alb Gleizes 44".
et dTndustrie, St. Etienne.
Lent by
Madame
Exhibitions:
172.
1944.
Musee
ma
179.
Anne Dangar
1951-52.
Madame
Madame
THE SCHOOLBOY
Oil
(L'ECOLIER), third
"Alb Gleizes 44".
version. 1944.
Exhibition:
series, (nos.
77 to 117).
180. 174.
COMPOSITION ROSE.
Oil on board, 29i
1952.
1944.
Madame
Exhibitions:
Lent by
Madame
Musee
175.
1945.
181.
GRIS-BRUN).
1952.
x3H"
(100
x80
cm.).
l.r.
Madame
deroudille,
Cubisme",
Ornement).
i
r.
"Albert Gleizes et
2,
du
as
Exhibitions:
4 Soli, no.
Musee
XVI).
To
The
Gleizes
dark
his forms.
somber
colors.
176.
COMPOSITION.
Oil
1948.
182.
ARABESQUES.
Oil
1953.
Not signed or
Lent by
before Gleizes' two year
Exhibitions:
Lent by
Madame
among
Madame
This
is
made
Musee
Literature:
no. 51.
Hommage, Lyon,
1954.
pi. 8.
177.
1950.
Most of the
tentative.
titles
is
his last,
it
were
124x9+"
l.r.
(32
x24
cm.).
1.1.
But Arabesques
has refer-
Signed
"No
18. Ill
Grandeur d'Homme".
York,
Gift,
ences appropriate to his often stated admiration for the lyrical and passionate geometry of Islamic art (see "Arabesques, L'Entrelac
Kay Hillman,
1964.
98
141
148
99
100
144
147
154
102
146
103
146 B
104
150
105
106
156
107
108
161
161
109
161
161
110
Ill
'!"*>
112
113
176
114
181
115
116
117
182
D(imiE.\T.vrio.\
120
om:
11
a\ Minti 'io\s
i
i
galerie
1953. Texts by Lucien Blanc, Waldemar George, Fernand Rude. MUSEE de grenoble, Grenoble, June 15-August, 1963, Albert Gleizes
et
Tempete dans
les
(Fall),
Albert Gleizes.
Kueny.
Moderne,
der sturm,
of
Berlin,
York. See
GROUP
MilOtl
l\>
15,
1936-January 15,
Societe Nationale des Beaux-Arts, Paris, 1902.
Retrospective Exhibition.
May 20-June
5,
galerie des carets, Paris, May 2-24, 1947, Albert Gleizes. Preface
o.s.B.
LA FRANgAlSE,
"I'Abbaye".
Paris,
January-February,
1908,
Les
Peintres
de
Peinture. Preface
Gleizes
by Marcel Michaud,
14.
galerie DES
Dessins
Gleizes: 30 Gouaches,
Paris, 1910.
1st exhibition,
passedoit gallery,
New
1949,
1910;
2nd
exhibition, 1912.
Leger,
Le Fauconnier,
3, 1911.
Catalogue preface by
by Albert
Gleizes.
Paris,
November 20-
musee d'art et d'industrie, Saint Etienne, September, 1950, Pensees de Pascal sur I' Homme, et Dieu: 57 Eaux Fortes par Albert
Gleizes. Preface
December
Contemporain. Catalogue
by Maurice Allemand.
Dieu: 57 Eaux-Fortes par Albert
et
Salon d'Automne,
Societe
Paris, 1912.
by
Gleizes.
musee des beaux-arts de lyon, December 2-31, 1950, Pensees de Pascal sur I'Homme et Dieu, Illustrees de 57 Eaux-Fortes
Originales par Albert Gleizes. Preface by Rene Jullian.
Normande de Peinture Moderne, Rouen, opened May 6, 1912. 2eme Exposition. musee municipal suasso, Amsterdam, October 6-November 7, 1912, Moderne Kunst Kring. Catalogue preface, "La Sensibility Moderne
et le
galerie colette allendy, Paris, November, 1951, Albert Gleizes. galerie lucien blanc, Aix-en-Provence, November-December, 1954,
Retrospective Albert Gleizes. Preface by
Andre
Schoeller.
Rene Blum.
1,
1913, Gleizes,
Marlborough fine
Albert
Juliette
Granie.
Gleizes: Paintings,
Gouaches, Drawings.
Preface by
Roche
Gleizes.
der sturm,
Berlin,
Futuristen.
2.
Gesamt
121
Andre Salmon.
Salon d'Automne,
Paris, 1913. Catalogue preface
belmaison gallery of modern art, Wanamaker's, New York, March 9-31, 1922.
ler Salon des Tuileries, Paris, 1923.
by Marcel Sembat.
der sturm,
Berlin,
Herbstsalon.
1924,
Gleizes,
Valmier,
Lurcat,
v.
u.
Marcoussis.
(Modern
by Alexandre
Mercereau.
Salon d'Automne,
3,
1914, Exposition de
L'Art d'Aujourd'hui
Paris,
No-
der sturm,
Villon.
DuchampExhibition
Salon d'Automne,
to
January
2, 1915, First
of Contemporary French Art. Preface by Frederick James Gregg. CARROLL galleries, New York, to February 13, 1915, Second Exhibition of Works by Contemporary French Artists. Catalogue
preface unsigned.
Exhibition
the
Anonyme.
grand
Ans
d'Art
Independant.
3,
bourgeois galleries, New York, April 3-29, 1916, Exhibition of Modern Art, arranged by a group of European and American
Artists in
New
York.
Crotti,
Salon d'Automne,
montross gallery, New York, April 422, 1916, Pictures by Duchamp, Gleizes, Metzinger. Den Franske Utstilling, Oslo, November-December, 1916.
bourgeois galleries, New York, February 10-March
10,
by Albert
Gleizes, organized
by Walter
25,
Firpo.
American
Artists in
New
York.
6,
leonce Rosenberg,
1917,
April
25-May
1932,
Exposition
New
York
galerie bonjean,
11, 1917,
Paris,
Cubisme.
STUTTGART KUNSTGEBAUDE,
to
March
31, 1919,
by Hamilton Easter
Field.
grand
20-March
4, 1934, Societe
des Artistes
bourgeois galleries, New York, May, 1919, Annual Exhibition of Modern Art. Catalogue preface by Albert Gleizes.
Salon d'Automne, Paris, 1919. Salon des Independants, Paris, 1920.
galerie de la boetie, Paris, March, 1920, 2eme Salon de la Section
d'Or. Travelled to Brussels
Raymond
Cogniat, preface
by Maurice Raynal.
Premier Salon de
I'
May 31-June
30, 1935.
6,
and Amsterdam.
1936,
Salon d'Automne,
Paris, 1920.
(a.
E.
GALLATIN COLLECTION),
New York
Modern
New
Paris,
York,
French School.
Helion.
petit
palais,
June-October,
1937,
I'
Independant, 1895-1937.
der sturm,
5,
1937,
et
museum of French art, New York, March 16-April 3, 1921, Loan Exhibition: Works by Cezanne, Redon... and others. Catalogue
foreword by Forbes Watson.
Art Mural,
June, 1938.
Co.,
der sturm,
musee galliera,
De Vldee a
la Forme.
(Exhibition porza).
122
4, 1939, Picasso,
Braque,
3,
1957:
May 25-Jime
Le Cubisme 1911-
museum of art, December 13-January 15, 1958; san francisco museum of art, January 23-March 13, 1958; Milwaukee art institute, April 11-May 12, 1958; The Collection of Mr. and Mrs. Harry Lewis Winston.
11, 1957, Albert Gleizes et les Peintres Vivarois
27-November
et
galerie des garets, Paris, April 20-May 11, 1948, Gouaches par
Albert Gleizes; Ceramiques d'apres Gleizes par
Anne Dangar.
1951,
Marlborough FINE art ltd., London, October-December, XIX and XX Century European Masters.
galerie knoedler, Paris, 1958, Les Soirees de Paris.
1957,
1,
27, 1958,
The
de Peinture de France.
Menton
Biennale, Gleizes room in Marseilles, October, 1951.) MDSEU de arte moderna DE Sao paulo, Sao Paulo, Brazil. October,
9,
1959,
Rythmes
et
Danses.
de Paris
1951,
/.
Bienal.
Paris,
Beiges.
1960,
XXe
1952,
siecle.
Marlborough fine art ltd., London, February-March, and XX Century Drawings and Watercolors.
yale university art gallery',
AVA"
New Haven,
Connecticut,
May -June,
3eme Salon, Peinture et Sculpture. Salon de Cavaillon, Cavaillon, November, 1952. galerie pab. Ales, December 20-28, 1952, Gleizes, Picabia, Survage. musee national d'art moderne, Paris, January 30-April 9, 1953, Le Cubisme 1907-1914, Preface by Jean Cassou.
Paris,
November
4,
1960-January
du
XXe
siecle",
hotel de
Avignon Salon.
d' Albert Gleizes".
1884 a 1914.
Paris,
July-September.
1961,
Von
1961,
May
Modern Masters.
Brazil,
December,
19,
1961, Der
haus der kunst, Munich, 1961, Les Chefs d'Oeuvres des Collections
Privees Francois.
November 24-26,
1954, 20
national museum
1961-
Le Dessin, de Toulouse-
hotel estrine,
Disciples.
St.
et
Marlborough
Collection.
museum des
1962,
20.
4,
Kunst von 1900 bis Heute. wallraf-richartz museum, Cologne, September 12-December
1962, Europdische
9,
W aldemar
George.
Kunst 1912.
Tapisseries, Atelier J. de
library',
New
Baume-Durrbach. Tapestries,
26, 1955,
loeb student center, New York, March 6-20, 1963, Selected Works from the N. Y. U. Art Collection.
galerie suillerot, Paris, June, 1963, Les Peintres Cubistes.
Abstrait, Les
11, 1963,
The Cubist
et
Generations
(1910-1939).
Catalogue
by Maurice
Allemand.
Autour de Moly-Sabata.
les
123
BIBLIOGRAPHY
The bibliography
by Albert
first,
a complete
list
of works
unpublished manuscripts
list
and
illustrated
which contain significant material about the artist. Entries are arranged
chronologically.
D.R.
\ltlllll>
BY GLEIZES
nos. 4
and
"Le Fauconnier
"Les Beaux Arts.
an exhibition of modern
in 1919.
Bourgeois Galleries,
New \ ork,
October-November
(?),
1919.
"Cubisme devant
Paris,
et litteraires,
[Letter to
response to an inquiry.
p. 4.
"Le Cubisme
"L" Allaire dada". Action, Paris, no. 3, April, 1920, pp. 26-32. Re-
Reprinted in Tradition
[Extracts
printed in
Poets,
Engbsh
Dada
Painters
and
ft*.
from
O
3,
New
burg, no.
178
New
La
p. 308.
December, 1913,
p. 14.
la
La
mer que
le
Le Mot,
May
1915.
"Ein Neuer Naturalismus? Eine Rundfrage des Kunstblatts", Das York Herald, October
Kunstblatt, vol. 6, no.
"Perle",
9,
New
pp. 2-3.
An
interview.
La Bataille
February 25,
Literary Digest,
Duchamp, Picabia and Crotti)], The New York, November 27, 1915, pp. 1224-1225.
1916.
vol. 6, no. 1. 1922. pp.
Das Kunstblatt,
devait sortir
New
York, no.
5,
June 1917.
Edited by Carl
26-32.
"The Abbey of
Zigrosser.
Creteil,
"La Peinture
et ses Lois
Ce qui
du Cubisme", La
J ie
des
School, Stelton,
New
October,
1918.
Lettres et des Arts, Paris, series 2, no. 12. March, 1923, pp. 26-73.
7,
124
"L'Art Moderne
Socialiste,
et la Societe
"Le Retour a
la
December
14, 1934, p. 2.
Cubisme,
"Peinture et Peinture",
1935, Offprint.
Sud Magazine,
Marseilles, no. 8,
August
(?)
May, 1924,
p. 14.
Response
to
an inquiry.
5,
"La Peinture
et ses Lois",
"A propos
no.
1,
May, 1924, pp. 4-9; no. 13, March, 1925, pp. 1-4. de la Section d'Or de 1912", Les Arts Plastiques,
January, 1925, pp. 57.
Paris,
November, 1934.
"Chez
les
Response
to
an
Paris,
October
9,
1936, p.
1.
inquiry.
et
"Le Probleme de
la
March,
"A
l'Exposition,
"Cubisme
de
de la Vie Artistique,
et Surrealisme: Deux Tentatives Pour Redecouvrir l'Homme", 2eme Congres International d'Esthetique et de Science
I'Art, Paris, 1937.
Response
to
an inquiry.
et
La
Signification
Humaine du Cubisme,
Announced
as
French
text of
Lecture delivered
"Signification
1938.
Paris, July 22,
"Cubisme (Vers une conscience plastique)". Bulletin de VEffort Moderne, Paris, no. 22, February, 1926, pp. 6-7; no. 23, March,
1926, pp. 4-6; no. 24, April, 1926, pp. 4-5; no. 25, May, 1926,
1938, p.
pp. 1-3; no. 26, June, 1926, pp. 1-3; no. 27, July, 1926, pp.
no. 28, October, 1926, pp. 1-3; no. 29,
1^;
May
31, 1941.
no. 30, December, 1926, pp. 1-2; no. 31, January, 1927, pp. 1-3; no. 32, February, 1927, pp. 1-5. Extracts,
Peinture, Lyon,
Special
number, edited by
Gaston Diehl.
"Apollinaire, la Justice et Moi",
et
"L'Epopee.
le
De
la
Forme Immobile
Temoignages,
Paris, Editions
Kubismus, Bauhausbiicher
"Charles Henry et
le
13, 1928.
phiques,
new
series, no. 2,
April-June, 1946.
1,
La Forme
et I'Histoire],
V Alliance
les
Variations Iconographiques de la
1947.
"Y-a-t-il
Intel-
la
"L'Art Sacre
Theologique
et
January
La Semaine Egyptienne,
Alexandria,
p. 5.
tribute to
swamy.
"Les Pensees de Pascal", Chapelle de VOratoire, Avignon, July 22-
June
1,
1932.
1,
August
by
Gleizes.
"Peinture d'Opinion
Peinture de Metier",
V Atelier
de la Rose,
"La Grande
"Vers
la
La
Liberte, Paris,
May
7,
1933, p.
2.
series,
la
no. 46, July-August, 1933, pp. 117-119. [Statement], Abstraction-Creation, Art Non-Figuratif, Paris, no. 2,
1933, p. 18.
Non-Figuration, II",
la
Roman",
September, 1952.
"Mentalite Renouvelee, I",
1952.
V Atelier
1934, p. 18.
"L'Esprit de
Ma Fresque
'L'Eucharistie'",
March, 1953.
"Mentalite Renouvelee, II",
1932.
New
York, no.
6,
"Conformisme, Reforme,
2,
et
253-259.
Cathelin.
125
"'Anne Dangar, a
Potter',
(a
Art
et
\\
Pobsh LInion
Intellectuelle,
La Forme
et
VHistoire, 1932. Reprinted in Actualite de l'Art Celtique, Cahiers d'Histoire et de Folklore, Lyon, 1956, pp. 55-97.
Art
et Science, Sablons,
[Introduction
to]
May
6,
1932.
le
Homocentrisme ;
le
Rythme dans
les
1,
l'Association des
Amis
larger manuscript.
BOOKS BY GLEIZES
MANUSCRIPTS BY
\ll
III
ISIII
l>
<-l
iy.1
>
Du
O Kubisme,
St.
Petersburg, 1913.
New York
to Spain.
New
New
lona,
York, 1917.
Barce-
New
p. 308.
Du Du
Gleizes.
listed in Gleizes
An
New
Modern Konst
ment.
Souvenirs (Puissances du Cubisme), dated February, 1944.
thirty
page fragment.
Du Cubisme
lozky,
et
des
1920.
Moyens de le Comprendre, Paris, La Cible, PovoGerman edition: Vom Kubismus; die Mittel zu
Berlin,
Seinem Verstandnis,
critical study.
La Mission La Peinture
Creatrice de
V Homme dans
Domaine
Plastique, Paris,
Povolozky, 1921.
et Ses
du Cubisme,
Paris,
La
W Dziedzinie
Plastyki, Praesens,
Tradition et Cubisme:
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Diplome d'Etudes
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