albert gleizes.pdf

Digitized by the Internet Archive in

Solomon

R.

2011 with funding from

Guggenheim Museum

Library

and Archives

http://www.archive.org/details/albertgleizes1881robb

ALBERT GLEIZES 1881 A

•

1953

RETROSPECTIVE EXHIBITION BY

DANIEL ROBBINS

THE SOLOMON

R.

GUGGENHEIM MUSEUM, NEW YORK IN

COLLABORATION WITH

M USEE NATIONAL D'ART MODERNE. PARIS

MUSEUM AM OSTWALL DORTMUND

PARTICIPATING INSTITUTIONS

SAX FRANCISCO MUSEUM OF ART CITY ART

MUSEUM OF

ST.

LOUIS

KRANNERT ART MUSEUM, COLLEGE OF FINE AND APPLIED ARTS, UNIVERSITY OF

ILLINOIS,

CHAMPAIGN

THE COLUMBUS GALLERY OF FINE ARTS THE NATIONAL GALLERY OF CANADA. OTTAWA ALBRIGHT-KNOX GALLERY, BUFFALO

THE ARTS CLUB OF CHICAGO

Published by The Solomon R. Guggenheim Foundation, Library of Congress Card Catalogue Number: 64-25186

New

York, 1964

All Rights Reserved by the Author and Publisher Printed in The Netherlands

THE SOLOMON

GUGGENHEIM FOUNDATION

R.

TRUSTEES

HARRY

ALBERT H. H.

GUGGENHEIM. PRESIDENT

F.

E.

THIELE. VICE PRESIDENT

ARNASON, VICE PRESIDENT. ART ADMINISTRATION

ELEANOR. COUNTESS CASTLE STEWART

DANA DRAPER PETER A.

O.

LAWSON-JOHNSTON

CHAOTCEY NEWLIN

MRS. HENRY OBRE DANIEL CATTON RICH

MICHAEL

MEDLEY

F.

G. B.

WETTACH WHELPLEY

CAUL ZIGROSSER

It is

appropriate that this

major exhibition of the

first

works of Albert Gleizes should be an international and collaborative venture

among

three nations indisputably

linked with the painter. First and foremost, Gleizes

French

artist, a

his

many

He was

also a

member

of Der Sturm,

theoretical writings were originally

appreciated in Germany, where especially his ideas

a

founder of Cubism and an influence on

the School of Paris.

and

is

at

most

the Bauhaus

were given sympathetic consideration. Finally,

New

he spent four crucial years in

York, and played an

important role in making America aware of modern

art.

His key paintings, long since scattered far and wide across the globe, are, at

last,

retrospective evaluation of his

brought together in this

life

work.

Jean Cassou, Conservateur en Chef

Thomas M.

Musee d'Art Moderne,

The Solomon R. Guggenheim Museum, New York

Paris

Messer, Director

Dr. Leonie Reygers, Director

Museum

Am Ostwall, Dortmund

The Solomon R. Guggenheim Museum

the obvious institution to launch the

is

spective exhibition of Albert Gleizes in America. For

its

collection

paintings, drawings and prints - a wealth unattained by any other

numbers no

museum

first

less

retro-

than 58

in this countrv.

Such richness in the Museum's custody contrasts with a prevailing indifference toward Gleizes' art

museum

- an indifference that

to date

has remained unrelieved by a single full-fledged

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

sufficiency of categories

hole

we

becomes

likely, as

we look

and of the damaging

either too small or too large to

insist that the

term should

Picasso and Braque.

and those sharing

As

is

for the

first

time,

we become aware of the

effect of generalizations.

accomodate the

"Cubism"

in-

as a pigeon-

specific contribution of Gleizes if

also retain its validity for a particular period in the painting of

made

his thoughts

plain in a key passage of the following introduction, Gleizes

were seeking different solutions and employed quite different

means. His aspirations deserve better than to be judged, as heretofore, in terms of their closeness or remoteness to an imaginary prototype.

The

principal victim of superficial

and generalized

criticism

is.

In order to see a concentrated choice of such works for their

them within

of course, the individual work.

own sake and

to

contemplate

the amplitude of Albert Gleizes" creative development, this exhibition and cata-

logue have been prepared.

The reevaluation of

Gleizes' contribution consists of

two retrospective exhibitions, similarly

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

bv Daniel Robbins. Assistant Curator of The Solomon R. Guggenheim Museum, close attention to Albert Gleizes' life-work have qualified Mr.

and documentation

that

now

is

gratefully

acknowledged

as

Robbins

to

liears of

undertake a selection

an original and important con-

tribution to scholarship.

Thomas M.

Messer. Director

ACKNOWLEDGEMENTS

My particular cooperation to Dr.

gratitude

is

due

and documentary

to

Madame

resources

made

Albert Gleizes, whose enthusiasm, this

study and exhibition possible:

Robert Goldicater, for guiding the preparation of

my

related dissertation,

submitted to the faculty of the Institute of Fine Arts, .Aezf I ork University; and to

Jacques Barzun, for advice and assistance in locating source material.

For their kindness and help, I leant

MacGreevey of Dublin: Rex de

to

C.

thank Dr. Eileen MacCarvill and Dr. Tliomas

Nan

Kivell,

M. and Mme. Rene Georges Deloye, St.

De'roudille,

Brun, Avignon; the late Joseph Olivier of

Gabrielle Kueny, Grenoble ; Maurice

Mme. Marie

Latour of Marseilles;

Allemand of St. Etienne : Commandant

Georges Houot, Toulon: Claude Gleizes and

M. Edouard

Rocher-Jauneau,

Andre Dubois, and Jean Chevalier of Lyon:

M. and Mme. Andre

Remy-de-Provence; Walter W. Firpo and

Mme.

London: Bernard Dorival, Mme.

Mme. Madeleine

Sonia Delaunay and Henry Zerner, Paris:

Matthew Robbins,

J\eic 1 ork.

Morot-Sir, French Cultural Counselor to the United States, kindly

assisted in the negotiations of certain loans.

Thanks are due William Camfield and Edward Fry for the contribution and generous exchange of important documents entered list.

Many entries

in the

Bibliography and Exhibition

were checked by Lucy Lippard and arranged by David Robbins.

For the generous contribution of color plates, we are indebted Lester Avnet, Indlekofer,

to

Arthur G. Altschul,

Ben Garber, Professor Milton Handler, Leonard Hutton, Rudolf

Samuel Josefowitz, Morton

G.

Neumann, Herbert M. Rothschild,

Augustin Terrin, Siegfried Lllmann, Pedro Vallenilla Echeverria, Richard Zeisler,

The Musee de Grenoble, Museum des

Marlborough-Gerson Gallery,

20. Jahrhunderts,

J\eic I ork.

Finally, I wish to acknoicledge the support of the Director

Solomon R. Guggenheim Museum larly

S.

Vienna and

in the

and

the staff of

The

preparation of this publication, particu-

Susan Tumarkin, Linda Konheim and Cara Dufour, who typed much of the

manuscript and Dr. Louise Averill Svendsen, who edited the catalogue.

D.R.

/

LENDERS TO THE EXHIBITION

New York Kings Point, New York

Mr. and Mrs. Arthur G. Altschul,

Mr. and Mrs. Siegfried Ullmann. Palm Beach

Mr. and Mrs. Lester A\Tiet,

Dr. Jules Vache. Lunel, France

Herbert M. Barrows, Jacques Barzun,

Madame Henri Rene

Pedro \

Arbor, Michigan

New York

allenilla Echeverria,

Mr. and Mrs.

Ham-

Lyon

Richard

J.

Caracas

^ inston,

Birmingham, Michigan

Zacks, Toronto

New York

S. Zeisler,

Firpo, Marseilles

New York

Mr. and Mrs. Arthur Freeman,

Mr. and Mrs. Andrew Fuller,

Aibright-Knox Art Gallery, Buffalo

New York

The

Cincinnati Art

Madame

P. de Gavardie, Paris

The Columbus

Madame

Albert Gleizes, Paris

Musee de Dijon

Germaine Henry, Paris

Commandant Georges Houot, La Leonard Hutton-Hutschnecker,

^ adsworth

New York

New York

C.

Nan

Kivell,

Atheneum, Hartford Gallery,

New

Musee

"iork

New

Cantini. Marseilles

The Solomon R. Guggenheim Museum, New \ ork

Geneva 'i

Rijksmuseum Kroller Muller. Otterloo

ork

London

Musee d'Art Moderne de

Edouard Labouchere, Paris

la Ville

Museum

Philadelphia

Madame Ferdinand

Saarland-Museum, Saarbriicken

Moller, Cologne

Mr. and Mrs. Morton G. Neumann. Chicago

Musee d'Art

Lady Norton, London

et

of Art

dTndustrie, St. Etienne

Nationalmuseum. Stockholm

The Art Gallery

Mr. and Mrs. Meyer P. Potamkin, Philadelphia Dr. and Mrs. Stephen Rafel, South Orange, Dr. Henri.' M. Roland,

de Paris

Musee National d'Art Moderne, Paris

Mr. and Mrs. Isadore Levin, Palm Beach

Collection

London

The Los Angeles County Museum of Art Musee des Beaux-Arts, Lyon

Mr. and Mrs. Samuel Josefowitz, Josefowitz Collection,

im Landesmuseum, Hannover

The Trustees of The Tate

Fleche, France

Rudolf Indlekofer. Basel

Messrs. Kennedy-Garber,

Museum

Gallery of Fine Arts, Columbus, Ohio

Stadtische Galerie

Professor and Mrs. Milton Handler,

Rex de

Lewis

Mr. and Mrs. Samuel

Benezit, Paris

Deroudille,

\^ alter

Ann

New

Jersey

Museum

of Toronto

des 20. Jahrhunderts, Vienna

London Galerie Moos. Geneva

Collection Romanet, Paris

Mr. and Mrs. Herbert M. Rothschild, Kitchawan, Mr. and Mrs. John Strauss, Glencoe,

Augustin Terrin, Marseilles

Illinois

New York

Leonard Hutton

Galleries,

New

Marlborough-Gerson Gallery. Galerie L. Bourdon. Paris

'iork

New ^ ork

11

1881

Born. Paris. December

1900

'ft

Raised in Courbevoie. Secondary education at College Chaptal.

8.

orked in his father's fabric design

atelier.

Rationale des Beaux-Arts. Paris.

1902

First exhibits at Societe

1903

First exhibits at the

1905

Founder of the Association Ernest Renan.

Salon d Automne. Military service '

Abbaye de

until 1905.

1906-1908

Founded and

1909-1910

Paris, met through Mercereau. Le Fauconnier. Metzinger. Delaunay. and others.

1911

participated in the

Creteil.

Exhibited in "room 41". Salon des Independants. Scandal about Cubism.

Commenced

extensive writing. Friendly \rith

DuchampA illon

family:

formation of the Artists of Passy group.

Du Cubisme

1912

Published

1914

Called into

with Metzinger.

Assists in the formation of the Section d'Or.

Army.

First completely abstract works.

1915

Demobilized, married Juliette Roche and

1916

Barcelona. Spring through

New

Autumn.

ork via Cuba. \

visits

New

\ork.

1916.

Bermuda.

1917

Returns

to

1918

Summer

in

1919

Returns

1921

First painting students: early formulation of theories of picture construction.

1922-1926

"i

Xew

Pelham.

isits

"iork: beginning of religious orientation.

to France. Spring.

Gradual withdrawal from Paris-centered

art

world:

increased interest in social and intellectual problems.

1927

1927-1928

Established Moly-Sabata. a second Utopian

to

1930

1934-1935

community of

make

reasonably priced art available to a wide public.

Strongest

Romanesque

La Forme

et L'Histoire,

influences appear in his art

and in the concurrent writing of

published in 1932. Participates in Abstraction- Creation movement.

Reintroduction of rigorous brush work.

1937

Executes murals for the Paris Exposition des Arts.

1939

Permanently moves

Roman

to St.

Remy-de-Provenee.

1941

Rejoins

1947

Major retrospective exhibition

1949-1950

artists-craftsmen in Sablons.

Pochoirs. often recapitulating earlier paintings, are begun in an effort

Illustrated the

Catholic church. at

Lyon. Chapelle du Lycee Ampere.

Pensees of Pascal.

1951

Awarded Grand Prix

1952

The Eucharist

1953

Died. Avignon. June 23.

is

at the first

French Biennial. Menton.

executed in fresco for the Chapel "Les Fontaines'" at Chantilly.

12

ALBERT GLEIZES: REASON AND FAITH

MODERN PAINTING

IN

BY D1X1EL BOBBINS

Albert Gleizes was the son of Sylvan Gleizes, a successful fabric designer and talented amateur painter. His maternal uncle,

1875 as well as numerous

Leon Commerre, was a fashionable painter who had won the Prix de Rome

official

in

commissions and another uncle. Robert Gleizes, was a collector-dealer,

specializing in eighteenth century paintings

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.

to his

two

sisters

He was

always very close

Suzanne and Mireille (an elder brother had died in infancy), and his paintings frequently

include their figures as well as that of his mother.

It

was intended that Gleizes should receive a normal bour-

geois education but, rebelling against the discipline of conventional methods, he frequently

substituted

comedy

classes at the

drama conservatory

authoritarian father discovered what was going on, he promptly put Albert to

he could personally supervise and discipline him. Working with

found the

fifteen or

activity valuable, later claiming that the necessary precision

to his artistic training.

The anonymous designs produced

inspiration (destined for draperies, upholstery

and

—and secretly

for attendance at his prescribed courses.

work

When

in his design shop where

twenty other employees, Gleizes

demanded by design was important

in the atelier were largely eighteenth century in

clothing), but a certain art

nouveau influence

also crept in. 1

Before his twentieth birthday, Gleizes was called to military service, a prospect which father with

more pleasure than

and a desire

to

become a

it

filled

the

did the son, for the youth already exhibited a tendency toward pacifism

painter. This last

would have been perfectly acceptable

if

Albert seemed likely to

follow the example of his academic uncle but, since he appeared to prefer the Impressionist sionist painters, his

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

The

fabrics are

still

preserved in the

home

of the artist's

sister, Mireille

Houot-Nayral, at La Fleche.

Societe Nationale des Beaux-Arts was founded in 1890 by a group of dissident artists, including Puvis de Chavannes

and Rodin,

in opposition to the Societe des Artistes Francais, the official salon. See

From Van Gogh

to

Gauguin,

New

York,

Museum

of

Modern

Art, 1956, p. 462.

John Rewald, Post Impressionism:

13

on the

quais, factory laborers;

writing

by lantern

sky. Gleizes

and

bolist poetry

but

light in front of

camp

tents, or the silhouette of a

his closest friend, the future poet-writer

and for the

politics of

solitary figures

wind mi ll or church seen against a night

Rene Arcos, had developed an

inclination for

sym-

democratic socialism. Believing ardently in simple brotherhood without

W

organized religion, they read and admired the sociology' of Durkheim. the music of all

some mysterious night scenes: small

also included

it

\^

hitman. \ erhaeran and Ernest Renan; the philosophy of Compte,

agner. the painting of Pissarro, the history of Taine

and Michelet.

these contained concepts which influenced the two friends before they began active participation in the

broader cultural world.

For the little

first five

years of his serious artistic

even

direct awareness of activity in the art world,

work of

familiar with the

Pissarro and Seurat

as Gleizes' friends,

were

from about 1901-05. Gleizes appears

less contact

to

have had

with other painters. Certainly, he was

and he admired Gauguin^, but these connections provided

vicarious rather than experienced culture. In contrast,

and Delaunay (who.

life,

young painters

later to share

many

like

Braque and Picasso, even Metzinger

of his ideals), already were engaged in a

and

struggle for recognition. In Paris they learned the channels for success, the structure of relationships

development of the gallery-centered

contacts, the

various personalities and schools.

art

market, and they observed with interest the growth of

The unsophisticated

creation, a destestable place designed to trap artists as

it

Gleizes however, regarded the city as a bourgeois

trapped workers into a thousand

evils,

the worst of

which would have been the corruption conferred by bourgeois approval. Notwithstanding their aversion to bourgeois city culture, Gleizes and Arcos, on completing their military sendee,

became involved with contemporary

intellectual efforts, particularly those of a

sympathetic young writers who had been associated with the shortlived review La

Romains. \

ildrac

and Mercereau). Believing that

artists, intellectuals

J ie.

group of

(including Duhamel,

and workers were natural

allies, all

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-

signed to bring working of a

new

artists

friend,

and

men and

intellectuals

—

particularly artists

Henri Martin Barzun. these young

writers. Barzun, rather

more

men

—

together. In 1906. with the financial aid

established the

Abbaye de

Creteil. a phalanstery for

sophisticated than his fellow-idealists of the Abbaye, also introduced

Gleizes to the specific history of Utopian socialism. 4

Obviously, although Gleizes did not enter the Abbaye with a specific program and a crystallized

and

ideal, the conditions of his earlier fife

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

seems never

to

modern

practice in simultaneously plastic

have been absorbed by pure \ision but always hinted

symbols. Thus, he would try to situate the whole of the modern

at

city,

in-

and symbolic terms. Gleizes

something more,

at relationships

and

an organism basically alien to him,

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

the cities of the Ile-de-France. These concerns were

all

brought

to the

Abbaye, where they were expanded

and matured.

The Abbaye, supposedly supporting the blessing of that

many

Symbolists, but

it

itself

through the communal metier of publishing, received

was not long before

its

members began

to

break with the forms of art

had been practiced by the admired older generation. Like many Symbolists, the Abbaye

artists

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.

3

4

Barzun had been as deeply involved with had served as secretary to Paul Boncour.

politics as

with poetry. In addition to publishing

L Art Social from 1905, he

14

communal

the structure of a bourgeois world and sought to substitute a

themes of modern

life

Thev wished instead

in favor of the

dealing with the relevant subjects of It

modern

life:

stripped of ornament and obscure allegory, an art

art,

crowds,

can be argued, of course, that the Abbaye intentions

their

dream,

Abbaye

creating solely

from an

Abbaye

the conditions of

modern

much

Yet there were important

reality.

more.

important to realize that their vision, although responding to

It is

did not seek to imitate those conditions, as Gleizes later accused the Futurist

and his

simultaneity were the key

Unanimism

that

intention to create a total future a priori ruled out the Symbolist technique of

life,

artists of doing.5 Gleizes

related

itself.

and

unfulfilled

scope and appearance of the world in 1906-07 hinted at the vast changes in progress,

expected

artists

machines, even, ultimately, the city

aesthetic or a closed ideal.

If the physical

the

man and

—vast as they were— remained

Symbolists before them, was an escape from

like that of the

distinctions, for the

but they did not reject the

Symbolist focus on single elements and internal, individual images.

an epic and heroic

to create

society,

dreamed of creating the future and

associates

Abbaye concepts manifest

in the

collectivity, multiplicity,

work of Barzun, Arcos. and

of Jules Romains. Theirs was a self-conscious

art,

especially in the

a synthetic concept of the possibilities

of the future. Their images invariably encompassed broad subjects winch, although dealing with reality, were restricted neither

meaning

tual

by

the limitations of physical perception nor

— even symbolic meaning. Even

by

a separation of scientific fact

Moscow, attracted many

circulated even in

Roger Allard (one of the

who wanted

of the artists

Abbaye was forced

first to

intellec-

images of simultaneity were synthetic because scope was

their

too vast, both physically and symbolically, for one man's limited participation.

writers like

from

artists.

The Abbaye, whose fame

Marinetti and Brancusi were visitors there

and young

defend Cubism), Pierre Jean Jouve, and Paul Castiaux are typical

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

keep going. Gleizes' style

ism and a

changed rapidly

at the

Abbaye. From a technique of paint application akin

light palette similar to Impressionism,

brushwork grew simpler, and curvilinear forms. multiplicity

and

his structural

diversity, at

many

by

and

color

to the ideals

phenomena

of time and space,

which were verbally realized in the

the treatment of inclusive landscapes, he nevertheless had to solve the problem

flattening the picture plane; his skies

bright.

consist ently crept higher

were on the same plane as the simple

in the distance

to

be reduced

would be brought

to the

to clear planes, treated as

flat

foreground

uniformly as

on any one part would jeopardize the whole dehcate balance. In 1908, although

expanded in the winter

Unknown

form

Every element of the painting had

possible, for attention lavished

color range

presenting the remarkable

once was his painted equivalent

objects in front and, although scale was retained, a it

became more robust, areas of

simultaneous visions on a painted surface. Gleizes mitigated the distortion of distance by

linear perspective,

by making

paint handling

rhythms became more pronounced, although softened by more

A synthetic view of the universe,

Abbaye poetry. Experienced in of balancing

Iris

to Pointill-

river scenes

and contracted in the summer landscapes, the horizon

line

and higher.

to Gleizes,

Le Fauconnier, who was

living in comparative isolation in Brittany,

was pur-

suing similar ends. The strange, red-bearded northerner, a former student at the Academie Julian and a friend of Denis

and

and the Nabis. was painting rocks and

his sea crept higher

sea.

up the picture plane. He exhibited

His rocks became progressively more geometric

his rocks at the

Independants in 1909 but Gleizes,

who had not

yet exhibited in that salon, appears not to have seen the work, for the two artists, although

probably

introduced by Jouve or Castiaux, (the editors ofLes Bandeaux a" Or) did not

work

first

until

know each

other's

1909 when they met again through Alexandre Mercereau. Mercereau, perhaps, realized even be-

fore they did the extent of their

common

interests.

In the Salon (TAutomne of 1909, however, Gleizes saw his new friend's portrait of Pierre Jean

Jouve and, as he recorded

5

in his Souvenirs,

was deeply impressed by the painting. (Gleizes was not represented

See Gleizes, "Des 'ismes'; vers une Renaissance plastique", Tradition published in La Vie des Lettres et des Arts, 1921).

et

Cubisme, Paris, Povolovzky, 1927,

p.

168

(first

15

Henri Le Fauconnier:

Fig. 1.

Fig. 2. Albert Gleizes:

PORTRAIT OF PAUL CASTIAUX. 1910. Oil on canvas, 40i X 31+" (100 X 80 cm.).

PORTRAIT OF

R.G.(leizes). 1910. Catalogue no. 20.

Private collection.

in that salon although he

had exhibited there

in

1903 and 1904).

It is

not unlikely that Gleizes" strong response

arose from the fact that Le Fauconnier's painting, actually less geometric than Gleizes' 1908 Pyrenees landscapes, applied sympathetic techniques to figure treatment. Gleizes

had sketched figures often enough, but

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

influence of Le Fauconnier in Gleizes" large portrait (now lost) of

however, remains in the collection of

Madame

strikingly related to the Jouve portrait, depicts

mous

Gleizes

and

its

Rene Arcos.

An

oil

sketch from 1909.

combination of curves and straight

Arcos in a dark, flatly-rendered

coat, striding across

lines,

an enor-

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

establish Gleizes' debt to

for ha\ing stimulated his interest to

encompas a new and

important element, the figure.

Mercereau that

is

also responsible for having introduced Gleizes to Metzinger in 1910. the

Mercereau included these three

artists in a

Moscow

exhibition

—probably the

Exhibition. (Even before this meeting, Gleizes and Metzinger had been linked

comments on "des cubes Blafards" 6 which ,

Marne

in a

to

first

\

Jack of Diamonds

auxcehVs disparaging

surely referred to Metzinger's Portrait of Apollinaire

Tree at the Salon des Independants .) Mercereau.

company Nicolas Riabouchinsky

by

who had missed

the opening of the

Moscow, had previously included

Gleizes'

Abbaye

and

Gleizes'

in order to ac-

Les Brumes du Matin sur la

Russian exhibition of 1908. 7

Given Mercereau's long standing delight in promoting group

activity, it is

easy to recognize his

pleasure in having brought together three painters whose works exhibited similar interests and identified with his

6

same year

own

who could be

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.

'See Toison d'Or, Moscow, 1908, nos. 7-10, p. 15.

As

16

organizer of the literary section of the Salon exhibiting there and to introduce his

d'Automne of 1909. he was

own concepts

to the

able to introduce Gleizes to painters

world of painting. Metzinger. in his study of Merce-

reau s noted that the 1905 Les Thuribulums Affaisses had been an attempt to adjust the methods of the .

new concepts and

fading Symbolists to

ished "anecdotal appearances", had

that in the 1910

made

work Les Contes des Tenebres. Mercereau had ban-

different forces operate within the

same character and

(like the

painters) had changed settings rapidly and fantastically.

Thus, in 1909 and 1910. a significant group of painters came circle of friends.

The

entire group, including Allard (whose

ting in 1910). Barzun. Beauduin. Castiaux. Divoire. Parmentier, Marinetti.

and Salmon, became

party" to the ideas of the

be integrated with Gleizes" older

to

book Le Bocage Amoureaux Theo

and even Apollinaire

A arlet.

Abbaye. 9 Apollinaire and Salmon were only peripheral members.

of course, the chameleon Apollinaire participating in almost every literary and artistic

Cubism was influenced by the

that Apollinaire"s conception of

and measured, eager

to discover beauty-,

of yesterday did not dare daubers of the

official

to

and entirely ready

come

a simple

but

circle,

epic notions found in the old

In his preface to the 1911 Brussels Independants, he wTote: "...thus has sive

Gleizes was illustra-

it is

Abbaye

and noble

clear

circle.

expres-

art.

which the painters

to tackle those vast subjects

undertake, abandoning them to the presumptuous, old-fashioned and boring

Salons. " (italics mine). This conception

is

not based on the analytical Cubism of Picasso

and Braque. which had already contracted to the intensive study of form, had almost annihilated subject confined in extremely shallow space. Instead, circle,

it

suggests the broad concepts held

and Leger. The subjects treated by these Cubists, chosen by Picasso and Braque. have Their significance

markedly

so

vital significance

born

from the isolated

still fifes

or figures

not diminished by the fact that the subjects themselves changed in the course of con-

is

As .Allard wrote is

different

both as intentions and as productive of different forms.

ceptual and technical advances, eventually being absorbed

"Thus

by the Mercereau-Gleizes

concepts which were at that time visible only in the paintings of Gleizes. Delaunay. Le Fauconnier

by the

abstract art of Gleizes

and Delaunay.

of Gleizes. Le Fauconnier and Metzinger. in a review- of the 1910 Salon d'Automne.

at the antipodes of

impressionism an art which cares

little to

imitate the occasional cosmic

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

synthetic preoccupation with epic themes

transformed into abstract art in Gleizes" painting

from an

the work of Delaunay and

epic, visionary (as

stand his early Cubist style and

its

opposed

differences

was destined

develop and to be

understand the passage of

Gleizes. In order to

to 'visual) reality- to abstraction,

from our

to

it is

important

traditional understanding of analytic

to

under-

Cubism.

\^ e

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-

and the ancient

of time

country-, with the river, the

—involving memory,

tradition

harbor and the bridge and, above

and accumulated

—created the

and

action.

to

Unity of scene did not correspond with the

time did not correspond with the culturally (as

new forms had

known and

Metzinger noted) H shifted his scenes so violently,

reality-

of the w-orld.

break decisively with the old

reality-

modem

of

anticipated effects of change. That

why Barzun

modern

with time, for the sense

cultural thought

In poetry-, this post-symbolist attempt to achieve unities of time, place

all.

tried to solve the

is

life;

unity of

why Mercereau

problem of simultaneously

developing lines of action by choral chanting. Similarly Gleizes and his painter friends sought to create a vision free

from introverted or obscure imagery which could

necessitated a

s

new kind

treat collective

and simultaneous

factors. This

of allegory opposed to the old meaning which presented one thing as the symbolic

Jean Metzinger. '"Alexandre Mercereau", Vers

et Prose. Paris, no. 27,

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

"See Metzinger,

op.

Salon d'Automne de Paris", cit.

V Art Libre,

Lyon, October-Xovember, 1910.

17

equivalent of another.

A

tentative precedent perhaps existed in Courbet' s

might have been considered an that the visible world only

allegorical failure

became the

real

Real Allegory which, however,

by Gleizes and Metzinger because Courbet "did not suspect

world by the operation of thought."! 2

Modifications of one form by another are quite apparent, to be sure, but their relationships are

even clearer by contemplation stimulated by \ision. The organic process of irresistably toward

harmonious interaction, was the subject of

as a confined symbolic allegory nor as a cultural

life

and

civilization,

Gleizes' art. This subject

background indicated by

made

moving

was treated neither

specific real appearance,

but was

r

instead presented in concrete and precise terms. Gleizes Harvest Threshing, the masterpiece of the Section

d'Or (no. 34),

not merely an anecdote in a scene. Rather,

is

and

his material life

his collective activity in securing that life

fronts us not with one action or place, but with

a multiple panorama celebrating the worker,

it is

on a permanently changing land. Gleizes con-

many: not with one

time, but with past

and future

as well as

present.

and Braque, Gleizes never

In contrast to Picasso

A

mandolin, guitar, pipe or bow] of fruit

complex

his

social

and

idealistic

concepts of true

cultural meaning.

He

—

more

all

reality.

He

set out to analyze

or less neutral objects

from

and describe daily Hfe

regarded the painting as the area where mental awareness and the real space

why

The iconography

of Gleizes, as of Delaunay, Le Faucon-

there

is

no period in their work corresponding closely

Cubism developed by Picasso and Braque.

It

also explains

and Leger, helps

become

to explain

abstract painters,

Braque and

Gris,

satisfy

always stressed subjects of vast scale and of provocative

of the world could not only meet but also be resolved. nier

visual reality.

— could not

more

why

theoretically sympathetic to

who always remained

it

to the analytic

was possible for Gleizes and Delaunay

Kandinsky and Mondrian than

to

to

Picasso,

associated with visual reality.

Given the already established principle that the space of the physical world

is

not the same as the

space of a picture plane and accepting the conviction that perception of the physical world

deformed by

is

the effects of distance, Gleizes' artistic concern was to reconstitute and synthesize the real world according to his individual consciousness.

A

known

objects, their weight,

solidity

and structure of

inseparability of

form and

color, the modifications in

principal lessons of Cezanne) and fied

and

sober,

distorted, each shape

it is

major factor in his process was the study of volumes utilized

always rich, never

we

placement and

effects

upon each

other.

convey the

to

Add

to this the

one causing changes to appear in the other (one of the

arrive at Gleizes' 1910-11 style of painting.

and color modified by another, they are not

Although forms are simpli-

splintered.

Although

his color is

grisaille.

Gleizes did not use the device (found in

many works by

Picasso and Braque) which involved

placement of the form in a shallow space, usually down the center of the canvas, the edges

filled

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

develop compositional innovations: broad,

tilting

planes that provide a transition from the

perimetric rectangle to the rotating forms at the heart of the painting.

Nothing

testified

more

clearly that Gleizes

and those of Picasso and Braque than the

article

was aware of the differences between his own interests

he wrote after seeing Picasso's work for the

Having quoted Apollinaire's remarks 14 about a return

to the

and Braque, in

from an impressionism of form which, nevertheless, they opposed

'Albert Gleizes and Jean Metzinger,

Du

time.

grand principles of structure, color and

spiration, he wrote "that the very valuable [precieuses] indications of Picasso

thing, did not depart

first

to (an

lj

in-

spite of every-

impressionism

Cubisme, Paris, 1912. The authors begin their work with a discussion of Courbet.

"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.

Rue

"From

the catalogue preface to the Brussels Independents, 1911, (see p. 16 supra).

18

Fig. 3. Albert Gleizes:

THE CITY AND THE RIVER.

Fig. 4. Albert Gleizes:

1913.

of) color." !5 Gleizes

X

1913.

187 cm.).

considered the analytical Cubist works of Picasso and Braque. those fugues of intersecting

planes, as "an impressionism of

He

of a dissected subject.

characterized this phase of his traditional use of the little

word

set

up by parts

main concern which was

to establish

form" because of the emphasis on relationships and rhythms

realized that they were quite distinct

weight, density and volumetric relationships

In the

THE CITY AND THE RIVER.

86} X 73}" (220 Whereabouts unknown. Oil on canvas,

Catalogue no. 46.

work

as

among

from

his

parts of a broad subject.

an "analysis of volume relationships,"

"analytical" in our understanding of

reviews and newspapers from pre- World

it

Although Gleizes himself

bears

little

similarity to the

Cubism.

War I

Paris, Gleizes

had always been identified

modernism in

as one of the Cubist avant-garde. In the journals that chronicle the development of French

the twenties, he continued to hold a prominent place, but he was no longer identified with the avant-garde

because Cubism

phenomenon

itself

that

was no longer the avant-garde. Instead,

had passed, or

it

it

was regarded by some people as a freak, a

was looked upon by others merely

as

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

name

of Albert Gleizes was always mentioned because of his

early

and important participation in the movement. Yet, by the

nism

for,

thirties

being alive and decidedly articulate, he had never ceased to

he came to be regarded as an anachrocall

himself a Cubist and presumably

a Cubist he remained. Unlike Picasso, he had neither participated in Surrealism nor returned to reality.

did he practice that most rational and ordered close to those developed

the right angle

;

by Mondrian,

art,

Neo-Plasticism. Although in

his paintings

many ways

his theories

Nor were

never submitted to the discipline of primary colors and

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

from the accepted

]5

art press,

and generally negative

he was actively taken up by a small group of Catholic

intellectuals

criticism

who regarded

Albert Gleizes, "L'Art et ses representants, Jean Metzinger", La Revue Independant, no. 4, September, 1911, p. 164.

19

him

as

something of a hero-saint. Criticism continued in

this dual vein until his death: a puzzling artist

claimed and admired by a small group of dedicated followers, fervently respected by his few former pupils,

but almost ignored by influential

The

critics for

Cubism,

literature of

contemporary criticism and

of

(as

some

all

historical study

thirty years.

twentieth century painting)

may be

divided into two categories:

— the two overlapping and intermingling as our centurv advanced.

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.

came

it

to rely heavily

from

first

on Der Weg zum

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

understanding of Cubism has evolved from Kahnweiler s discussion, which was based,

Gris. to

Our

some

tradi-

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

were being created. Their wide acceptance was

at least partially

due

an historical desire to give pattern and

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

suggest that a further examination of

them might be

bv the Cubist

and svnthetic but

it

does

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-

tered planes of Braque

and Picasso reached "analytical" pinnacles where the

at within the context of the

of

Cubism

new

reality

flatter

were only hinted

emerged

shapes of introduced fragments of reality which were

d'Avignon

and the influence of primitive,

particularly African

and Cata-

on the Cubist painters.

The most

serious general objection to an historical tradition

Cubism and. noting the evident influence of primitive form

ship to primitive

is

on

which regards the Demoiselles as the

it.

as

symptomatic of Cubism's

adequate consideration

to the complexities of

are only beginning to examine the relationships between

Germany. Holland.

Italy

we

relation-

a flourishing art that

and during the period when Picasso's new painting developed. More than

existed just before

art. If

art

that such deductions are unhistorical. Despite the tempting advantage of simplicity,

this familiar explanation fails to give

changes in

initial subjects

the introduction of collage, there

itself. T\ ith

"synthetic" whole that was. in fact, an image of reality". In addition to the ruin phases

Picasso painting, the Demoiselles

we

the painting

the traditional -view also relies heavily on another pair of significant elements: the remarkable

lonian. sculpture

origin of

:

from the broader and

a simplification resulting reconstituted into a

new

and Russia, where

a self-conscious search for a

we must

elect the Demoiselles as the beginning,

fifty

years later,

Cubism and contemporary developments in

new

style

was

also causing rapid

forget that the Impressionists used the

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

minimising the influence of Nee-Impressionist structure

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

simplified view of the Cubist revolution, social thought, turning to

them only

we tend

work of Picasso and Braque). to neglect parallels in the

after 1911. after

Similarly,

by accepting the

development of

literature

Cubism had become a recognized movement.

Y\ e

and even

cut ourselves off from a satisfactorv explanation of Fau\ism. especially with regard to Braque's Fauve period

and

its

consequences for his Cubist

activity.

These, brieflv. are some of the major objections that can immediately be raised to the dominant historical view of

synthetic phases

Cubism

as descending

from the Demoiselles,

by Picasso and Braque and practiced only

later

as a

system developed across analytic and

by Gris and Leger. As

a valuable interpreta-

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. 15—17, January 1, 1925.

17

See Alfred H. Barr.

Jr.,

Cubism and Abstract

Art.

New

York, The

Museum

of

Modern

Art. 1936. pp. 29. 31—12. 77-95.

20

tion of these painters

ment of painting

Certainly,

Cubism hmited

it

matters

must be added

difficult to

it is

apply to

rigbt to be called

Cubists at

men

from the

it.

To

an appreciation of the works of

Metzinger. and Le Fauconnier.

illon.

historical interpretation is regarded as

an ideal definition,

suggest that merely because these artists developed differently or

varied from the traditional pattern they deserved to be relegated to a secondary or satellite role in

a profound mistake. Similarly,

is

it is

had been defined

who

works that Kahnweiler even questions their

traditional Cubist

now

If the

will fall short of

to the rigors of that

between branches of Cubism.

such as Delaunay. Gleizes. A

all.

Kahnweiler considers

understanding of other twentieth centurv French painters.

also affected our

men

If

works

historian should analyze other Cubist works, even if in the process a

to differentiate

exhibit such fundamental differences

naturally these

apply to events.

later historians

fault is in subjecting other Cubists'

traditional interpretation, formulated post facto to assist in

Braque and Picasso, naturally has

But

what designation

little

The contemporary

qualifying adjective

The

incomplete and misleading.

and Braque. our only

as Picasso definition.

has both validity and understanding but as historical analysis of the general develop-

it

it is

foolish to

assume

Cubism

that they did not understand Cubism's real meaning,

would be useful

to

examine their intentions, techniques and theories as carefully as we have those of Picasso and Braque,

if

which

traditionally

\rithout

an examiniation of their work. Clearly

necessary adjusting or redefining our theories to take account of what

Our were

first

theoretical understanding of

Cubism has changed very

ments from the

The

traditional

details

since the

main interpretive

fines

fitted into the existing

framework,

but merely solidifying our extant comprehension of the movement.

history of the very

word "Cubism"

illustrates the

Cubism. Like the names of many other

art

dangers inherent in our traditional approach

movements,

its

general use was an accident.

The

approach stresses the fact that Matisse referred to cubes in connection with a Braque painting of

1908 and that the term was published twice by the

critic

Louis ^ auxcelles ls in a similar context.

to observe, however, that Louis Chassevent, another critic,

was made in reference

significance has not

made

a reference to

Delaunay and Metzinger rather than

to

Cubism

It is

interesting

as early as 1906 but.

Braque,

to Picasso or

its

possible

been explored. 19 Recent studies have confirmed that the term did not come into anything

like general usage until 1911. If,

little

been

original period but this information has generally

many

to the history of

it

find.

explored during the 1930s. Recent studies have gathered and sifted a quantity of important docu-

contributing

since

we

it

and then mostly in connection with

meaning

in attaching special

Gleizes, Metzinger.

to the word's history (as historians tend to do)

Delaunay and Leger.

one had sought

to find prece-

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

word

itself is

now

attached to \ auxcelles' remarks. Thus.

a matter of perspective for, in connection with a 1908 Braque,

acceptance as the "beginning" of Cubism seems to have occurred because in which the historian deliberately sought evidence

nizing

its

from an already

justified in identifying

Cubism with the

efforts of a

suited an historical

its

general

framework

specified direction. In contrast, recog-

1906 usage and the context of its general acceptance in 1911 as the

be equally

it

basis, a different historian

second group of

artists

would

—those who were

suffi-

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

a

rough characterization of the geometric appearance of certain

canvases. In 1911, Apollinaire accepted the term exhibit at the Brussels Independants-

Du Cubisme. an work was,

effort to dispel

in effect, the

first

3

Gil Bias,

November

14.

a

group of

year. Gleizes

artists

who had been

invited to

and Metzinger wrote and published

the confusion raging around the word. Clarifying their aims as painters, this

definition of

result not merelv of collaboration

'

on behalf of

and the following

Cubism and

between

1908: Gil Bias.

May

its

it still

remains the clearest and most

two authors but also

25. 1909. See Golding, op

of discussion bv the

cit.,

intelligible.

circle of

artists

The

who

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

See p. 16 for quotation.

21

met in Puteaux and Courbevoie.

whom

Villon brothers, to

Why

reflects the attitudes of the "artists of Passy", it

much

be understood?

to

and meticulous search and did not

madmen. Their

which included the Duchamp-

were read before publication.

did these artists evidently want so

at their art after a slow

taken for

it

parts of

relish (any

It

was because they had arrived

more than had Manet

the authors felt a responsibility to articulate their eridently baffling painting.

perhaps not the century,

and

—that

especially

consciousness.

art, affecting

The whole of the

aims. In examining his

—we

work

—

art

and

life

is

a particularly

even philosopher, who Gleizes

good

testifies to his

dominant

left lucid

and

fine artist

when they

—in any event, not

yet.

jump

human

and influences

it

manifests

supplementary information.

but he was also a brilliant theoretician,

Du

Cubisme,

wrote: "...let us admit that the reminis-

An art cannot be

Delaunay painted

step." In 1912, however, that very year.

single unprecedented

role in the

logical evidence of his self-conscious development. In

to their specific intentions

cence of natural forms cannot be banished first

could be improved

its

consistent attempt to realize those

attitude, at least valuable

was he a

life

expand

especially in relation to the succeeding interests

subject, for not only

and Metzinger pointed

effusion at the

of -Albert Gleizes

to

attitudes, while

end of the nineteenth

at the

environment could be shaped, that

both environment and man. was destined

discover, if not alternatives to the

Gleizes

that

Such mental

men who grew up

understandable in

stuff of novels, are readily

imbued with optimism, believing

—

or Cezanne) being

visual ideas were susceptible to formulation and. conceiving art as a social function,

raised to the level of

pure

his simultaneous discs, in a

raising the epic subject to cosmic proportions, going far

beyond

Gleizes'

Meudon

Landscape. 1911, and Metzinger's Port. But the audacity of Delaunay's synthesis of the sun and moon, daylight

and darkness

in the whirl of his simultaneous discs

had

a parallel, perhaps even a source, in Barzun's

imagery from La Terrestre Tragedie, published by the Abbaye in 1907: "In a single glance.

I

wrap up the earth:

Occident, Orient, both hemispheres

—

all

the globe!

Bathed in daylight and night." For two years Gleizes meditated on the significance of what Delaunay had accompbshed against all

expectations. Expressing thoughts which led to the transformation of his

owm

art in 1914—15, Gleizes

wrote: "...In 1913 Delaunay defined the goal of Cubism... Behind that luxuriant color... one could realize

what Mallarme meant by

"azure', the

perception of plasticity in lime, perfect,

Delaunay played with moons and suns Gleizes

final, circling,

astronomical.

wondering child."21

like a

became obsessed by the search

for plastic equivalents of the great

themes which had ab-

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

rhythms. But in the

later version (no. 72) the figure itself has disappeared, replaced

of essential plastic equivalents of his physical reality. colors (no. 74) witness the plastic translation of

interests

same process and

The Lorraine Pitcher

(no. 75)

and

its

by

a synthesis

preparatory water-

in a series of paintings of Toul, Gleizes experimented with the

one of his most cherished themes, the

were intensified and pursued even when he came

are key examples. Similarly, his continuous development

which derives from the 1914 Acrobats. In the

earlier

to is

city

which draws

life

from the

river.

His old

America. The three Brooklyn Bridge paintings

documented by the 1917 painting Stunt Flying

work, three trapezists are frozen in

flight,

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

action within a given experience

is

achieved without the methodology of simultaneous -news, without facetting

or fragmentation, even without Gleizes'

21

own technique

of volumetric relationships.

ALbert Gleizes, Robert Delaunay, an unpublished manuscript prepared for Abstraction-Creation in 1933, revised in 1937

and 1945.

22

Between 1914 and 1917,

was not marked by absolute consistency, for the

Gleizes' evolution

artist

did not conceptually lead his painting toward unshakeable convictions. His w'ork was always directly engaged

number of

with environment, especially an unfamiliar one. Thus, his 1916 voyage to Spain resulted in a viously Spanish paintings, (no. 104) hot and

exuberant 2 - (as well as in a lost

ob-

Sailboat painting, more consonant

with the general course of his development in synthetic abstraction) and few of his paintings are as sensual

and immediate as those of Bermuda in which a Cezannesque concern sistent diagonal

brushwork overcome any conceptual

efforts. Gleizes'

for light-modified

concern for

forms and his con-

human and

social values,

the very basis of both his subject matter and his individual plastic treatment, did not diminish as his style

On

developed certainty. activity in 1918,

it

the contrary,

even seems

to

world, the very epitome of collective industrial conformity,

occurred

at the

very

its

Russia.

He was

life,

life

as an artist. Li\ing in the

he was alternately exhilarated by

monotonous production of drab,

moment when he was

of the group in L'Art

life

increased and at one point, judging by a sudden reduction of his

it

have threatened his

its

most modern

city in the

energy and depressed by

its

This experience of the "future"

tasteless shapes.

writing about the need to subordinate individual ego to the greater

dans V Evolution Generate, and was

still

optimistic about the course of events in

torn apart by conflicting forces; his cherished ideals were

all

but contradicted by a maddening

reality.

These 1918

"A

conflicts doubtless contributed to

at the Gleizes" rented

terrible thing has

summer of

an unforeseen experience which took place in the

house in Pelham. New York. One afternoon. Albert Gleizes came to his wife and 7

happened

to

me:

I

believe

I

am

finding God. "23 This

new

said,

religious conviction resulted

not from any mystical visions but instead from Gleizes' rational confrontation of three urgent problems

and the painter's

collective order, individual differences

role.

Although Gleizes did not join the Church

1941. his next twenty-five years were spent in a logical effort not only to find

God but

also to

have

faith.

until

The

many-levelled struggle was enacted on the plane of painting, supported by writing and by the manner in which

he chose

to organize his life.

To him,

all

human

activity

was inextricably interrelated and he believed that in the

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

was an ivory tower,

it

human

spirit,

there w as not one where night was so solidly entrenched as in 7

spoke a strange language, unintelligible

to those wiio lived in the world

. . .

The

art. It

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

powerful touch so characteristic of variations

all

his previous painting.

and sensual paint were the

clearest sacrifices his

The ehmination of bewitching

own

painterly ego could

textures, surface

make;

plastic interest

would henceforth reside in the relationships among forms and shapes, relationships

that

the austere essentials usually clouded by appearances.

The most

from the twenties do not

produce the tenderest results but, although achieving

their effects

disciplined works

by color and form

alone, Gleizes retained

even in their extreme austerity a more varied pallette than any of his contemporaries: yellows acting on each other.

He

would communicate

violets,

pinks and

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,

to

he created paintings

an enormous project for the Gare de M(oscow)

"Such

a

"Juliette

work

like

In the City and Along the Avenue, preliminaries

wliich, of course,

was never

realized. 25 Yet,

even as he

also reveals in a direct fashion the influence of early training in his father's design atelier.

Roche

Gleizes,

Memoirs,

to

be published soon. See also

J.

R. G., "La Belle Journee est Passee". Zodiaque, no. 25,

April, 1955, p. 34. 24

Albert Gleizes, L'Art dans V Evolution Generate, unpublished manuscript, written in

25

The

project for the Gare de

M

is

in the collection of the

Musee de Grenoble.

New

York, 1917.

23

purged

doubled

his art of textures, his color

vigorous and unique patterns

—

During the early twenties,

became a the

its

intensity

bars, dots, hatchings

and

his

own

period, paintings without subject

their difference in degree of abstraction

constant effort to

reverses.

Gleizes' conscious cultivation of certain subjects at the expense of others

factor increasingly vital to his artistic developments. In the

New York

personality persistently cropped up in

and curves, intersections and

works from 1914 through the end of

and paintings with an evident

visual basis exist side

by

side,

hidden by the uniformity with which they were painted and by the

the plastic realization of the painting to a specific, even unique, experience. In the absence

tie

of his individual reflexes, these unique references the generalized nature of his austere,

—no matter how neutral —seem

less

and

less in

accord with

painting style.

flat

Throughout the decade, Gleizes

tried to reconcile the

meaning of life and 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

rhythms (an object

total in itself)

reminiscences of subjective, individual perception. Thus, although subject,

had

little

any reasoned construction

universality,

hence represented a higher

reality. Gleizes

his intricate dialectic caused

which dwelled wholly on essential

was more universal and therefore superior still life,

to a painting

which retained

derived from a specific and limited

— even an imaginary

still life

— was more ideal and

was approaching abstraction conceptually rather than visually and

him, in 1924,

to

produce two amusing paintings which departed from his usual

subject matter: the Imaginary Still Lifes, Blue and Green. In effect, Gleizes would have inverted Courbet's

"Show me an angel and

I

and cannot be shown

me,

to

will paint I'll

you an angel"

paint

to

be "As long as an angel remains an unembodied ideal

it."'

These years, during which Gleizes developed critical effort,

changes in the

had been

artist's life.

By 1919

totally shattered. Paris

tionary construction and

common

effort

his consistent liierarchy of values, also witnessed

the unity of the Cubist

movement, the pre-war sense of common

was dominated by a strong reaction against those dreams of revoluwhich Gleizes continued

acterized

by the anarchic and,

him and,

with the Salons once again dominated

to him, destructive spirit of

to cherish,

while the avant-garde was char-

Dada. 26 Neither alternative held any appeal for

by conservative painters 2 ^,

his old hostility to the city

was

constantly nourished. Although supported by Archipenko and Braque, an attempt to revive the spirit of the

Section a"Or failed. Similarly, an effort to organize an

artists'

cooperative received the support of Delaunay,

but of no other major painters. Gleizes, although he

came

alienated

from the Paris

had enjoyed considerable prestige both as a man and a painter, gradually beart world.

Like the ideal protagonists in a Henry James novel, he and

enough independent income

Gleizes had

remaining unfettered by the

more and more time

Union

pursue their goals without bowing

made such heavy demands on many

in the country, at Serrieres,

quieter spot on the Riviera. active in the

realities that

to

Madame

Gleizes' family

and lectured extensively

in France.

The

Gleizes spent

at Cavalaire,

then an even

other

home, or

Becoming involved with people more sympathetic

Intellectuelle

artists.

to his social ideas28 ?

own were

practiced)

new book on Cubism 2 ^

Gleizes' ideals of a social art. so severely contradicted

26

he was

Germany. Poland and England. He

continued to write and in 1924 the Bauhaus. (where certain ideals analogous to his requested a

in 1927, he

Madame

to material considerations,

by the epoch, were nonetheless constant and

founded the commune of Moly-Sabata, a second Utopian colony idealistically related

to the

Abbaye

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.

ed., 27

Gleizes painted an ironic

— and naturalistic — canvas of bathers in 1919, entitling

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

de Creteil. Obstinately refusing

to recognize practical difficulties, Gleizes established this miniature society

deliberately to counterbalance the centripetal pressures of

money and tion

and

all his

manage

agriculture, Moly-Sabata did

War

during World

II

woman named Anne commitment than centralization

and

—

it

modern

to

support themselves by artisan producalthough for

to survive until 1951,

Dangar.30 The relatively long

to the general workability of

life

more

of Moly-Sabata was due

such a semi-agrarian scheme

years

— especially

to the strength of

her

time of greater and greater

at a

industrialization.

on a systematic examination of the

art

forms of other cultures. In

was created as a metier and where

art

craftsmanship, agriculture and other activities were placed within the

rhythm of

daily

life,

book La Forme

his

Gleizes

embarked

et VHistoire, Celtic,

Oriental forms particularly were studied for their innate and unselfconscious presentation

of what he considered to be the fundamental basis of

human

From

life.

form derived from human movement, from the kinesthetic sense of man bred form. Architecture was the supreme plastic

The

many

functioned almost purely because of the remarkable dedication of an Australian

Concurrent with the establishment of Moly-Sabata, where

Romanesque and

Into this venture he poured energy,

life.

who were

hope. Planned as a community of artists

natural cadence of

and sculpture were

life

activity, for

had never been expressed more

it

these studies he concluded that that

was the most spiritual and

fruitfully than in

so naturally adjusted to architecture,

and

in space,

Romanesque

and that period was

all

human

all

activity

socially organized.

art,

where painting

to Gleizes a dazzling ideal.

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

reaction. Unfortunately, Moly-Sabata's

program of "a return

to the earth" later

became one of the principal

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

who were

those

For a time, in 1928-29, to a lack of practice

it

his

he wanted walls

from

also resulted

group of religious paintings related to decorate.

A

active in the

own

French

resistance.

painting suffered.

One

suspects that although this was partly due

a too literal search for the

to his studies of

Autun and

Savin) and the practical needs of an ideal:

St.

completely non-objective 1924 mural project 31 had been rejected because

was incomprehensible. Similarly, his murals

for the

church of

St.

spiritual values of his curves

portunity to realize a large religious mural and

it

it

Blanche de Serrieres, in spite of the icono-

graphy depicting the Descent from the Cross, were again rejected

admired could not see the

rhythms of the Romanesque (seen in a

as incomprehensible.

The Church he

so

and planes! Indeed, only once did he get an op-

came only

in 1951

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

In

La Forme

et VHistoire, Gleizes

more iconography

in

had subordinated iconography

title

than in specific form.

to plastic activity and as

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

1949-50, toward the end of Gleizes'

is

fife,

found

in his illustrations for Blaise Pascal's Pensees.

Executed in

these etchings deliberately reviewed bis entire artistic and

human

career.

The Pensees have

of

the sufficiency of reason, the verifiability of experience, the plausibility of revelation, the exercise of

life:

for centuries provided philosophical insights into almost

free will. It is perhaps the noblest effort in significant

30

human

of the ultimate problems

literature to reconcile faith with reason, to reconcile

activity with the eternity of Catholicism.

Originally a painting student of Gleizes', Miss

social ideafs

Western

all

and a sincere extension of

Dangar under

often under heartbreakingly difficult material conditions 31

For the Ecole du Pharmacie, Paris.

32

See Albert Gleizes, "L'Esprit de

ma

his influence

became

a

superb potter, a true disciple of his

his artistic consciousness, adapting his art to ceramics

— in the rural community

f'resque 'L'Eucharistie'",

V Atelier de la

fife

and participating

of Isere.

Rose, Lyon, March, 1953.

selflessly

25

from these etchings that we learn the

It is

147). a horizontal composition in

with the austere manner

which the

titles

of Gleizes'

movements of

first

earlier

characteristic of his painting of the twenties.

meanings that he attached

Gleizes' intellectual iconography, the

central element in the

circular

Painting with Seven Elements

Painting for Contemplation, (no.

more sensual works

From

we can

the Pascal

to other works.

are reconciled also trace

Thus, the nature of the

on the theme "Gran-

(no. 151) is revealed as a variation

deur of Man", (see no. 177). Furthermore, the complex development of Gleizes' attitude toward perception

and unique experience

is

traced through works like the 1914—19 circus

theme

which in Pascal are

pictures,

divertissements. Reprises of these paintings are juxtaposed «~ith Pascal texts that demonstrate

not remain

idle, for

Above

all.

he then

falls

in the Gleizes illustrations to Pascal,

we

own

why man

can-

misery.

find a conscious explanation for the painter's

change which, in the mid-thirties, gradually allowed the austere matte surfaces to metarnorphize

final style

into an exuberant

freedom of application and reintroduction of brushwork. even while keeping the sense of

by

structure and control achieved artist's career. \^ ith

and

into a melancholy helplessness, realizing his

his earlier ascetic discipline.

The

result is the

most

lyrical

work of the

the reintroduction of fluid parallel brushstrokes, serving the double function of texture

cross-rh> thms. his paintings of the late thirties point toward the perfect ease, the lyricism of his last

paintings. This

development

is

sequential both visually and in terms of Gleizes' intellectual growth.

His post-Cubist style of the twenties "Spirit of

Geometry". His

—

style of the late thirties,

flat,

—

uncompromising

forthright,

matured in the Meditation

nimbly discerning mind. The

"Spirit of Finesse", the product of a

first is

is

Pascal's

virtually

series of the forties, is Pascal's

reason and the second

is faith,

originally in opposition to each other but ultimately reconciled.

The period)

Geometry" (exemplified by Pascal's mathematical approach and

"Spirit of

Gleizes' ascetic

and they

coolly reasoned. In painting, the shapes are intellectually, if also elegantly, arranged

is

represent the structural principles of reality manifest in the solution of pictorial problems.

The

"Spirit of

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

returned (with delight) to the pleasures of paint. Paint was his faith and theory was

Iris

and

reason: and after years

of struggle, the two could coexist, complementing and nourishing each other. Gleizes' individual development, his

painters to

come out of Cubism with

though he occasionally returned

unique struggle

to reconcile forces,

a wholly individual style, undeflected

to earlier subjects (for

sition with Seven Elements), these later

by

made him one

later artistic

of the few

movements. Al-

example, in 1943 he did a new version of the Compo-

works were treated anew, on the basis of fresh

insights.

He

never

repeated his earlier styles, never remained stationery, but always grew more intense, more passionate.

Albert Gleizes the

demands of reason and

on the side of is

is

faith.

reasonable

faith, in a

Like PascaL

also possible to regard

possible in

perhaps the only painter of our century to have consciously struggled between

him

any area of human

it

as a lucid sceptic

He was

activity.

physics but to deny the relevance of

denying the grandeur of Man. His struggle for final answers. His

—indeed a

is possible to regard

is

its

life

as

— manner and

finally to

have come down

an apologist for intellectual orthodoxy but

consistently demonstrated that

a metaphysician in

and

in 1953 but his paintings

art of

truth.

remain

it

no firm decisions are

an age that wanted not only

to reject

meta-

unanswerable questions. For Gleizes, such a denial was equivalent

ended

an abstract

in his verv search for absolute order

who

brilliant

him

to

to testify to his willingness to

deep significance and meaning, paradoxically

human even

CATALOGUE Except for certain works which are juxtaposed beside the

final

versions to which they relate, entries in this catalogue are chrono-

References to literature and exhibitions under each heading

logical.

are abbreviated,

and may be found in detad in the documentation

section which follows the catalogue.

VIEW OF PARIS TOWARD MONTMARTRE. (VUE DE PARIS VERS MONTMARTRE).

THE M\RKET AT COURBEVOIE. (LE MARCHE A COURBEVOIE).

1901.

Oil on canvas, 21 i x 25+" (54 x 65 cm.).

Oil on canvas, 21 x 25i" (53,5 x 65 cm.).

Signed and dated

1.1.

"Albert Gleizes 1901".

Lent by Rex de C. Nan

Kive.ll,

Signed and dated

London.

interest in epic subject matter, here the

modern

Societe Nationale des Beaux-Arts, Paris, 1906,

began

to paint seriously.

Although

no. 565.

city set in sur-

rounding countryside, was already manifest in 1901, the that Gleizes

first

Chapelle du Lycee Ampere, Lyon, 1947, no. 2.

year

Albert Gleizes:

Literature:

clearly related to

composition and conception of this canvas

and

its

solid

The

framework suggest

were often noted by early

is

affinities

it is

IN

l.r.

1954, p. 127.

Musees de Lyon,

no. 1, 1956, p. 11.

painted Gleizes' affinity with Pissarro

with Pointdlism which

was particularly marked in scenes of

city life.

THE RAIN.

6.

1901.

THE CHURCH NEAR THE ABBEY OF CRETEIL. 1908. (L'EGLISE, SOUVENIR DE L'ABBAYE DE CRETEIL). Ink, 133 x 11" (34 x 28 cm.).

on canvas, 21 x 25+" (53,5 x 65 cm.).

Signed and dated

Bulletin des

a departure from the

with which

critics.

THE BRIDGE OF NEUILLY (LE PONT DE NEUILLY). Oil

density-

Hommage. Lyon,

derotjdille, R. "Albert Gleizes au Musee de Lyon",

Pissarro in technique, the particular point of view as well as the

style of late Impressionism.

"Albert Gleizes 05".

l.r.

Lent by Musee des Beaux-Arts, Lyon. Exhibitions:

An

1905.

Signed, dated and inscribed

"Albert Gleizes 1901".

l.r.

"Alb Gleizes 1908 L'Eglise, l'Ab-

baye de Creteil 1908".

Lent by Commandant Georges Houot, La Fleche, France.

Lent by Walter Firpo, Marseilles. In one of several night scenes executed between 1901 and 1903, Gleizes balances bis concern for social activity with a study of

The

taut surface of this drawing, completed just before the dissolu-

tion of the idealistic

atmosphere and motion.

Abbaye, possibly

results

from a reworking

in

the early forties.

3.

THE MARKET AT ABBEVILLE. (LE Oil

MARCHE

CHURCH AT CRETEIL Oil

on canvas, 281 x

Signed and dated

Lent by

1903.

D'ABBEVILLE).

Madame

1.1.

23+/' (73

x 60 cm.).

Signed and dated

"Albert Gleizes, Abbeville, 1903".

Lent by

Madame

Albert Gleizes, Paris.

Galerie Drouant-David, Paris, 1943, no.

l.r.

his years of military service in Picardy

Gleizes' style again

moved

"Albert Gleizes 1908".

Albert Gleizes, Paris.

1.

The landscapes from During

and the north,

closer to Impressionism.

for solidity, a

much

the Creteil period

show an increasing concern

broader handling of the paint, and a careful

balancing of rhythms, foreshadowing what would develop into one of Gleizes'

paramount concerns. The man

in

probably Dr. Morinaud, later the subject of The

PICARDY (PAYSAGE PICARD). Oil on canvas, 21+

xl8"

Lent by

Madame

1904.

cony

(no. 32).

(54,5 x45,5 cm.).

Signed, dated and inscribed

l.r.

"Albert Gleizes, Picardie, 1904".

CANAL BOATS ON THE

Albert Gleizes, Paris.

SEINE.

1908.

(PENICHES SUR LA SEINE). Although Gleizes became increasingly concerned with effects, his early interest in

theless continued.

1908.

Galerie Drouant-David, Paris, 1943, no. 10.

Exhibition: Exhibitions:

(EGLISE A CRETEIL).

on canvas, 551 x 40" (141 x 101,5 cm.).

light

and color

views over enormous distances never-

on canvas, 21 i x 25i" (54 x65 cm.). Signed and dated l.r.-"Albert Gleizes 1908". Oil

Lent by

Madame

Albert Gleizes, Paris.

the foreground

Man

is

on the Bal-

27

Exhibitions:

Galerie Lucien Blanc, Aix-en-Provence, 1960, no. 13.

By

Musee

become

Calvet, Avignon, 1962, no. 4.

and by modifying curves to

treating the sky in geometric terms

sharper, slightly angled lines, Gleizes began to hold his

compositions consistently to the surface plane. His awareness of

Unraodelled areas of bright color appear in a 1903

Still Life

(in his sister's collection at

seem

have explored these possibilities further until early in 1908

to

as this

show

is

here more evident, even in the handling of paint.

La Fleche), but Gleizes does not

Flowers

when works such

Cezanne

of

affinities to

Fauve painting.

14.

PARIS (LES QUAIS). Ink, 12

Signed and dated

PARIS FROM THE SEINE (BORD DE RIVIERE). Oil

1908.

Lent by

Lent by

Madame

Exhibitions:

l.r.

"Alb Gleizes 08".

Albert Gleizes, Paris.

l.r.

"Albert Gleizes 08".

Preliminary drawing for no. 15.

Albert Gleizes, Paris.

Galerie Lucien Blanc, Aix-en-Provence, 1960, no. 4.

Musee

Calvet, Avignon, 1962, no. 5.

15.

PARIS (LES QUAIS). Oil

Gleizes' Fauve-like period

was

brief, lasting

only a few months, and

for structural

Provenance

He 1908.

l.r.

Madame

Gift,

Exhibitions:

Rene Gimpel Paysage

converted older drawings (no. 14) into new paintings, sub-

in construction. Here, an overall rose tonality was

a,

New

Galerie,

New

16.

York, 1937, no. 2

(as

la couleur simplifiee).

Oil on canvas, 44J

x60|" (113,5 xl54

Signed and dated

Lent by

l.r.

Madame Alb

"Albert Gleizes 1910". Gleizes, Paris.

Calvet, Avignon, 1962, no. 7.

Musee de Grenoble, 1963, no.

Exposition Universelle, Lyon, 1914.

3.

Pictures by Crotti,

summers

in

Gascony where he painted

Duchamp,

New

Montross Gallery,

Gleizes, Metzinger,

York, 1916, no. 29.

this

which the process of geometric simplification (more In this work, Gleizes attempted to consolidate his recent advances

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

DONKEY

cm.).

3.

Exhibitions:

11.

to

HOUSES AMONG TREES. 1910. (MAISONS DANS LES ARBRES).

Galerie Lucien Blanc, Aix-en-Provence, 1960, no. 12.

in

employed

York.

Albert Gleizes, Paris, 1963.

Chapelle du Lycee Ampere, Lyon, 1947, no.

Gleizes spent several

York.

"A. Glezies 1908".

Provenance:

key work

New

George Moos, Geneva.

:

counter the illusion of depth.

Lent by The Solomon R. Guggenheim Museum,

Musee

"Alb Gleizes 1910".

ordinating his former concern for social activity to his fresh interest

on canvas, 20J x25+" (53 x65 cm.).

Signed and dated

l.r.

Lent by Professor and Mrs. Milton Handler,

rhythms and simplification was dominant.

LANDSCAPE IN THE PYRENEES MOUNTAINS. (PAYSAGE DANS LES PYRENEES).

1910.

on canvas, 21 x25i" (53,5 x65 cm.).

Signed and dated

even when his paint was thickest and color brightest, his concern

Oil

Madame

on canvas, 21i x25i" (54 x65 cm.).

Signed and dated

10.

1908.

xl6+" (30,5x42 cm.).

CARTS.

with the older Picardy landscape theme (no.

17.

1908.

Pencil and ink, 9i

Watercolor, 9i x 123" (24 x 32,5 cm.).

Signed and dated

1.1.

order to find the

BY THE SEINE (BORD DE LA SEINE, MEUDON).

(CHARETTES A BAGNERES DE BIGORRE). Signed and dated

4), in

underlying principles that organize a vast scene.

xl2i"

1.1.

(23,5

1909.

x31 cm.).

"Alb Gleizes 09".

Lent by Walter Firpo, Marseilles.

"Albert Gleizes 08 B. de. B."

Lent by Mr. and Mrs. Meyer P. Potamkin, Philadelphia. 18. 12.

LANDSCAPE NEAR BAGNERES DE BIGORRE. (ENVIRONS DE BAGNERES DE BIGORRE). Ink, 11

During

Madame his

1909

l.r.

ROAD, TREES AND HOUSES. (ENVIRONS DE MEUDON). Pencil, crayon

1910.

and watercolor, 9i x 12 i" (23,5 x31 cm.).

Signed and dated

xl7" (28 x43 cm.).

Signed and dated

Lent by

1909.

1.1.

"A. Gleizes 1910".

Lent by Walter Firpo, Marseilles.

"Alb Gleizes pres de B. de Bigorre 09"

Albert Gleizes, Paris.

trip to

Gascony, Gleizes concentrated exclusively

on landscape, reducing the forms of nature

to

primary shapes.

19.

THE TREE Oil

(L'ARBRE). 1910.

on canvas, 36 x28i"

Signed and dated

l.r.

(91,5 x72,5 cm.).

"Albert Gleizes 10".

Private Collection, Paris. 13.

WALLED CITY

(VILLE FORTIFIEE). 1909-10.

on canvas, 21i x 25i" (54 x 65 cm.). Signed l.r. "Alb Gleizes".

Exhibitions:

Salon des Independents

,

Paris, 1910, no. 2160. Paris, 1912, no. 34.

Oil

Salon de la Section d'Or,

Lent by Mr. and Mrs. Siegfried Ullmann, Palm Beach, Florida.

Moderni Umeni, S.V.U. Manes, Prague, 1914, no. 33. Trente Ans d'Art Independant, Grand Palais, Paris,

Provenance:

Private Collection, Wisconsin.

1926.

Andre Emmerich, New York.

Rene Gimpel

Galerie,

New

York, 1937, no.

6.

28

Passedoit Gallery,

New

York, 1949, no.

The

2.

Le Cubisme, Musee National d'Art Moderne,

effort to grasp the intricate

rhythms of

panorama

a

resulted in

a comprehensive geometry of intersecting and overlapping forms

Paris,

which created a new and more dynamic quality of movement.

1953, no. 35.

Depuis Bonnard, Musee National d'Art Moderne, Paris, 1960-61.

Von Bonnard

Haus der Kunst, Munich,

bis Heute,

23.

1961. Literature:

Oil

Albert Gleizes, 50 Ana, Lyon, 1947,

gray,

LANDSCAPE AT MEUDON (PAYSAGE, MEUDON).

c.

"Gleizes",

pi. 2.

Signed and dated

Magazine of Art, October,

1950,

1911.

on canvas, 57j x45i" (147 xll5 cm.). "Albert Gleizes 1911"; on reverse: "Paysage,

l.r.

Albert Gleizes, 1911".

p. 208.

Lent by Musee National d'Art Moderne, Paris.

habasque,

G.

Cubism, Geneva, 1959.

Exhibitions:

Les Independants, Brussels, 1911, no. 88,

(as

Le

Chemin). In this work, one of Gleizes' most important paintings of the crucial

year 1910, we see the

artist's

union of a broad

his successful

Salon de la Section d'Or, Paris, 1912, no. 39.

volumetric approach to Cubism and field

of vision with a

flat

American circulating exhibition, 1957-58.

Paris,

plane. Earlier studies, such as nos. 17, 18, clearly anticipate this

Literature:

development.

dorival,

b.

Moderne, golding,

20.

PORTRAIT OF

R. G. [LEIZES]. 1910.

Man

on canvas, 55i x44" (140 xll2 cm.). Signed and dated 1.1. "Alb Gleizes 10". Oil

reintroduced, but subordinated to the heroic concept of

is

even the force of wind against

trees.

1909 Portrait of P.

J.

owed

to

Le Faucon-

24.

Jouve. In 1910, Gleizes'

Castiaux, the co-editor of Les

working

Bandeaux

d'Or,

Signed and dated

show these two

(LA

FEMME AU PHLOX).

York.

Paris, 1911, no. 2612.

Salon de la Section d'Or,

Paris, 1912, no. 35.

International Exhibition of Modern Art (The

Armory Show), New York, Chicago, Boston,

1913,

25.

no. 195.

New York, 1937, New York, 1949, no.

Passedoit Gallery,

York.

Passedoit Gallery,

Literature:

gray,

Begun

Galerie,

New

Exhibition:

c.

"Gleizes",

New

York, 1949.

Magazine of Art, October,

in the spring, this portrait

1950,

was never finished, for after the

summer Gleizes realized that his intervening made it impossible to complete the portrait in

Salon des Independants,

Rene Gimpel

"Albert Gleizes 1911".

1910.

on canvas, 31 J x39+" (81 xlOO cm.). Signed and dated 1.1. "Alb Gleizes 10".

New

1911.

x71 cm.).

p. 207.

Oil

Lent by Marlborough-Gerson Gallery,

1.1.

Lent by Jacques Barzun,

in strikingly similar styles (cf. figs. 1, 2, p. 15).

WOMAN WITH PHLOX

PORTRAIT OF MADAME BARZUN. Oil on canvas, 39 x28", (99

painting of his uncle, Robert, and Le Fauconnier's Portrait of Paul

Exhibitions:

Musee d'Art

ill.

Cubism, London, 1959, pp. 150-159.

distant, the earth's curve, the sun,

In his Souvenirs Gleizes wTote of the debt he

21.

j.

in the

York, 1962, p. 148,

gleizes, a. Tradition et Cubisme, Paris, 1927, p. 32.

nier, especially to the

artists

The School of Paris

New

landscape which simultaneously comprehends the close and the

Private Collection, Paris. Literature:

Musee National d'Art Moderne,

Paintings from the

picture

a

development

homogeneous

SKETCH FOR "PORTRAIT OF JACQUES NAYRAL". (ETUDE POUR NAYRAL). Ink,

no. 5.

stylistic

20x15"

(51

Signed and dated

style.

1910.

x38cm.). l.r.

"Alb Gleizes 10", inscribed "2eme des etudes

4.

Le Cubisme, Musee National d'Art Moderne,

pour

Paris,

le

portrait de Jacques Nayral, expose

au Salon d'Automne

1911". 1953, no. 37.

Lent by

Twentieth Century Masters, Marlborough Gallery,

Madame

Albert Gleizes, Paris.

London, 1955, no. 21. Albert Gleizes, Marlborough Gallery, London, 1956, 26.

no. 8. Literature:

gray,

c.

"Gleizes",

Magazine of Art, October,

1950,

SKETCH FOR "PORTRAIT OF JACQUES NAYRAL". (TETE DE NAYRAL). Oil

p. 208.

golding,

J.

on canvas, 25i x21i" (65 x54 cm.).

Signed and dated

Cubism, London, pp. 150-151.

Lent by

Exhibitions:

Continuing his new interest in the figure, Gleizes strove to manipulate a genre subject with the

had always informed

same sobriety and broad vista seen

"Albert Gleizes 11".

Art Contemporain, Paris, 1911, no. 36.

Musee

Calvet, Avignon, 1962, no. 8.

Musee de Grenoble, 1963, no.

through the window

6.

formally resolved with a corresponding interior shape.

27.

22.

l.r.

Albert Gleizes, Paris.

Galerie Dalmau, Barcelona, 1912, no. 17.

scale that

his landscapes. Thus, exterior nature is here

brought into a room and the distant is

Madame

LANDSCAPE (PAYSAGE). Oil

on canvas mounted on board, 28 x36i"

Signed and dated

1.1.

(71

x91,5 cm.).

"Albert Gleizes 11".

Lent by Mr. and Mrs. Morton G. Neumann, Chicago. Exhibition:

Galerie Dalmau, Barcelona, 1912, no. 16, (frontispiece).

PORTRAIT OF JACQUES NAYRAL.

1911.

on canvas, 70 J x51i" (180 xl30 cm.). Signed and dated l.r. "Albert Gleizes 1911".

Oil

1911.

Lent by Commandant Georges Houot, La Fleche, France. Exhibitions:

Salon d'Automne,

Paris, 1911, no. 609.

Salon de la Section d'Or,

Paris, 1912, no. 38.

1911.

29

XIX

1937, no. 17.

rough Gallery, London, 1957, no. 44.

Le Cubisme, Musee National

Moderne, Paris,

a" Art

Century European Masters, Marlbo-

Magazine of Art, October,

"Gleizes",

c.

1950,

p. 208.

Sao Paulo, 1953, no. 16.

II Bienal,

and

gray,

Literature:

1953, no. 64.

gleizes,

Rouge

gleizes, a. "L'Epopee", Le

Literature:

XX

Les Maitres de V Art Independant, Petit Palais, Paris,

et le Noir, Octo-

a.,

"L'Epopee", Le Rouge

et le

Noir, Octo-

ber, 1929, p. 71.

ber, 1929, p. 64.

apollinaire,

L 'Intransigeant,

G.

Chroniques d'Art, 1960,

(cf.

This painting

October 10, 1911.

Menagere

p. 199).

derived from a 1909 brush and ink drawing titled

is

La Musee des Beaux-Arts, Lyon. The drawing,

the

in

emphasizing curvilinear patterns, In 1910 Gleizes began this portrait of his old friend, Jacques Nayral, the

young author-dramatist who two years

Gleizes.

later

is

an important link in Gleizes'

development from symbolist-derived forms

Cubism of

married Mireille

tion of

Nayral, a partisan of the synthetic-social ideas of the

an

work.

this

It is

to

volumetric

the

particularly interesting to see the adapta-

earlier subject to the structural style of 1911.

Abbaye, was editor-in-chief for the publishing house of Figuiere,

and ger's

directly responsible for the publication of Gleizes

Du Cubisme

and Metzin-

as well as for Apollinaire's Les Peintres Cubistes

Tous

and the projected

series

background shows

Gleizes'

30.

Courbevoie garden,

Mme.

1912.

24 xl5" (61 x38 cm.).

Signed and dated

stylistically fulfills

the direction established in the unfinished portrait of

THE BATHER (BAIGNEUSE). Oil on canvas,

This work, in which the

les Arts.

"Alb Gleizes 12".

1.1.

Lent by Mr. and Mrs. Harry Lewis Winston, Birmingham, Michigan.

Barzun.

Provenance: Earl Stendahl, Hollywood, California.

Theodore Schempp, 28.

THE HUNT

Exhibitions:

(LA CHASSE). 1911. x98 cm.).

Oil on canvas, 48i x38i" (123

Signed

l.r.

1912, no. 92.

"Albert Gleizes".

Winston Collection, The Cranbrook Academy of

Lent by Edouard Labouchere, Paris.

1951.

Jaffe, Brussels.

:

Exhibitions:

Museum,

Arts

Provenance Rene

Paris.

Moderne Kunst Kring, Amsterdam, 1912, no. 113. Societe Normande de Peinture Moderne, Rouen,

Winston Collection, University of Michigan Museum,

Salon d'Automne,

Paris, 1911, no. 610.

1955.

Jack of Diamonds, Moscow, 1912.

Salon de la Section d'Or,

The Collection of Mr. and Mrs. Harry Lewis Win-

Paris, 1912, no. 37.

ston, Detroit, Institute of Arts, Virginia

Le Cubisme, Musee National d'Art Moderne,

Paris,

Art, San Francisco

Museum

of Art,

Museum

of

The Milwaukee

1953, no. 64 bis.

Art

Institute,

1957-58, no. 45.

Les Soirees de Paris, Galerie Knoedler, Paris, 1958, no. 13.

This study, developed in connection with the large Bathers (no. 31),

Les Chefs d'Oeuvres des collections privees francaises,

is

Haus der Kunst, Munich, 1961, Musee de Grenoble, 1963,

related to a 1910 painting.

Nude, (present whereabouts un-

no. 51.

known) and represents an

effort to fuse classical subjects to

new

no. 5.

methods. Literature:

apollinaire,

granie, et

g. L' Intransigeant,

Chroniques d'Art, 1960,

(cf.

j.

"Au

October

10, 1911.

p. 199).

Salon d'Automne", Revue

d Europe 31.

d'Amerique, Paris, October, 1911.

Cahiers

d 'Albert

dorival,

B.

THE BATHERS Oil

Gleizes, Lyon, 1957 (frontispiece).

Les Peintres du

XXe

Signed and dated siecle, Paris,

1957,

(LES BAIGNEUSES). 1912.

on canvas, 41i

67" (105 xl70 cm.). "Albert Gleizes 1912".

1.1.

Lent by Musee d'Art Moderne de

p. 76.

Exhibitions:

la Ville

de Paris, Paris.

Salon des Independants , Paris, 1912, no. 1347.

Moderni Umeni, S.V.U. Manes, Prague, 1914, Here Gleizes not only created

a synthetic landscape, in

ments are placed

symbolic relationships

in unreal but

to

which

ele-

Trente

each other,

human

Les Createurs du Cubisme, Paris, 1935, no. 31.

use of the land. Le Fauconnier painted a

Les Maitres de I'Art Independant 1895-1937, Petit

similar subject the following year. Dorival has suggested that the

treatment of the horses

may

well be an important source for those

no. 36.

Palais, Paris.

1926, no. 1057.

but also created a synthesis of social experience, showing two distinct types of

Ans d'Art Independant, Grand

Palais, Paris, 1937, no. 6.

apollinaire,

Literature:

of Duchamp-Villon in 1914.

g.

Le Petit Bleu, March

Chroniques d'Art, 1960,

bonfante,

e.

20, 1912

(cf.

p. 230).

and Ravenna,

j.

Arte Cubista con "les

Meditations Esthetiques sur la Peinture" di Guil29.

THE KITCHEN Signed and dated

x37l" (118,5 x94,5 cm.).

l.r.

Guide, Paris, 1961.

"Alb Gleizes".

Lent by Marlborough-Gerson Gallery, Exhibitions:

laume Apollinaire, Venice, 1945, no. LVIII. Musee d'Art Moderne de la Ville de Paris, Catalogue-

(LA CUISINE). 1911.

Oil on canvas, 46 J

New

York.

Salon de la Section d'Or, Paris, 1912, no. 36.

Moderni Umeni, S.V.U. Manes, Prague, 1914, Rene Gimpel

New York, 1937, no. New York, 1949, no. 3.

Galerie,

Passedoit Gallery,

9.

(as in

Delaunay's City of Paris, 1912 and, to a lesser

Meudon Landscape,

1913), certain elements

industrial life are sharply contrasted with the classical

presence of the nudes, yet the relationships are formally resolved. Paris,

This optimistic reconciliation of traditional harmony with con-

temporary

ter.

Marlborough Gallery, London, 1956, no.

The Bathers

extent, in Metzinger's

from modern

7.

Le Cubisme, Musee National d'Art Moderne, 1953, no. 64

In

no. 34.

life

was an aspect of simultaneity that was of particular

concern to the Passy group of Cubists.

30

32.

THE MAN ON THE BALCONY. (L'HOMME AU BALCON). Oil

This work, with Delauney's City of Paris,

1912.

on canvas, 77 x4Si" (195 xll5 cm.).

Signed and dated

summarizes Gleizes'

"Albert Gleizes 12".

1.1.

Museum

Lent by Philadelphia

:

Exhibitions:

point (1912).

this

It

presenting an epic panorama of

man

a simultaneous celebration of the harvest, nature and idealistic

harmony. The painting

is

Gleizes' parallel to

in

Le Faucon-

Arthur Jerome Eddy.

nier's

Walter C. Arensberg.

merely from the social and synthetic program of the Abbaye de

Salon d'Automne, Paris, 1912, no. 689. International Exhibition of

Abundance, and

Creteil,

no.

it

seems

likely that

but specifically from the long

La Montagne, poeme

Modern Art (The Ar-

mory Show), New York, Chicago, Boston, 1913,

poem

it

takes

its

theme not

of Henri Martin Barzun,

legendaire, the 5th part of

La

Terrestre Tra-

gedie (Paris, Mercure de France, 1908): "Les Moissonneurs dans

les

Epis, armes de faux et de faucilles..." (pp. 49-56).

196.

eddy,

Literature:

interests,

the largest and most

mountains, valleys, clouds and smoke, towns, workers and wheat,

The Louise and Walter

of Art,

Arensberg Collection. Provenance

is

ambitious Cubist painting undertaken up to

a.

j.

Cubists

and Post Impressionism, Chicago,

1914.

wright, w. H. Modern Painting,

Tendency and

Its

35.

Meaning, New York, London, 1915. ozenfant and jeanneret. La Peinture Moderne,

CHARTRES CATHEDRAL. 1912. (LA CATHEDRALE DE CHARTRES). Oil

on canvas, 28£ x23£" (72,5 x60 cm.).

Paris, 1924, p. 93.

gleizes, A. "L'Epopee", Le

Rouge

Signed and dated et le

"Albert Gleizes 12".

1.1.

Noir, Octo-

Lent by Stadtische Galerie im Landesmuseum, Hannover. ber, 1929, p. 68.

Philadelphia museum or art. Arensberg Catalogue,

Provenance:

Mme.

Exhibitions:

Societe

F. Picabia.

Normande de Peinture Moderne, Rouen,

1954, pi. 92.

golding,

Cubism, London, 1959,

j.

1912, no. 93. p. 161.

Salon de la Section d'Or, Paris, 1912, no. 42

(as

The

Church).

This second portrait of Dr. Morinaud, probably from his

Avenue de

office

on

Cezanne

l'Opera, shows Gleizes again giving prominence to the

till

Picasso,

Moderna Museets Vanner,

Stockholm, 1954, no. 146.

curvilinear elements that had been important in his style in 1907-09.

became the subject of a

The

painting

netti

and Lhote. (La Vie des Lettres

et

lively debate

between Mari-

The

cathedral had a special fascination for

not only because of

in which the Futurist leader insisted that a Futurist painter would

social

have attempted to "give the ensemble of visual sensations capable

and

Cubists,

admirable architecture but because of the

its

historical synthesis

focal point of

of being experienced by the person on the balcony". Lhote replied

which resulted from

context as the

its

an otherwise modern town.

and "psychological", and

that such preoccupations were "literary"

outside the interests of the French Cubists.

He was wrong

for,

although not primarily concerned with the reality of visual sensations, Gleizes was, nevertheless,

many French

des Arts, no. 16, 1922, p. 10,)

36.

THE PORT Pencil,

deeply committed to symbolic and

(LE PORT). 1912.

6x71"

(15

Signed and dated

psychological relationships.

tableau

Un

xl9cm.).

l.r.

"Alb Gleizes 12"; on reverse, "Dessin pour

Port 1912 qui appartient a

le

Madame Duchamp-Villon

Rue Lemaitre a Puteaux (Seine) No. 2". Lent by The Solomon R. Guggenheim Museum, New York. 33.

Provenance: from the

sketch for "harvest threshing". 1912. (Etude pour "le depiquage des moissons"). Oil on board, 20 x25i" (51

Signed

l.r.

x65

artist,

1938.

cm.).

"Albert Gleizes".

37.

Lent by Mr. and Mrs. Samuel Josefowitz,

New

York.

Provenance:

Mme.

Exhibitions:

Salon de la Section d'Or, Paris, no. 43

THE PORT Oil

P. de Cugio, Paris.

PORT MARCHAND).

1912.

Signed

l.r.

"Albert Gleizes 12".

Lent by The Art Gallery of Toronto, Gift from the Junior Women's

bis.

Moderni Umeni, S.V.U., Manes, Prague, 1914,

(LE

on canvas, 35i x45j" (90 x 116,5 cm.).

no. 37.

Committee Fund, 1955. Provenance:

Raymond Duchamp-Villon. Madame Lignieres Duchamp-Villon.

Exhibitions:

Salon des Independants, Paris, 1913, no. 1294.

Sidney Janis Gallery, 1954. 34.

HARVEST THRESHING

(LE

DEPIQUAGE DES MOISSONS)

Galerie Berthe Weill, Paris, 1913, no.

1912. Oil on canvas, 106

Signed and dated

l.r.

Lent by The Solomon R. Guggenheim Museum, artist,

Salon de la Section d'Or,

Literature:

hourcade,

c.

"Gleizes",

p. 2,

Literature:

York, 1930, no. 12.

Musee

National

d'Art

art gallery of Toronto, Painting and Sculpture,

1950,

The j.

1907-1914,

Cubisme,

1959, p. 57.

ill.

p. 208.

golding,

New

Le

II Bienal, Sao Paulo, 1953, no. 17.

Paris, 1926, no. 1058.

Magazine of Art, October,

and Company,

Moderne, 1953, no. 87.

o. Paris-Journal, October, 1912.

Les Beaux-Arts, Paris, August, 1938,

gray,

York.

Paris, 1912, no. 43.

Ans d'Art Independant,

Trente

New

1938.

Exhibitions:

no. 43.

Exhibition of Cubism (period 1910-13), de Hauke

"Albert Gleizes, 1912".

Provenance: from the

1.

Moderni Umeni, S.V.U., Manes, Prague, 1914,

xl38j" (269 x353 cm.).

Cubism, London, 1959, pp. 160-161.

Port, also a popular Neo-Impressionist subject,

characteristic

theme appropriate

to

the interests

was another

of the Passy

31

Cubists.

The word on

the hull of the center ship

is

probably the

first

41.

THE METRO

Oil on canvas, 15 x 18" (38 x 46 cm.).

influence of Picasso and Braque, but in this case, the foreignness of

Signed

word "King" reinforces symbolic

the

"Alb Gleizes".

l.r.

Lent by Rex de C. Nan Kivell, London.

associations of the Port, an

international commercial center.

Exhibition: Galerie Berthe Weill, Paris, 1913, no.

LANDSCAPE (PAYSAGE).

distance (hence simultaneity), the railroad, treated in plastic terms,

Embodying 38.

(LE METRO). 1912.

time lettering appeared in a Gleizes painting, perhaps due to the

1912.

on board, 14i \17i" (37,5 x43,5 cm.). 1.1. "Alb Gleizes 12".

Oil

nay's

Lent by The Solomon R. Guggenheim Museum, :

Exhibitions:

from the

New

York.

Moderne Kunst Kring, Amsterdam, 1912,

work

mouth of a

(actually the

themes from his

to Bleriot,

it is

less heroic

symptomatic of an

than Delau-

essential over-

lapping interest shared by these men.

no. 114.

19.55, no. 36.

42. this

Gare).

1938.

artist,

Cubism, Arts Club of Chicago,

With

Hommage

La

did the modern realities of speed and decreased

it

was a logical subject for Gleizes. Although

Signed and dated

Provenance

as

3, (as

river) Gleizes again takes

up

PORTRAIT OF THE PUBLISHER FIGUIERE. (PORTRAIT DE FIGUIERE). Oil

earliest paintings.

1913.

on canvas, 56i x40i" (143 xl02 cm.). l.r. "Alb Gleizes 13".

Signed and dated

Lent by Musee des Beaux-Arts, Lyon. 39.

PASSY (BRIDGES OF PARIS).

Exhibitions:

1912.

on canvas, 22J x28i" (58 x72,5 cm.).

Oil

Signed

1.1.

Lent by

"Albert Gleizes".

Museum

Exhibitions:

New

Salon de la Section d'Or, Societe

York.

Galerie Drouant-David, Paris, 1943, no. 12.

Paris, 1912, no. 41.

Galerie des Garets, Paris, 1947, no.

1.

Chapelle du Lycee Ampere, Lyon, 1947, no. 4.

Normande de Peinture Moderne, Rouen,

1912, no. 91.

he Cubisme, Musee National d'Art Moderne,

Der Sturm,

1953, no. 119.

Berlin, July, 1914.

Kunst von 1900 Literature:

1937, p. 94, no. 16.

des 20. Jahrhunderts, Vienna.

Provenance: Sidney Janis Gallery,

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,

bis

Museum

Heute,

Les Sources du

des 20. Jahr-

XXe

Siecle,

Musee National d'Art

hunderts, Vienna, 1962, no. 58.

Moderne,

gleizes and metzinger. Du. Cubisme, Paris, 1912,

Exposition d'Art Francois 1840-1940, National Mu-

seum

p. 105.

apollinaire,

G. Paris- Journal, 1914, (cf.

of Western Art, Tokyo, 1961-62, no. 366.

salmon,

Literature:

Chroniques

Paris, 1961.

"Le Salon d'Automne", Montjoie, nos.

a.

d'Art, 1960, p. 405).

11-12, 1913, pp. 3-5.

golding,

allard,

J.

Cubism, London, 1959, p. 158.

r.

Les Ecrits Francois, 1913, p.

gleizes, a. Kubismus, Munich, 1928,

A

synthesis of the

bridges, this

among

Paris,

modern

work probably

city

with

its

smoke, river and

cogniat, R. and george, w. Roger de la Fresnaye,

steel

Paris, 1949, p. 40.

refers also to the spirit of solidarity

the newly formed "Artists of Passy". In this sense

cates an awareness of factions within

it

3.

pi. 9.

deroudille,

indi-

no.

Cubism.

1, p.

R.

Bulletin des

Musees Lyonnais, 1956,

12.

Vincent, M. Catalogue du

Musee de Lyon,

1956,

p. 315.

40.

rosenblum,

THE FOOTBALL PLAYERS. 1912-13. (LES JOUEURS DE FOOTBALL). Oil

New York,

Cubism and Twentieth-century Art,

R.

1960, no. 117.

on canvas, 89 x72" (226 xl83 cm.).

Signed and dated

1.1.

Private Collection,

Eugene

"Albert Gleizes 1912-13".

New

York.

Salmon admired

Provenance:

Collection Dalmau, Barcelona.

Exhibitions:

Salon des Independants, Paris, 1913, no. 1293.

Fort, Gustave

(cf.

4,

43.

March

29, 1913, reproduction of

The

role of

team

participation,

Signed

El Cubismo, Barcelona, 1949, no.

sport, especially in the context of

reflects

another interest of the

Jacques Nayral was occasionally a sports writer velle,

February 25, 1914) and a fan

(as

Delaunay"s Cardiff Team.

IN

A HAMMOCK (L'HOMME AU HAMAC).

1909.

l.r.

Lent by

"A. Gleizes".

Madame

Albert Gleizes. Paris.

mass audience

artists (cf.

41.

of Passy.

V Action Nou-

was Delaunay) of foot and

bicycle racing. Gleizes' Football Players dates

MAN

Sepia ink over pencil, 12+ xl6" (32 x40,5 cm.).

drawing for Football Players. e.

Kahn, Henri Martin Barzun and Jacques Nayral.

Chroniques d'Art,

Paris, 1960, p. 292).

azoaga,

which

and most adroit psychology", he

L'Intransigeant, Salon des Indepen-

dants, 1913, March 18, 1913,

Montjoie, no.

for its "fine

strove to be

this portrait

from the same year

is

Mercereau, Georges Polti, Apollinaire, Metzinger. Paid

friends:

Galerie Dalmau, Barcelona, 1916. g.

own publishing company,

modern development. In

surrounded by his publications which were written by Gleizes'

Erster Deutscher Herbstsalon, Berlin, 1913, no. 147.

apollinaire,

Literature:

Figuiere, head of his

identified with every

as

44.

MAN

IN

A HAMMOCK (L'HOMME AU HAMAC).

Pentil and ink, 7 J x6i" (20 x 16 cm.).

Signed and dated

Lent by

Y\ alter

l.r.

"Alb Gleizes, 1913".

Firpo, Marseilles.

1913.

32

33

34

10

35

19

37

38

21

39

40

22

41

23

42

24

43

27

44

45

46

47

34

48

i

49

39

50

40

51

41

52

45.

MAN Oil

A HAMMOCK (L'HOMME AU HAMAC). 5H x6H" (130 xl55,5 cm.).

IN

48.

1913.

Signed and dated

Signed and dated

Lent by Albright-Knox Art Gallery. Buffalo. Exhibitions

:

Modern! Umeni, S.V.U., Manes, Prague, 1914, no. Der Sturm,

Exhibition 4,

1914.

l.r.

x49

cm.).

"Albert Gleizes 1913".

Lent by Nationalmuseum, Stockholm.

41.

Berlin, July, 1914.

apollinaire, g. Paris-Journal, July

Literature:

"FISHING BOATS". 1913. BATEAUX DE PECHE").

sketch for

Watercolor, 25S xl9i" (64,5

"Alb Gleizes 13".

1.1.

THE HARBOR,

(LE PORT, etude pour "LES

on canvas,

Galerie Berthe Weill, Paris, 1913, no. 6.

:

(cf.

Chroniques d'Art, 1960. p. 405). gleizes, A. "L'Epopee", Le

Rouge

Octo-

el le Noir,

49.

ber. 1929. p. 81.

FISHING BOATS (LES BATEAUX DE PECHE). Oil

Signed and dated Lent by

This painting presents an interesting synthesis of back and forth

addition to the drawings no. 43, 44.

A

large

among

Moller, Cologne.

of related sources in

Moderni Umeni, S.V.U., Manes, Prague, 1914,

and finished painting of

Man in a Hammock dating from the summer of 1909 is on of Houses

"Alb Gleizes 13".

Salon d'Automne, Paris, 1913, no. 770.

Exhibitions:

number

goes back to a

It

l.r.

Madame Ferdinand

Provenance: Korner, Essen.

motion and introduces a composition based on the intersection of powerful diagonals.

1913.

on canvas, 65 x43j" (165 xlll cm.).

Der Sturm, Nationalgalerie, Berlin, 1961, no.

the reverse

no. 44. 85.

Europdische Kunst 1912, Wallraf-Richartz Museum,

Trees 1910, (no. 16). In the pre-Cubist version

Cologne, 1962, no. 61.

and

in a small oil sketch (once in the Ida Bienert collection, Dres-

den), the

man

apollinaire.

Literature:

wears a large sombrero.

1913.

(cf.

g.

Ulntransigeant, November 14, 15,

Chroniques d'Art, Paris, 1960, pp. 337-

339).

kuppers, 46.

THE CITY AND THE RIVER. (LA VILLE ET LE FLEUVE). Ink,

7ix6i" (19,5x16

dorival,

l.r.

Der Kubismus, Leipzig, 1920,

Rouge

pi. 3.

et le Noir, Paris,

October, 1929, p. 69.

cm.).

Signed, dated and inscribed

P. E.

gleizes, A. "L'Fpopee", Le

1913.

"Alb Gleizes 1913 La

Ville et le

B.

Les Peintres du Vingtieme Siecle, Paris,

1957, p. 97.

Fleuve".

Lent by The Solomon R. Guggenheim Museum,

New

York.

Apollinaire called this painting the "glory" of the Salon d'Automne, 1913.

known record of most important works, The City and the River,

This drawing (see

one of Gleizes'

fig. 3, p.

18)

is

the only presently

which combined in a large canvas

modern the

his attitudes

all

city: its location in landscape, its

bank of a

An

river.

oil

It

recapitulates the artist's longstanding social concern for

scenes of work as w ell as his interest in night effects. 7

toward the

establishment and

life

on

50.

sketch, once in the Graf collection,

Stuttgart, unfortunately has also disappeared.

DRAWING FOR "HEAD IN A LANDSCAPE". (ETUDE POUR "TETE D'HOMME"). Sepia ink, 4i x6i" (11 x 16,5 cm.).

Signed and dated

l.r.

"Alb Gleizes 1913".

Lent by The Solomon R. Guggenheim Museum, 47.

SEWING WOMEN (FEMMES COUSANT). Oil

1913.

New

"iork. Gift of

Mr. and Mrs. Sidney Colin, 1964.

1913.

on canvas, 73 x49i" (185,5 xl26 cm.).

Signed and dated

1.1.

"Alb Gleizes

femmes qui cousent". Lent by Rijksmuseum

13"';

on reverse "A. Gleizes

les

51.

HEAD

IN

A LANDSCAPE (TETE D'UN HOMME).

Provenance: Herwarth Walden, Berlin, 1913.

Signed and dated

l.r.

Blumenfeld, Berlin, with Komter, Amsterdam.

Lent anonymously.

Komter

Exhibition:

sale,

Der Sturm,

Exhibitions:

1913.

Oil on canvas, 14i x 191" (38 x 50,5 cm.).

Kroller-Muller, Otterlo.

Maks, Amsterdam, January 24, 1922.

Galerie

"Alb Gleizes 13".

Hans

Goltz,

Munich, 1913, no. 31.

Berlin, 1913.

Kestner Gesellschaft, Hannover-Dusseldorf,

The work

1928,

is

probably a

self-portrait.

no. 65. Volksuniversiteit, Rotterdam, 1949.

Sous sels,

:

le

Signe d Apollinaire, Verviers, Ghent, Brus-

Le Cubisme, Musee National d'Art Moderne, Literature:

52.

1950, no. 18.

LANDSCAPE WITH BRIDGE. (PAYSAGE AVEC UN PONT). Ink, 7

Paris,

x5+" (18x14

Circa 1912-13.

cm.).

"Alb Gleizes 1910-12".

1953, no. 20.

Signed and dated

raynal, m. Anthologie de la Peinture en France,

Lent by Mr. and Mrs. Lester Avnet, Kings Point,

Paris, 1927, p. 159;

English

edition,

New

1.1.

New

York.

York,

p. 212.

gleizes, A. Tradition et Cubism, Paris, 1927,

pi. 5.

53.

LANDSCAPE (PAYSAGE).

1913.

on canvas, 35J x28}" (91 x72,5 cm.). Signed and dated 1.1. "Alb Gleizes 13". Oil

The artist's mother and two sisters were the models for this work. The treatment of faces and hands shows the close relationship be-

Lent by Ferdinand Howald Collection, The Columbus Gallery of

tween the individual

Fine Arts, Ohio.

publication of

styles of Gleizes

Du Cubisme. An

oil

and Metzinger shortly

after the

sketch for the central head

the collection of Dr. Kriegel, Lackawanna,

New

York.

is

in

Provenance: John Quinn,

New

\ork, 1927.

Ferdinand How-aid.

53

One

of a

of small paintings from 1912-13 involving the

number

theme of the bridge,

suburban landscape

this

Women

ground of Sewing

58.

relates to the back-

IN FRONT OF A WINDOW. 1914. (FEMMES ASSISES DEVANT UNE FENETRE).

Oil

and the preparatory drawing

(no. 47)

TWO WOMEN

on canvas, 44i x57"

(13,5

x45

cm.).

Signed and dated "Alb Gleizes 14".

(no. 52).

Lent by Pedro Vallenilla Echeverria, Caracas. Provenance: John Quinn, 1927. 54.

Pierre Matisse.

LANDSCAPE WITH WINDMILL. (PAYSAGE AVEC MOULIN). Oiljjn canvas, 38}

x3H"

1913.

:

Literature:

The John Quinn Collection, Huntington,

Yale University Art Gallery,

New

York.

The

New Haven,

artist's

mother and

Connecticut,

1960, no. 103.

apollonio,

Fauves and Cubists,

u.

New

sister

once again are seen from the interior

of the Courbevoie house where the arabesque against the recalls the grille

Literature:

New York,

1926.

Provenance: Suillerot, Paris. Exhibition

York, 1915, no. 31.

Carroll Galeries,

(98,5 x79,5 cm.).

Signed 1.1. "Alb Gleizes 13". Lent by Mr. and Mrs. Arthur G. Altschul,

New

Exhibition:

Kitchen,

York, 1959,

now

motif

first

window

expressed in the 1909 drawing for The

in Lyon.

p. 67.

Concentrating more on

effect,

the

power of wind, harnessed

59.

with

this painting contrasts

man's use, rather than on the object,

for

SKETCH FOR "THE CITY". 1914. (ETUDE POUR "LA VILLE"). Ink, 10+

a slightly earlier variant once in the Jacques Villon collection.

x8" (27x20

Signed and dated

cm.).

"Alb Gleizes 14".

1.1.

Lent by Mr. and Mrs. Samuel

STUDY FOR "PORTRAIT OF IGOR STRAVINSKY". (ETUDE POUR STRAVINSKY). Ink,

10ix7i" (26x20

1914.

There

New

cm.).

Signed, dated and inscribed

is

J.

another version of this drawing in the Leffert collection.

York. Both are the basis for one of Gleizes' rare early etchings,

and are preliminary notations l.r.

"Etude Stravinsky,

Paris, Juki,

Zacks, Toronto.

1914, Alb Gleizes".

1914 painting The City,

for the

formerly in the Quinn collection,

now

in

a

private collection,

Chicago.

Lent by Walter Firpo, Marseilles.

60. 56.

PORTRAIT OF IGOR STRAVINSKY. Oil on canvas, 51i

1914.

x45i" (130 x 114,5 cm.).

Signed, dated and inscribed

Oil

"Albert Gleizes 1914, Igor Stra-

l.r.

MONTREUIL LANDSCAPE. 1914. (PAYSAGE DE MONTREUIL). on canvas, 28i

Signed and dated

Lent by Richard

S. Zeisler,

New

Provenance:

Madame

Exhibitions:

Montross Gallery,

York.

Provenance:

"Alb Gleizes 14".

Nell Walden. Stuttgarter Kunstkabinett, 1954.

Frigerio, Paris.

New

York, 1916, no. 35.

Chapelle du Lycee Ampere, Lyon, 1947, no.

UOeuvre du

XXe

Sammlung Nell Walden,

Exhibitions: 5.

Musee National d'Art Mo-

siecle,

Wege

Twentieth Century Masters, Marlborough Gallery,

Der Sturm, Kunstmuseum. Bern. 1911

London, 1955.

Expressionisten, Kunsthaus. Zurich, 1945, no. 38.

degand,

Sammlung

Paris,

l.

1

5,

no. 284.

Nell Walden, Kunsthalle, Basel, 1953,

no. 237.

Art d'Aujourd'hui, Series

3, no. 5,

Der Sturm, Nationalmuseum, Stockholm, 1954, no. 26.

June

Exposition Verkannte Kunst, Kunsthalle. Reckling-

"Presence d'Albert Gleizes", Zodiaque, nos. 6-7,

hausen, 1957, no. 55.

January. 1952, p. 31.

Der Sturm, Nationalgalerie, Berlin, 1961, no.

exist half a

such as no. 55, as well as a large

"Etude pour Stravinsky,

oil

Among the last of Gleizes'

dozen pen and ink

Petroushka,

Theatre

his association with Albert

Doyen

at the

de

he did so with a marked reduction of specific references to

61.

IN FRONT OF A WINDOW. 1914. (FEMMES ASSISES DEVANT UNE FENETRE). Gouache, 18i x21i" (47,6 x54 cm.). l.r.

New

STUDY FOR "WOMAN AT THE PIANO". (ETUDE POUR "FEMME AU PIANO").

reality.

York.

Exhibition: Marlborough Gallerv, London, 1956, cat. no. 46.

1913.

Watercolor. 10! x8i" (27 x21 cm.).

Not signed or

dated.

Lent by Philadelphia

"Alb Gleizes 1914".

Lent by Marlborough-Gerson Gallery,

pre-war suburban landscapes, this canvas

Abbaye.

TWO WOMEN

Signed and dated

86.

should be compared with the Landscape, no. 53, to demonstrate that although he continued to deal with deep space and wide vistas,

sketch which bears the

Champs-Elysees". Gleizes had followed the development of modern

music since

12.

1952, p. 24.

For the Portrait of Stravinsky there inscription,

abstrakter Malerei, Galerei Gunther Franke,

Munich. 1929-30, no.

1953, no. 171. Literature:

Galerie Flechtheim, Berlin,

1927, no. 75.

derne, Paris, 1952.

Le Cubisme, Musee National d'Art Moderne,

57.

36i" (73 x 92 cm.).

Lent by Saarland-Museum, Saarbriicken.

vinsky".

studies,

x

l.r.

Museum

of Art,

The Louise and Walter

Arensberg Collection. Literature:

1954,

pi. 93.

Philadelphia museum of art. Arensberg Catalogue,

54

62.

WOMAN AT THE PIANO (FEMME AU Oil

PIANO).

ozenfant and jeanneret. La Peinture Moderne,

Literature:

1914.

Paris,

on canvas, 57| x45i" (146.5 xll5,5 cm.).

Signed and dated

"Albert Gleizes 14".

l.r.

Museum

Lent by Philadelphia

of

-Art.

1924, p. 118 (reproduced showing 1914-15

date).

^ alter

The Louise and

"Presence d'Albert Gleizes", Zodiaque, nos. 6-7, January, 1952, pp. 32-33.

Arensberg Collection. Exhibitions:

Carroll Galleries,

Literature:

rosenblum,

New York,

1960, no. 118.

New

York, 1915, no. 30.

At

Cubism and Twentieth Century Art,

r.

least eight studies survive for this majestic portrait of Professor

Lourbet of Nancy. Painted

Philadelphia museum OF art. Arensberg Catalogue, 1954,

early 1915,

pi. 94.

began

it

at the fortress city of Toul, late

to fuse circular

rhythm

1914—

(see the treatment of the

shoulders) to the estabbshed composition based on intersecting diagonals, (see cat. nos. 45, 47).

This painting of one of his sisters playing the piano in the house at

Courbevoie

an important source for the

is

first

Portrait of Florent

Schmitt (no. 70). 68.

MY FRIEND

THEO

THfiO M. (MON AMI

M.). 1914.

Watercolor, 18 xl4" (46 x35,5 cm.). Signed, dated and inscribed 63.

THE

14th

Ink. 153

OF JULY

(LE 14 JUILLET). 1914.

*12i" (40 x31 cm.).

Signed, dated and inscribed

"Alb Gleizes

l.r.

Mon ami Theo M.

Toul 1914". Lent by The Solomon R. Guggenheim Museum,

l.r.

"Alb Gleizes 1914: Dessin pour Le

Provenance: from the

artist,

New

York.

1938.

14 Juillet".

Lent by Walter Firpo, Marseilles. 69.

In terms of picture construction, sketches such as this for the unfinished 14th

of July are of

critical

importance, for their rhythms

anticipate Gleizes' vital theory of translation

and

rotation.

WATERCOLOR FOR "CITY OF TOUL". 1915. (AQUARELLE POUR "U\ YILLE DE TOUL"). Watercolor, 8± xlOi" (21,5 x26 cm.).

They

Signed and dated

culminated in a gouache, (sold from the Gleizes exhibition, Galerie

l.r.

"Alb Gleizes 15".

Lent by Dr. and Mrs. Stephen Rafel, South Orange,

New Jersey.

des Garets, 1947, whereabouts unknown) because the projected painting was barely underway

when war broke out

in 1914.

The Moselle

river,

this composition,

City of Toul. 64.

STUDY (ETUDE

collection, Paris, is

powerful circular rhythms, akin to nos. 72, 73, 75.

"Alb Gleizes Toul 15": on reverse "No. 2

l.r.

Etude pour Medecin

Bourdon

Marlborough, London, 1956, no. 11) converts the subject into

Ink, 7+ x 6" (19 x 15 cm.).

Signed and dated

of these, in the

first

an echo of the City and the River theme. The second, (exhibited

FOR "PORTRAIT OF AN ARMY DOCTOR". POUR "MEDECIN MILITAIRE"). 1915.

NO. 2 2

The

spanned by a bridge, dominates the lower part of

one of several studies for two 1915 paintings of the

Militaire

Toul 1915".

Lent by The Solomon R. Guggenheim Museum, Provenance: from the

artist.

New

PORTRAIT OF FLORENT SCHMITT.

York.

1938.

Oil on canvas, 79

x60" (200 xl52

Signed and dated

l.r.

1914-15.

cm.).

"Alb Gleizes Toul

14, 15".

Lent by Josefowitz Collection, Geneva. Provenance: Bourdon, Paris. 65.

STUDY NO. 7 FOR "PORTRAIT OF AN ARMY DOCTOR". (ETUDE 7 POUR "MEDECIN MILITAIRE"). 1915.

Exhibitions:

Man

Ink with crayon, 9i x 7i" (25 x20 cm.). Signed and dated

pour Medecin

l.r.

artist,

York, 1916, no. 41

Chapelle du Lycee Ampere, Lyon, 1947, no.

Toul 1915".

(as

The

6.

Le Cubisme, Musee National d'Art Moderne,

Lent by The Solomon R. Guggenheim Museum, Provenance: from the

New

at the Piano).

Galerie des Garets, Paris, 1947, no. 2.

"Alb Gleizes Toul 1915": on reverse "7 Etude

Militaire

Montross Gallery,

New

York.

Paris,

1953, no. 172.

1938.

77 Bienal, Sao Paulo, 1953, no. 18.

Florent Schmitt, an important French composer, wras stationed at 66.

ARMY DOCTOR (MEDECIN

Toul with

MILITAIRE). 1914.

Gouache, 6 x 7i" (15 x 19 cm.). Signed and dated

1.1.

Gleizes. This large portrait

marks the beginning of an

attempt to preserve specific and individual visual characteristics while experimenting with a radically different compositional treat-

"Alb Gleizes Toul 14".

Lent bv Mr. and Mrs. Andrew Fuller,

New

ment

York.

in

circles.

which broad planes, angled from the perimeter, meet

The source

for

such a method

is

found

in the drawings for

the 14th of July, (no. 63).

67.

PORTRAIT OF AN .ARMY DOCTOR. 1914-15. (PORTRAIT D'UN MEDECIN MILITAIRE). Oil on canvas, 47 i

Signed and dated

x37i" (120 x95

l.r.

71.

cm.).

"Alb Gleizes, Toul 1914".

Lent by The Solomon R. Guggenheim Museum,

1915.

New

York.

Solomon R. Guggenheim, 1937.

Provenance:

Gift,

Exhibition:

Rene Gimpel

Galerie,

New

PORTRAIT OF FLORENT SCHMITT, THE SONG OF WAR. (PORTRAIT DE FLORENT SCHMITT. CHANT DE GUERRE).

York, 1937, no.

Oil

on canvas, 39i x 39i" (100 x 101 cm.). l.r. "Alb Gleizes; Chant de Guerre,

Signed, dated and inscribed 8.

Toul 1915, a F. Schmitt".

55

the subject for one of Gleizes' rare

Lent by Musee National d'Art Modeme, Paris. Montross Gallery,

Exhibitions:

New

Several studies,

Galerie Drouant-David, Paris, 1943, no. 16.

still life

was deeply attached

his life Gleizes

York. 1916. no. 47.

among them

paintings. (Throughout

to the principles of artisanship.)

no. 74, preceded this work.

Tate Gallery. London, 1956.

La Musique, Besancon,

195..

THE PARISIENNE. PORTRAIT OF JULIETTE ROCHE.

Rome, 1960.

Apollinaire, Palazzo Barbarini,

(LA PARISIENNE). 1915. Oil on canvas, 24+ xl4l" (61,5 x36,5

Musee de Grenoble, 1963, no. 14. dorival, b. The School of Paris in the Musee Natio-

Literature:

nal d'Art Modeme,

New York

1962. p. 262.

Signed and dated

ill.

l.r.

cm.).

""Alb Gleizes 15".

Lent by Musee des Beaux- Arts, Lyon.

The Song of War realized the fusion sought in the first portrait of Florent Schmirt and successfully integrated schematic indications

Exhibitions:

of the composer into the overall whirl of the composition.

Literature vrxcEXT, m. Catalogue

Galerie Bern", Avignon, 1950, no. :

Oil

on canvas, 38i x35i' (97 x91 cm.). l.r. "Alb Gleizes 15".

friend

Madame Albert Gleizes, Paris. L 'Art Abstrait, St. Etienne,

Canudo

is

a total balance of planes

first

year

(pi. 25).

1954, pi.

1.

77.

NEW" YORK. Gouache and

it

be taken to Gleizes' studio. During the

11. (frontispiece).

Hommage, Lyon,

This work, based on The Song of War,

to

married. 1957, no. 59

Musee de Grenoble, 1963, no. Albert Gleizes:

position. In

p. 316.

of the war they corresponded and in September, 1915 they were

Exhibitions:

Literature:

du Musee de Lyon, 1956,

the River at the 1913 Salon d Autonrne, had arranged through her

1915.

Signed and dated

Lent by

7.

1.

Roche, noticing the word "Julie" on a ship in The City and

Juliette

COMPOSITION.

Chapelle du Lycee Ampere, Lyon, 1947, no.

Gleizes' first abstract

and

circular

com-

movement

1915.

26 x20" (66 x51 cm.).

ink,

Signed and dated

Lent bv

is

Madame

l.r.

"Alb Gleizes 1915

New

York".

Albert Gleizes, Paris.

achieved, the painter carefully building his forms in logical transitions

from the square of the canvas.

A

students version of

painting later decorated the exterior wall of his studio in St.

this

Remy-

COMPOSITION (FOR ""JAZZ") (POUR On on board, 28 J x28i" (73 x73 cm.).

de-Provence.

Signed and dated

l.r.

""JAZZ"). 1915.

"Albert Gleizes 15 N.Y.".

Lent by The Solomon R. Guggenheim Museum. 73.

COMPOSITION. Oil

Provenance

1915.

on canvas, 40 x35i' (101,5 x90 cm.).

Signed and dated

Lent by

l.r.

The

Literature:

"Albert Gleizes 15".

Madame Henri

New 1 ork,

Literary- Digest,

New

\ ork.

1938.

Sew- York, November 27, 1915,

p. 1225.

Benezit, Paris.

seuphor, m. Dictionary of Abstract Painting,

Literature:

Feragil Gallery,

:

York, 1957,

New

Gleizes was tremendously impressed

p. 179.

earliest

New York

by New \ork City but the

paintings continued without break the formal

research advanced at Toul (nos. 71-75) even though the influence

This complex painting to nos. 71

and

is

based on compositional problems related

of

new

subject matter

is

apparent. In a photograph

in the Xeic York Herald, later reprinted in

72.

October 27, 1915, he can be seen

74.

THE LORRAINE PITCHER. (LA CRUCHE LORRAINE). l.r.

work on

published

this painting.

1914. 79.

Watercolor, 12 x8" (30,5 x20,5 cm.).

Signed and dated

at

first

The Literary Digest,

JAZZ ILE JAZZ). Oil

"Albert Gleizes, Toul, 14".

Signed and dated

Lent by The Los Angeles County Museum, Mr. and Mrs.

W ilham

1915.

on board, 39f x29+" (100 x75 cm.). l.r.

"Albert Gleizes

New York

1915".

Lent by Rene Deroudille, Lyon.

Preston Harrison Collection.

Exhibitions:

Galerie Berry, Avignon, 1950, no. 2.

Literature:

deroudille,

Galerie Drouant-David, Paris, 1943, no. 15 (as Banjo).

THE LORRAINE PITCHER. (LA CRUCHE LORRAINE). Oil

Jazz again exploits circular

on canvas, 40 x40" (101,5 x 101,5 cm.).

Signed and dated

l.r.

into an inner

"Alb Gleizes 15".

Soli, no. 2, 1955, pp. 6-7.

movements

in combination with broad

framework that points

clearly to the style of the

New York.

New \ork, 1916, no. 14. New \ork, 1937, no. 10. New York, 1949, no. 6.

Galerie,

Passedoit Gallery,

80.

CHAL POST. Gouache with

1915. oil

Signed and dated Searching for subjects appropriate to his

many

4

Bourgeois Galleries,

Rene Gimpel

movement,

i

incorporating the specific gestures of the two players

tilting planes,

Lent by Mr. and Mrs. Herbert M. Rothschild, Kitchawan. Exhibitions:

r.

1915.

new

interests in circu l a r

Gleizes found a typical Lorraine vase, a long jar with as

as four circular handles attached to

its

neck. This traditional

form, whose possibilities had been explored for centuries, became

on board, 39i x30" (101 x76 cm.). 1915"". 1.1. "Alb Gleizes New York

Lent by The Solomon R. Guggenheim Museum. Provenance: from the

artist,

New

"i

ork.

1938.

Exhibition:

Montross Gallery,

Literature:

Albert Gleizes:

New

York, 1916, no. 36.

Hommage, Lyon,

1954. pi. 2.

20

s.

56

81.

KELLY SPRINGFIELD.

85.

1915.

on board, 39s x30" (101 x76 cm.). Signed and dated 1.1. "Alb Gleizes N.Y. 15"".

Gouache with

Lent by The Solomon R. Guggenheim Museum.

Provenance: from the Exhibitions:

Lent by

York.

Madame

Exhibition

New

l.r.

"Albert Gleizes

New York

Musee de Grenoble, 1963, no.

:

1915".

P. de Gavardie, Paris. 10.

\ork, 1916, no. 37. This second

Gleizes

1915.

on board, 59 x47i" (150 xl20 cm.).

Signed and dated

New

1938.

artist,

Montross Gallery,

BROOKLYN BRIDGE. Oil with sand

oil

was fascinated by the signs of

New \ ork,

especially those

its

painted across windows read in reverse from the interior.

oil

version of the Brooklyn Bridge

dominant patterns derived from the

is

totally abstract,

criss-cross of intersecting

supporting cables. This work marks Gleizes'

first

use of sand on a

new

pictures surface and signals a period of experimentation with painting techniques. 82.

BROADWAY.

1915.

on board, 38* x30" (98,5 x76 cm.).

Oil

Signed

1.1.

"Albert

Gleizes"-.

ON BROOKLYN BRIDGE (SLR BROOKLYN BRIDGE).

Lent by Mr. and Mrs. Arthur G. AltschuL

New

York.

Oil

Provenance: Dalmau. Barcelona.

Signed, dated and inscribed

\ale University Art

Exhibition:

Gallery-,

New

Haven, I960, no.

initial

letter 3,

about

"Albert Gleizes

New \ork

Lent by The Solomon R. Guggenheim Museum,

New

Literary Digest.

York. November 27, 1915.

Provenance: from the Exhibitions

The

1.1.

American reaction this painting

to Gleizes

:

might be typified by a

in Detroit, Michigan: "...

Among

New \ ork.

1937.

artist.

The Brooklyn Bridge, The Brooklyn Museum, NewYork, 1958.

published in Literary Digest on December

from Mr. W. E. Bolles

1917 sur

Brooklyn-Bridge"

104. Literature:

1917.

on canvas, 63 i >51" (162 x 129,5 cm.).

Literature:

the

gray,

c.

"Gleizes",

Magazine of Art, October,

1950,

most closely

1915

p. 208.

mass of indicated characteristics of Broadway, such as skyscrapers, great newspapers, rapid transit, etc. a person with a vivid imagina-

This third and

tion can see... in the grouping of these elements the face of a

prosperous, well-fed, well groomed keen minded business man..."

A

related study, developed

Howald

collection at the

from the strong diagonals,

Columbus Gallerv of Fine

to the

of the Bridge. Lnified by whirling circles, the composition shows

in the

is

last oil version, related

drawing (no. 83), attempts to synthesize the City under the symbol

both ends of the bridge with the river below and buildings of Man-

Arts.

hattan and Brooklyn beyond. Gleizes and Joseph Stella had been friends since 1915

and

it is

interesting to

compare

this painting

with Stella's Brooklyn Bridge of 1917-1918, painted somewhat a3.

BROOKLYN BRIDGE. and gouache, 9i

TtiI-

On

>:

7*" (25 x 19 cm.).

reverse: "Albert Gleizes Brooklyn Bridge 1915".

Lent by

The

first

Madame

THE ASTOR CLP RACE (FLAGS). 1915. (LE PRIX ASTOR CLP 01 LES DRAPEAUX).

Albert Gleizes, Paris.

of Gleizes" Brooklyn Bridge drawings, this work

is

Gouache with

a study

oil

Signed and dated

for the 1917 oik no. 86.

on board, 39i x29i" (99,5 x74 cm.). 1.1. "Alb Gleizes 15 N.Y.".

Lent by The Solomon R. Guggenheim Museum, Provenance: from the 84.

BROOKLYN BRIDGE. Oil

Exhibitions:

and mixed media on canvas, 40i x40i" (102 x!02 cm.). l.r. "Alb Gleizes 1915 Brooklyn Bridge".

Lent by The Solomon R. Guggenheim Museum, Provenance: John Quinn,

Exhibitions:

B.

New

ork.

York, 1916, no. 39.

the races was later incorporated into

Musee d'Art Modeme de

York. de Paris. Despite the exuberance realized here, however, a

(Sale, 1927).

note of deep irony

New

his

is

struck for the

numbers 8 and 6 are those of

dead friend Nayxal's regiment in the French Army. (See no.

98).

York, 1916, no. 40.

Modem

Art,

OVERLAND.

Contemporary Movements in European Painting,

Museum

Literary Digest,

November 27,

1915, p. 1225 (visible

Lent by Galerie L. Bourdon, Paris.

SEtPHOR, M.

L Art Abstrait, Paris, 1950, p. 146.

ROSESBLOl,

R.

Exhibitions :

in elevation in

Montross Gallery,

1916, no. 48.

1953. no. 38.

Chal Post

(no. 80) is here

through the great swing and intersecting patterns of the cables

TOWARD NEW YORK. (IMPRESSION DE NEW

which dominate the canvas surface. In the

Ink. 17

synthesized into a dizzying structure in which a cityscape

first interview-

is

seen

given after

89.

Signed and dated

lyn Bridge, comparing

Lent bv

to the noblest achievements of

European

1916.

YORK).

13i" (43,5 x33,5 cm.).

his arrival in America, Gleizes stated his admiration for the Brookit

New \ ork,

Le Cubisme, Musee National d'Art Modeme,

Cubism and Twentieth-Century Art,

York. 1960.

The Bridge, which appears

1916.

on canvas, 31i x25+" (81 x65 cm.). Signed and dated l.r. "Alb Gleizes 1916". Oil

of Art, Ohio, 1938, no. 40.

in photograph of Gleizes).

architecture.

"i

York, 1936, no. 88.

Toledo

New

New

the second version of Clowns, 1917. at the

Neumann, 1944.

Cubism and Abstract Art, Museum of

Literature:

New

1938.

Montross Gallery.

The gay motif borrowed from la \ ille

Montross Gallery,

New

artist,

1915.

Signed and dated

J.

later.

1915.

Madame

l.r.

"Alb Gleizes 16, N.Y.".

Albert Gleizes, Paris.

Paris,

57

Tk 49

.

58

47

59

m

^m

i

51

62

60

54

61

62

63

67

64

73

66

72

67

75

68

76

78

....

88

,:

».ii

,I.U!.i.i.iii, :

.IIJ

70

80

81

71

72

73

74

90.

study for "downtown". 1916. (Etude pour "downtown").

was (theoretically) formulated by Gleizes several years

Gouache, 24} x 18 J" (63 x48 cm.).

tween 1920 and 1923.

Signed and dated Gleizes. 16

"Alb Gleizes 1916

l.r.

N.Y. No. 16)

New

'Downtown'

New York

York. La peinture a

;

1916 Etude. Gouache pour l'huile appartient a le

Gug-

96.

CLOWNS.

Lent by The Solomon R. Guggenheim Museum,

New

York.

Signed and dated

1938.

Madame

Lent by

Exhibition

91.

TARRYTOWN.

1916.

The

Gouache, 24i x 18}" (62,5 x47,5 cm.). Signed and dated

1.1.

1916.

Oil on board, 29i

artist,

later, be-

New York" on reverse "Alb

genheim Foundation". Provenance: from the

method of picture construction

with circular motion. This specific

cm.).

"Alb Gleizes 16".

Albert Gleizes, Paris.

Musee de Grenoble, 1963,

:

circus

x25" (75 x63 1.1.

theme interested

no. 16.

Gleizes for several years, appearing in

pre-war Paris works (no. 119, for example) and continuing through

"Alb Gleizes Terrytown 1916 N.Y."; on

We

1920, (no. 120).

reverse "No. 17) Aquarelle gouache 'Terrytown' N.Y. 1916 Pas de

from 1917,

(see

also

comment

know

a

second version of

this painting

for no. 87).

tableau".

Lent by The Solomon R. Guggenheim Museum,

Provenance: from the

artist,

New

York.

1938.

97.

TO JACQUES NAYRAL

JACQUES NAYRAL).

(A

1914.

Gouache, 16 xl2" (40,5 x30,5 cm.). This

clearly preliminary to no. 92, despite the artist's inscription.

is

Signed, dated and inscribed

1.1.

"Alb Gleizes 14; Jacques NayTal

tue a La Bossee, 1914".

Lent by Marlborough-Gerson Gallery, 92.

COMPOSITION (TARRYTOWN).

Woman

l.r.

a painting of

Gleizes

of a Window. Lent by Messrs. Kennedy-Garber, New York. 1920:

New

York.

Exhibition: Gleizes, Marlborough Gallery, London, 1956, no. 45.

x29i" (93,5 x74,5 cm.). "Alb Gleizes, 16"; on reverse

Oil on canvas, 36 J

Signed and dated

1916.

in Front

when

first

learned of the death of his brother-in-law and friend

a postcard

patience,

it is

on which he had written "Patience, a

impossible that this war can endure

more

little

much

longer...

then we will put ourselves back to work..." came back marked In his attempt to organize in plastic terms the abstract equivalent

"disparu".

of his earlier broad panoramas, Gleizes reverted to the tilting planes

reminiscent of smaller ones in such volumetric cubist works as The

Hunt and Jacques Nayral, both

of 1911 (nos. 28, 27).

TO JACQUES NAYRAL Oil

93.

NEAR NEW YORK (ENVIRONS DE NEW YORK). Gouache and

ink,

251 x 19}" (65

x

Signed, dated and inscribed 1915.

1.1.

l.r.

"Alb Gleizes

New

Lent by Leonard Hutton Galleries,

1917.

17, a

Jacques Nayral".

York.

50 cm.). Galerie Lucien Blanc, Aix-en-Provence, 1954, no. 9.

Exhibitions:

Signed, dated and inscribed

JACQUES NAYRAL).

(A

on board, 30 x23}" (76 x60 cm.).

"Albert Gleizes, 1915, Terrytown,

Les Peintres Cubistes, Galerie Suillerot, Paris, 1963. N.Y.".

Lent by

Madame

Albert Gleizes, Paris.

This

is

94.

HEAD OF A CLOWN (TETE DE CLOWN). Ink,

7}x7i"

Passy group for a collective

I.e.

99.

New

STILL LIFE

York.

Ink, 10 J

New York. Marks, New York.

x8i"

actually a portrait of the artist Georges Valmier,

regiment

at

who was

le

in

la

l.r.

flacons' Barcelone

1916

tableau app. a Alb Gleizes".

Lent by The Solomon R. Guggenheim Museum,

Toul.

HEAD OF A CLOWN (TETE DE CLOWN). Oil

"Alb Gleizes Barcelone 1916"; on reverse

plume pour 'Nature morte aux

Provenance: from the

95.

1916.

(27,5 x21,5 cm.).

Signed and dated "Dessin a

Gleizes'

WITH FLASKS.

(NATURE MORTE AUX FLACONS).

Rose Fried, Royal

is

program.

"Alb Gleizes Toul 1915 Etude pour

Lent by Mr. and Mrs. Arthur Freeman,

This

artistic

1915.

Tete de Clown".

:

to his

key figure who shared the hopes of the pre-war

(19,2 xl8,2 cm.).

Signed, dated and inscribed

Provenance

memorial

a private portrait, an intensely personal

closest friend, a

artist,

New

York.

1938.

Preliminary drawing for no. 100.

1914-17.

on canvas, 46 x38" (117 x96,5 cm.).

Signed and dated

1.1.

"Albert Gleizes 1914-17".

Lent anonymously. Exhibitions:

Ardsley Studios,

100.

New

York, 1919, no.

8.

STILL LIFE

WITH BOTTLES.

1916.

(NATURE MORTE AUX BOUTEILLES).

Les Maitres de V Art Independant 1895-1937, Petit

Oil

Palais, Paris, 1937, no. 20.

Signed and dated

on board, 18} xl3}" (46 x35 cm.). l.r.

"Alb Gleizes 16"; signed and dated

"Albert Gleizes, Barcelone, 1916".

Developed from studies begun

at

Toul in 1915

(see no. 94), this

painting displays Gleizes' characteristic fusion of tilting planes

Lent by Dr. Jules Vache, Lunel, France. Exhibition:

Galerie Berry, Avignon, 1950, no. 4.

1.1

75

Gleizes rarely painted

his epic interests usually finding

still lifes,

105.

still life,

dating from 1912, formerly in the

Weimar Museum,

is

Signed and dated

un-

Paysage,

fortunately lost and a second of 1915 relates to this Barcelona work.

Apart from The Lorraine Pitcher

he made no more until

(no. 75),

BERMUDA STUDY

(LES BERMUDES).. 1917.

Watercolor and pencil, 11 x8£" (28 x22 cm.).

sympathetic echos in more inclusive themes. His earliest Cubist

I.e.

"Alb Gleizes 17"; on reverse "Aquarelle pour

maison du Gouverneur

la

Provenance: from the

JEAN COCTEAU.

1915. 106.

Gouache, 22 xl5i" (56 x40 cm.). Signed and dated

Lent by

Gleizes

"Albert Gleizes, Jean Cocteau 1915".

and Cocteau, who was

became

first

Bermuda

1917.

later a witness at Gleizes' marriage,

A Midsummer Night's

on an unrealized

107.

Dream. This would have been

the sets. It

summer

was

to

be performed

artist,

New

York.

1938.

(LES BERMUDES). 1917.

l.r.

113- x 9i" (30 x24 cm.). "Alb Gleizes, Etude Bermudes 17".

THE GOVERNOR'S HOUSE, BERMUDA LANDSCAPE. (UA. MAISON DU GOUVERNEUR). Oil

l.r.

"Alb Gleizes 1917".

Lent by Mr. and Mrs. Arthur G. Altschul,

Provenance

in the

1917.

on board, 35* x27i" (89,5 x70 cm.).

Signed and dated

at the

of 1915, but, because of the war,

proved impossible. All of Gleizes' costume drawings are

collection of the

tableau ap-

Lent by Walter Firpo, Marseilles.

Cubist stage production and Gleizes was to design the

in the

le

no. 13.

friends during their collaboration

Cirque Medrano

BERMUDA STUDY Signed and dated

Albert Gleizes, Paris.

costumes and Andre Lhote

this

.

Watercolor and gouache over crayon,

Musee de Grenoble, 1963,

production of the

I.e.

Madame

Exhibition:

first

.

Lent by The Solomon R. Guggenheim Museum,

1924.

101.

.

partient a Stieglitz, N.Y.".

:

A. Stieglitz,

New

New

York.

York.

H. D. Walker, Minneapolis.

Musee des Beaux-Arts de Lyon.

Loan Exhibition, Pennsylvania Academy of Fine

Exhibition:

Arts, 1920. no. 45.

102.

PORTRAIT OF JEAN COCTEAU.

Returning

1916.

to

America early in 1917, the

Gleizes' left almost im-

Oil with plaster on canvas, 45 J

x31i" (116 x80 cm.).

mediately for Bermuda, where they stayed about two months. The

Signed, dated and inscribed

"Albert Gleizes, Barcelone, 16 Jean

effect

l.r.

of Bermuda's mild weather, lush foliage and pastel colors

which became unusually sensuous.

Cocteau".

directly influenced Gleizes' style,

Lent by Mr. and Mrs. Siegfried Ullmann, Palm Beach, Florida.

These paintings seem removed from the complex formal and tellectual

Galerie Dalmau, Barcelona, 1916.

Exhibitions:

Rene Gimpel

New York, 1937, New York, 1949, no.

Galerie,

Passedoit Gallery,

goth, m. 391, no.

Literature:

1,

no. 11.

The

7.

Cezannesque technique.

basket of

as their

108.

Shakespeare project. Although he carries a

did Ariel

fruit, (as

parallel brushstrokes indicate also a

temporary return

to a

Barcelona, January 25, 1917.

In this portrait, painted in Barcelona, Gleizes treated Cocteau in the

same vein

in-

concerns which Gleizes had already begun to deal with.

who produced

end of the Tempest) the costume

(LES BERMUDES).

Pencil and watercolor, 10J

the grand banquet at the

Signed and dated

Red Cross

also relates to the

BERMUDA DRAWING l.r.

x8J"

1917.

(27,5 x21,5 cm.).

"A. Gleizes 17".

Lent by Galerie Moos, Geneva.

uniform worn by Cocteau during the war. Such an interpretation

would be

in

agreement with the generally symbolic tenor of Gleizes'

thinking.

109.

BERMUDA SCENE (PAYSAGE DES BERMUDES). Oil

Signed and dated 103.

DANCER (DANSEUSE). Oil

1.1.

"Alb Gleizes 17".

Collection Romanet. Paris.

1916.

Provenance:

Pierre Faure.

Exhibitions:

Bourgeois Galleries,

and gouache, 101 x8i" (26 x20,5 cm.).

Signed and dated

l.r.

"Alb

1917.

on canvas, 32 x25i" (81 x64,5 cm.).

Gleizes, Barcelone 16".

New

York, 1917.

Les Createurs du Cubisme, Les Beaux-Arts, Paris,

Lent by Dr. Henry M. Roland, London.

1935.

A 104.

SPANISH DANCER (DANSEUSE ESPAGNOLE). Oil with sand

variant of this painting, with the composition reversed,

collection of the

1916.

Musee National d'Art Moderne,

l.r.

"Alb Gleizes 16".

Lent by The Solomon R. Guggenheim Museum,

New

\ork.

Solomon R. Guggenheim, New \ork, 1937.

Provenance:

Gift,

Exhibitions:

Bourgeois Galleries,

no. 29.

Ardsley Studios,

3 (west room).

New York, 1917, New York, 1919, no.

110.

(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

BARCELONA HARBOR

"No

15)

Aquarelle etude pour 'Un port',

tableau a l'huile appartient a brief Barcelona period

which

in the

on board, 39J x30i" (101 x76,5 cm.).

Signed and dated

The

is

Paris.

specific patterns

produced a host of similar paintings in

and motifs were exploited

in

an

place the painting in the context of a precise encounter.

effort to

le

Barcelone 1916, Le

Guggenheim Foimdation,

II

peint a New- York en 1917". Lent by The Solomon R. Guggenheim Museum, New \ ork.

Provenance: from the

artist,

1938.

a ete

76

111.

HERE Oil

IN

PORT (DANS LE

PORT).

Lent by The Solomon R. Guggenheim Museum,

1917.

on board, 60$ x47i" (153 xl20 cm.).

Signed and dated

l.r.

"Albert Gleizes

Provenance:

New York

Hilla

New York. Provenance: Gift, Solomon R. Guggenheim, New York, 1937. Exhibition: Ardsley Studios, New York, 1919, no. 3.

Gift,

Solomon R. Guggenheim, 1941.

Salon des Independants,

Exhibitions:

Rene Gimpel

Paris, 1920, no. 1011.

New

Galerie,

York, 1937, no. 13.

These subjects of On a Music Hall Singer,

and On a Circus Theme

This work incorporates part of the harbor scene explored in the

of

Madame

Gleizes, executed

An

ink drawing in the collection

between the Barcelona study and

Gleizes

STUNT FLYING (VOLTIGE AERIENNE). Oil with sand

ne.

New

1.1.

116.

1917.

in his little

monograph ca. 1924).

STUDY FOR "BUILDING CONSTRUCTION". 1916. (DESSIN POUR "NAISSANCE D'UN BUILDING"). Ink and crayon, 9j x 7J" (25 x20 cm.).

"Alb Gleizes 1917" on reverse " Voltige aerien;

Signed and dated "Naissance d'un building

York, 1917, Albert Gleizes".

Lent by The Solomon R. Guggenheim Museum,

New

Gleizes"; on reverse

York.

Gift,

Exhibitions:

Ardsley Studios,

New

collection allemande

York, 1919, no. 6 (west room).

d.

"Gleizes

and

Delaunay",

Museum of Art News, vol. XXV, no.

3,

8)

Dessin a

la

1916 Le tableau a II

New York

Provenance

Baltimore

from the

:

1916 Alb

plume pour 'Naissance d'un l'huile doit etre

dans une

vendu par Walden".

a ete

Lent by The Solomon R. Guggenheim Museum,

Salon des Independants, Paris, 1920, no. 1910. robbins,

"No

New York

building'

Solomon R. Guggenheim, New York, 1937.

Provenance:

Literature:

and elaborated by Walter Pach

on Jacques Villon for the Societe Anonyme (New York,

on board, 40 x29i" (101,5 x76 cm.).

Signed and dated

On a Vaudeville Theme Museum of Art), gave

(collection Baltimore

concept of the subject as a "springboard" credited to

rise to the

this

painting, was preparatory to the upper part of this composition.

112.

York.

Solomon R. Guggenheim, New York, 1938.

1917".

Lent by The Solomon R. Guggenheim Museum,

Barcelona study of 1916 (no. 110).

New

Rebay, Green Farms, Connecticut.

artist,

New

York.

1938.

Spring, 1962,

pp. 9-21. 117.

Although not the respects the

last

painting of the circus theme, this

work

trapezists, is

many

culmination of Gleizes' treatment of the subject.

Derived from a 1914 painting in the collection of

where

is in

Madame

Oil

Gleizes

abstract,

employing

tilting planes

and

circular

on canvas, 40 x30" (101,5 x76 cm.).

Signed and dated

audience and nets are clearly identifiable, this

to express the essence of

BUILDING CONSTRUCTION. 1917. (NAISSANCE D'UN BUILDING). l.r.

"Alb Gleizes 17".

Lent by The Cincinnati Art Museum, Gift of Thomas C. Adler.

movement

Exhibition

dynamic rhythm.

Literature:

:

New

Ardsley Studios,

schoener,

a.

York, 1919, no.

7.

The Cincinnati Art Museum Bulletin,

1956, pp. 18-22.

This work (and the preceding study for 113.

STUDY FOR "ON A VAUDEVILLE THEME". (DESSIN POUR "SUR UN VAUDEVILLE").

1916.

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".

Lent by The Solomon R. Guggenheim Museum,

Provenance: from the

artist,

New

New

thesis of

York. In

118.

we

are Gleizes' final syn-

later.

ON THE FLAT IRON Ink, 104

(SUR LE FUA.T IRON).

1916.

x8i" (27 x21 cm.).

Signed, dated and inscribed

1938.

it)

see all the elements of his style of the

combined with the sensuous paint handling which he

renounced a few years

York.

it

l.r.

"Alb Gleizes

New \ ork Sur

le Flat-

iron 16".

Lent by Herbert M. Barrows, 114.

ON A VAUDEVILLE THEME Oil

(SUR

UN VAUDEVILLE).

119. l.r.

"Alb Gleizes N.Y. 1917".

New York. Guggenheim, New York, 1937.

Lent by The Solomon R. Guggenheim Museum, Provenance:

Gift,

Solomon R.

Arbor, Michigan.

1917.

on board, 47+ x38i" (120,5 x98 cm).

Signed and dated

Ann

SKETCH FOR "THE EQUESTRIAN". 1914. (ETUDE POUR "SUR UNE ECUYERE DE CIRQUE"). Crayon, 10! x8i" (27 x21 cm.). Signed, dated and inscribed

l.r.

"A. Gleizes Courbevoie 14".

Lent by Augustin Terrin, Marseilles.

Based on the drawing no. 113, equestrian theme

first

this

work

is

also a return to

treated in 1914 (no. 119)

and

an

relates to the

This drawing furnished a departure point for an etching of the same

circus series. year, as well as serving as the basis for a series of paintings.

115.

ON A MUSIC HALL SINGER. 1917. (SUR UNE CHANTEUSE DE MUSIC Oil

on board, 40 x29i" (101,5 x75,5 cm.).

Signed and dated

No

120.

HALL).

1.1.

Oil

"Alb Gleizes. 17"; on reverse "Alb Gleizes

17 sur une chanteuse de music hall

New York

THE EQUESTRIAN. 1919. (SUR UNE EQUYERE DE CIRQUE).

1917".

on canvas, 37i x29i" (95 x75 cm.).

Signed and dated

l.r.

"Alb Gleizes,

New York

Lent by Augustin Terrin, Marseilles.

19"

77

New

Ardsley Studios,

Exhibitions:

Most of Gleizes' pictures of the period, however, were "paintings

York, 1919, no. 2 (west room).

without subject", explorations of plastic relations that concentrated

Calvet, Avignon, 1962, no. 14.

Musee

on familiar visual problems of movement and depth. This

the penultimate version of the Equestrian which in 1914,

is

had begun the circus pictures. The

(no. 119),

last

version from

1920 was reproduced in Ozenfant and Jeanneret's La Peinture

Moderne,

Paris, 1924,

and

is

in the collection of the

124.

Musee National

Oil on canvas,

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

Theme

Circus

1921.

47i x37" (20 .-94 cm.).

Signed and dated

On a

Madame

Lent by

Baltimore Museum.

in the

COMPOSITION.

l.r.

"Alb Gleizes 21".

Albert Gleizes, Paris.

Literature: Abstraction-Creation, no. 3, Paris, 1934, p. 18.

Gleizes' reputation as

121.

ALONG THE AVENUE (SUR L'AVENUE). Oil

Mainie

on canvas, 63i x50}" (162 xl29 cm.).

Signed and dated

l.r.

an uncompromising practitioner of austere

abstract art in 1921 brought

1920.

Jellett

him

his first pupils, the Irish painters

and Evie Hone. Obliged

to clarify his

students and for himself as well, he called the

"Albert Gleizes 1920".

planes "translation" and the circular

tilting

Provenance: G. David Thompson, Pittsburgh.

Both compositional techniques can be traced back

Der Sturm,

(see no.

Berlin, 1921.

63).

The developing

book La Peinture In Paris after the war, Gleizes retained specific themes from

\ork City life

modern

as representative of the direction that

would pursue. Although

et ses lois, ce

theories were incorporated in his

in 1922.

New

collective

COMPOSITION WITH TWO NUDES. (COMPOSITION AVEC DEUX NUS).

among

Tempera on

He

eliminated

—

thought

the

all

powerful touches of

dominating presence of his

was too individual, amounting

it

— he

canvas, 47i

x37" (120 x94

an "aesthetic trick". Although eliminating sensuous-

Collection

Lady Norton, London.

Exhibition

:

own, often mixing pigments with gasoline. The

Literature:

make

began

to

result

was an extremely

his

matte surface, forthright but, un-

fragile

Circa 1922.

cm.).

Not signed or dated.

ness in his painted surface, Gleizes retained vibrant color and even

to

"rotation".

about 1914

qui devait sortir du Cubisme, written

paint application in order to focus attention on the relationships

forms.

to

manner of composing did not

his

change, he deliberately purged his art of

physical gesture because

for his

characteristic

movements

Lent by Rudolf Indlekofer, Basel.

Exhibition:

methods

now

Marlborough Gallery, London, 1956, no. 20. "Presence d'Albert Gleizes", Zodiaque, nos. 6-7, January, 1952. p. 35.

damage from moisture. Vi orks most ambitious realization in the enormous

fortunately, highly susceptible to

such as

this

found their

mural sketch for the Gare de A/(oscow), now

in

In order to achieve what he called "supple movement", Gleizes

the Grenoble

Museum.

movement move back and forth,

organized his canvas by the guided

of a chosen plane

surface. Plane surfaces

to right

and

left,

progressing to more complex forms, so that curves were infused into the developing rhythm.

122.

WOMAN WITH BLACK

GLOVE. (FEMME AU GANT NOIR). Oil

on canvas, 49+ x39i" (126

Signed

l.r.

Lent by

x

Madame

1.1.

Oil

Albert Gleizes, Paris.

Musee

OCTAGONAL COMPOSITION.

1956,

no.

13

on canvas, 35i x27i" (89,5 x69,5 cm.).

Not signed or dated.

(as

Madame

Lent by

Assise).

Albert Gleizes, Paris.

Calvet, Avignon, 1962, no. 17.

Musee de Grenoble, 1963, lake and maillard Painting, Paris,

This

no. 23.

(ed.).

Dictionary of

New York and London,

Modern

at

an example of the principles of translation and rotation A related drawing, the final illustration of La Peinture et

is

work.

ses Lois,

1956, p. 113.

when

it

was printed in La Fie des Lettres

There are a number of small versions of this painting which one aspect of Gleizes'

by Larionov who presented

to the

FOR A PAINTING ON A FAMILIAR THEME. (POUR UNE PEINTURE FAMILIERE).

1923.

activity in the early 20's: reminiscences of

evoked within the context of increasingly careful 127.

Gouache and watercolor, 9 x 7i"

COMPOSITION (TABLEAU). Tempera on

Arts

Museum

of Western Art in Moscow.

illustrate

picture construction.

123.

et des

it

(1923), was purchased

specific reality

Circa 1922.

(COMPOSITION OCTAGONALE).

"1920".

Marlborough Gallery, London,

Femme

Literature:

126.

100 cm.).

"Albert Gleizes", dated

Exhibitions:

1920.

panel, 36}

Signed and dated

l.r.

Signed and dated

1921.

l.r.

(23

x20

"Alb Gleizes, 23"

cm.).

('?).

Lent by Germaine Henry, Paris.

x28j" (92 x73 cm.).

"Albert Gleizes, 1921".

Lent by The Trustees of The Tate Gallery, London. Provenance:

Leonce Rosenberg,

128.

Paris.

James Wardell Power, Jersey, Channel

Power

Sale, Sotheby's,

November

7,

1962, no. 17

Bulletin de pp. 8-9.

I'

Effort

Moderne, March, 1925, no.

13,

1922.

on canvas. 57+ x37i" (146 x94,5 cm.).

Signed

l.r.

Lent by

(as Abstraction).

Literature:

COMPOSITION OCTOBER. Oil

Islands.

"Alb Gleizes": dated

Madame

Literature:

1.1.

"X BRE

1922".

Albert Gleizes, Paris.

gleizes. a. Tradition et Cubisme, Paris, 1927, pi. 10.

78

This painting relates

to a

Dame

1923 painting entitled La Vieille

(Marlborough, London, 1956, no. 18,

134.

IMAGINARY STILL

LIFE, BLUE. 1924.

NATURE MORTE IMAGINAIRE,

and both were inspired by

ill.)

Madame Gleizes' grandmother found by Roche family home at Serrieres.

a yellowed photograph of

Oil on canvas, 41 i

Gleizes in the

Signed and dated

BLEUE).

x29i" (105,5 x74

l.r.

cm.).

"Alb Gleizes, 24".

Lent by Germaine Henry, Paris.

2eme Salon des Tuileries, Paris, 1924. Rene Gimpel Galerie, New York, 1937,

Exhibitions: 129.

WHITE COMPOSITION. Circa 1922. (PEINTURE-OBJET A DOMINANTE BLANCHE). Oil on board, 36i

x28i"

(92

x73

Passedoit Gallery,

cm.).

Madame

Exhibitions:

Musee

still

indulged in an exuberant display of lively pattern.

reproduced

A

occasionally

Gleizes exhibition,

130.

Pencil. 10}

Provenance: from the

Lent by The Solomon R. Guggenheim Museum,

136.

x29+" (105 x75 cm.).

Oil

Lent by Germaine Henry, Paris.

Lent by

New

Galerie,

much

Gleizes' spent

tt

l.r.

"Alb Gleizes 24".

adsworth Atheneum, Hartford, Connecticut, The Ella

2eme Salon des Tuileries, Paris, 1924. Rene Gimpel Galerie, New \ ork, 1937,

Exhibitions:

time in Serrieres, south of Lyon, where

Gleizes established a second artist's

York.

Gallup Sumner and Mary Catlin Sumner Collection.

York, 1937, no. 21.

Galerie Lucien Blanc, Aix-en-Provence, 1954, no. 18.

The

New

1938.

on board, 391 x29i" (101 x75 cm.).

Signed and dated

Rene Gimpel

artist,

IMAGINARY STILL LIFE, GREEN. 1924. (NATURE MORTE IMAGINAIRE, VERDATRE).

Not signed or dated; on reverse "du paysage midi". Exhibitions:

"Alb Gleizes 23": on reverse signed, dated and

l.r.

Der Sturm, 1921.

Circa 1923.

1923.

x8i" (27x21 cm.).

Signed and dated

is

inscribed to Hilla Rebay, 1938.

VILLAGE ON THE RHONE. SERRIERES. (PAYSAGE PROVENCAL, SERRIERES). Oil on canvas, 41!

STUDY FOR "IMAGINARY STILL LIFE, GREEN". (DESSIN POUR "NATURE MORTE IMAGINAIRE.

The Solomon R. Guggenheim Museum; and a whereabouts unknown) was exhibited at the

large oil (present

1950,

VERDATRE).

1920 drawing

in J. Chevalier's Albert Gleizes et le

Cubisme, Basel, 1961; a related gouache, entitled Three Themes, in the collection of

York, 1949, no. 13.

Magazine of Art, October,

no. 26.

135.

is

New

"Gleizes",

Calvet, 1962, no. 22.

After two years of increasing austerity, Gleizes

work

c.

p. 209.

Albert Gleizes, Paris.

Musee de Grenoble, 1963,

for this

gray,

Literature:

Not signed or dated. Lent by

no. 23.

Galerie Drouant-David, Paris, 1943, no. 20.

community, Moly-Sabata,

no. 24.

Galerie Drouant-David, Paris, 1943, no. 24.

Passedoit Gallery,

in

gray,

Literature:

1927.

c.

New

"Gleizes",

York, 1949, no. 14.

Magazine of Art, October, 1950,

p. 209.

131.

THE SCHOOLBOY Oil on canvas, 34i

Signed

l.r.

By

(L'ECOLIER). Circa 1924.

x26+"

(87,5 x67,5 cm.).

"Albert Gleizes".

still life

Lent by Mr. and Mrs. John Strauss, Glencoe,

132.

W.

nary"

Faulkner, Chicago.

THE SCHOOLBOY

137. (92

x73

cm.).

was almost wholly formed and

—was

insignificant for

however, was another matter:

it

he

An

felt

that

"imagi-

could reflect ideal

pure and non-imitative forms.

IMAGINARY STILL LIFE. GREEN, second version. (NATURE MORTE IMAGINAIRE, VERDATRE).

1924-36.

on canvas, 39i x28i" (100 x73 cm.). Not signed or dated. Oil

Lent by Musee Cantini, Marseilles. Exhibition:

a subject in itself

still life,

relations,

(L'ECOLIER). 1924.

Gouache and tempera on canvas, 36i >:28i" Not signed or dated.

—as

every day objects precluded largeness of conception.

Illinois.

Provenance: Galerie de Yarenne, Paris. J.

the time Gleizes painted the two Imaginary Still Lifes of 1924,

his conceptual hierarchy of values

Galerie Lucien Blanc, Aix-en-Provence, 1954.

Lent by

Madame

Exhibitions:

Albert Gleizes, Paris.

Rene Gimpel

Galerie,

New

York, 1937, no. 56.

Galerie Berry, Avignon, 1950, no. 11. 133.

FAMILIAR THEME, STUDY FOR "IMAGINARY STILL LIFE. BLUE" (PEINTURE FAMILIERE, DESSIN POUR "NATURE

MORTE IMAGINAIRE,

BLEUE").

1923.

138.

Pencil, 101 x 7i" (27 x 19 cm.).

Signed and dated

l.r.

ture familiere' Dessin

Pencil, lOi

"Alb Gleizes 23"; on reverse "No.

5) "Pein-

mine de plomb 1923 pour Peinture

a

app. a Alb Gleizes".

1

Huile

1923.

x8i"

(27

Signed and dated

x21 cm.).

l.r.

"Alb Gleizes, Serrieres 23"; on reverse

"Dessin mine de plomb "Sur Serrieres 1923' pour un peinture qui appartient a Alb Gleizes No. 10".

Lent by The Solomon R. Guggenheim Museum, Provenance: from the

SERRIERES.

artist.

1938.

New Y ork.

Lent by The Solomon R. Guggenheim Museum,

Provenance: from the

artist.

1938.

New

\ork.

79

92

80

81

/

82

102

83

84

100

104

85

86

114

115

87

89

90

125

91

123

131

124

92

126

128

93

-iTwnwr-

"— 136

137

139

94

139.

COMPOSITION ACCORD, VIEW OF SERRIERES. (COMPOSITION ACCORD, VUE DE SERRIERES).

Madame

Lent by

1930-31.

on canvas, 63 x39i" (160 x 100,5 cm.).

Signed and dated

1.1.

"Alb. Gleizes 1930-31".

Lent by Germaine Henry, Paris.

Provenance: Leonce Rosenberg, Paris.

Albert Gleizes, Paris.

New York, 1937, New York, 1949, no.

Exhibition:

no. 20.

Galerie,

Passedoit Gallery,

COMPOSITION. Oil

"A. Gleizes 24".

l.r.

Rene Gimpel

Exhibitions:

144.

x29" (103,5 x74,5 cm.).

Oil on canvas, 40i

Signed and dated

1924.

Exposition d'Art Francais,

National

Museum

of

Western Art, Tokyo, 1961-62, no. 439.

12.

Galerie Lucien Blanc, Aix-en-Provence, 1954, no. 21.

Musee

Calvet, Avignon, 1962, no. 24.

Musee de Grenoble, 1963, no.

30.

145.

This painting, the drawing which precedes

it

(no.

138) and the

gouache (no. 140) are three versions of the same

later

Gouache on board, 13i x5}" (34 xl5 Signed and dated "Alb Gleizes 30".

real vista of

the village of Serrieres, looking across the hilly village with its

church steeple

and

hills

to its bridge across the

Rhone and

STUDY FOR TRIPTYCH. 1930. A. STUDY FOR LEFT PART OF TRIPTYCH. (ETUDE POUR TRIPTIQUE, PARTIE GAUCHE). cm.).

the fields, trees

STUDY FOR CENTER TRIPTYCH. (ETUDE POUR TRIPTIQUE, CENTRE). B.

of Isere on the far shore.

Gouache on board, 134 >;12i" (34 x31,5 cm.). Signed and dated "Alb Gleizes 30". 140.

SERRIERES.

1927.

Gouache, 81 x 6" (21,5 x 15 cm.). Signed and dated

l.r.

STUDY FOR RIGHT PART OF TRIPTYCH. (ETUDE POUR TRIPTIQUE, PARTIE DROIT). C.

"Alb Gleizes 27".

Lent by The Solomon R. Guggenheim Museum,

New

York.

Gouache on board, 131 x5i" (34 xl4,5 cm.).

Provenance: Hilla Rebay, Greens Farms, Connecticut.

Signed and dated "Alb Gleizes 30".

Solomon R. Guggenheim, New York, 1938.

Lent by Mr. and Mrs. Lester Avnet, Kings Point,

Solomon R. Guggenheim, 1941.

Gift,

Provenance: Galerie

Margit Chanin,

141.

1930.

on canvas, 44i x32" (112 x81 cm.).

seems

Not signed or dated.

itself

New

to paint the inner principles rather

Thus

in this

has been

all

146.

WINGS OF TRIPTYCH. 1930-31. LEFT WING (TRIPTIQUE, PARTIE GAUCHE).

A.

Oil on canvas, 63

x26" (160 x66 cm.).

Signed and dated

1.1.

and divine

RIGHT WING (TRIPTIQUE, PARTIE DROITE).

Oil

on canvas, 63 x26" (160 x66 cm.).

Signed and dated

Gouache,

1932.

Hi x 10"

Signed and dated

"Alb Gleizes 30-31".

love.

B.

GOUACHE.

were explored, but this

but destroyed by moisture.

and in the related gouache (no. 142), the painter

He was

reveals an essential identity between flowers

142.

tonalities

be the only surviving study for the central portion which

discernable in any aspect of nature.

that

work

to

told his students

than the appearance of nature.

the early thirties he was convinced that these principles were,

God and

York.

York.

Echoing an old Thomist axiom, Gleizes had always

in fact,

New

1930-31 in which different color

Lent by Leonard Hutton Galleries,

By

l.r.

"Alb Gleizes 1930-31".

Lent by Mr. and Mrs. Lester Avnet, Kings Point, (30 x25,5 cm.).

l.r.

York.

There were a number of studies for wings of the great triptych of

FORMS, ADORATION. Oil

New

7, Paris.

New

York.

Provenance: C. Renault, Puteaux.

"Alb Gleizes 32"

Margit Chanin,

New

York.

Lent by Germaine Henry, Paris.

During the

late 20's, Gleizes

became increasingly absorbed with

religious themes. His continuing studies of

143.

ture, sculpture

SYMPHONY

IN VIOLET. 1930-31. (SYMPHONIE EN VIOLET). Oil on canvas, 77 x51i" (196 xl31 cm.). Signed and dated

l.r.

et L'Histoire)

and frescoes

(in

Romanesque

architec-

preparation for his book. La

already had given rise to a

which are influenced by Autun and

number

Forme

of compositions

St. Savin.

"Albert Gleizes 1930-31".

Lent by Rudolf Indlekofer, Basel. Exhibition:

Rene Gimpel

Literature:

chevalier,

j.

Galerie,

New

York, 1937, no. 29.

Albert Gleizes et le Cubisme, Basel,

147.

COMPOSITION, FOR "MEDITATION". 1932-33. (COMPOSITION POUR "MEDITATION"). Oil

1962, p. 51.

on canvas, 29i x49" (75,5 x 124,5 cm.). l.r. "Alb Gleizes 32-33".

Signed Gleizes wished to infuse his large compositions of (typified

by

earlier

many elements

works such as nos. 150, 151) with

lyrical

ment. By applying curvilinear greys, which picked up surrounding color tonalities, he

made

color an active compositional force, turn-

ing the forms and causing them

depth in the picture plane.

to create

Madame

Lent by

Albert Gleizes, Paris.

move-

rhythmic thrusts and

Gleizes

made

his first paintings for "meditation" or "contempla-

tion" in 1932-33 (the

key

to

and

which

is

in his personal hierarchy of valid subjects

found in his

illustrations to the

Pensees of

Pascal) he attached the greatest significance to these works.

A

95

this painting is

drawing for

reproduced in

J.

Chevalier

Gleizes et le Cubisme, Basel, 1962, p. 22 and an etching

s

Albert

This painting

is

in the

no. 122.

is

Woman

a variation of the 1920

with Black Glove,

Pensees of Pascal, p. 68.

153.

148.

LIGHT (LUMIERE). Oil

1932-33.

"Alh Gleizes 32-33".

l.r.

Rene Gimpel

Galerie,

Madame

Lent by

New York. New York 1937,

Lent by Leonard Hutton-Hutschnecker, Exhibitions:

JAUNE).

1933.

on canvas, 33i x44$" (84,5 x 114 cm.). Signed and dated l.r. "Alb Gleizes 1933". Oil

on canvas, 44 x3(M" (112 x78 cm.).

Signed and dated

YELLOW LIGHT (LUMIERE

Passedoit Gallery,

New York, 1937, no. New York, 1949, no. 19.

GRAY,

Magazine of Art, October,

no. 50.

Galerie Drouant-David, Paris, 1943, no. 23.

Literature:

Albert Gleizes, Paris.

Rene Gimpel

Exhibitions:

c.

Galerie,

"Gleizes",

51.

1950,

pp. 209-210.

"The problem of

light", wrote Gleizes, "is a

light is not concrete,

it is

problem of

For

faith.

perfectly metaphysical, being ineffable".

Believing that space, time and light were one and the same, he that

if

felt

154.

he could make color move, analagous to the flow in a rain-

PAINTING, Oil

bow's spectrum, he could approach the absolute.

Signed and dated

Madame

Lent by

Exhibitions: 149.

GREEN-BROWN SPIRAL (SPIRALE VERT-BRUN).

Madame

Lent by

l.r.

"Albert Gleizes 32-33".

Albert Gleizes, Paris.

Rene Gimpel

1932-33.

New

Galerie,

York, 1937, no. 39.

Galerie Drouant-David, Paris, 1943, no. 35.

"Albert Gleizes 32-33".

l.r.

This composition exists as an etching in a limited edition of the

Albert Gleizes, Paris.

Musee

Exhibitions:

MOBILE). 1932-33.

x30j" (168 x78 cm.).

Oil on canvas, 66i

Signed and dated

MOVEMENT (PEINTURE

on canvas, 41 i x53i" (105,5 x 136,5 cm.).

Pensees of Pascal.

Calvet, Avignon, 1962, no. 26.

Galerie Lucien Blanc, Aix-en-Provence, 1960, no. 44. 155.

150.

COMPOSITION WITH SEVEN ELEMENTS, (LES SEPT ELEMENTS) 1924-25. Oil on canvas, 56i

Signed and dated

x40l" (143,5 "1925 Alb

l.r.

version.

Signed and dated

Exhibitions:

This

version of Seven Elements

is

"Alb Gleizes 1935".

Carnegie International, Pittsburgh, 1936, no. 190, Galerie Drouant-David, Paris, 1943, no. 28.

Marlborough Gallery, London, 1956, no.

1925, no. 66.

Trente ans d'Art Independant, Paris, 1926. no. 1060.

first

l.r.

Lent by Musee de Dijon.

x 103,5 cm.).

Exhibitions:

1935.

on canvas, 54 x36i" (137 x92 cm.).

Oil first

Gleizes".

Madame Albert Gleizes, Paris. L 'Art d'Aujourd'hui, Paris,

Lent by

CRUCIFIXION.

one in a

A larger version of this crucifixion, from Madame

series of large

1936,

is

34.

in the collection of

Gleizes.

compositions intended as studies for huge wall murals. 156. 151.

PAINTING WITH SEVEN ELEMENTS. (LES SEPT ELEMENTS).

AND CHILD

VIRGIN Oil

1924-34.

Not signed or

A L'ENFANT).

1935.

dated.

Madame

Lent by

on canvas, 102 i x70j" (260 xl80 cm.). Signed and dated l.r. "Alb Gleizes 24". Oil

(LA VIERGE

on canvas, 56 x37i" (142 x95 cm.). Albert Gleizes, Paris.

Musee

Exhibition:

Calvet, Avignon, 1962, no. 30.

Lent by Musee National d'Art Moderne, Paris. This composition exists in several versions, one reversed, and was

Galerie Drouant-David, Paris, 1943, no. 29.

Exhibitions:

also

adapted in ceramic

Musee de Grenoble, 1963, no.

and

specifically iconographic than

31.

tile

many works

literal

of this period,

it

nevertheless shows a loosening of painting technique.

gleizes, a. Tradition et Cubisme, Paris, 1927, p. 205.

Literature:

by Anne Dangar. Although more

Chapelle du Lycee Ampere, Lyon, 1947, no. 16.

(illustrated before final changes).

This

is

a close reworking of the

circular

first

version, with the addition of

157.

rhythmic greys. The central element (derived from a 1924

painting)

is

identified as

"Grandeur of Man" in the

Chapter 3 of the Pensees of Pascal. 1943, in which the center element

Still is

Ink, 10}

totally replaced

by a

x7i"

1936.

(27,5 xl8,5 cm.).

Signed and dated

illustration for

a third version exists,

MATERNITY (MATERNITE). l.r.

"Alb Gleizes 36".

Lent by Mr. and Mrs. Isadore Levin, Palm Beach.

from

series of

rotating spirals. 158.

152.

SEATED WOMAN.

1934.

(FIGURE OVALE, CERCLE BRUN-BLEU-VERT). Oil

on canvas, 50 x33" (127 x84 cm.).

Signed and dated

Lent by

Madame

Exhibitions:

l.r.

"Alb Gleizes 34".

Albert Gleizes, Paris.

Galerie Lucien Blanc, Aix-en-Provence, 1960, no. 44.

Musee

Calvet, Avignon, 1962, no. 31.

SKETCH FOR AIR PAVILION MURAL, PARIS EXPOSITION. (ETUDE POUR LE PA VILLON DE L'AIR A L'EXPOSITION DES ARTS, Gouache, Signed

Hi

l.r.

PARIS). 1937.

x25i"

(28,5

x64

cm.).

"Albert Gleizes 37".

Lent by Mr. and Mrs. Lester Avnet, Kings Point, Provenance: Galerie

7, Paris.

Margit Chanin,

New

^ ork.

New

York.

96

commissioned

Gleizes was

to

make two enormous murals

Paris Exposition of 1937, one for the Pavilion of the Air

and Leger,

other, with Survage

mural

itself is in

Paris.

The

known

storage in the

central motif derives

The Two Americans,

as

and again

in 1945.

Union des

for the

Artistes.

Musee d'Art Moderne de

Lent by Germaine Henry, Paris.

at the

and the

The

la Ville

de

163.

from a 1920 painting, informally to

Oil

which Gleizes returned in 1924

The theme was

also executed in mosaic

COMPOSITION.

1939.

on canvas, 72 x58i" (183 xl48 cm.).

Signed and dated

by

Lent by

Frank Perse.

Madame

Exhibitions:

"Albert Gleizes 39".

l.r.

Albert Gleizes, Paris.

Galerie Lucien Blanc, Aix-en-Provence, 1960, no. 42.

Musee

Calvet, Avignon, 1962, no. 29.

Musee de Grenoble, 1963, 159.

STUDY FOR "THE TRANSFIGURATION". (ETUDE POUR "TRANSFIGURATION"). Gouache, 22+ xl5i" (57 x39,5 cm.). Signed and dated

l.r.

164.

"39^0-41 Albert

Gleizes".

Lent by Germaine Henry, Paris.

STUDY, PAINTING FOR CONTEMPLATION. 1943. (ETUDE POUR SUPPORT DE CONTEMPLATION). Ink, 13|

x9+" (34 x24

Signed and dated This

is

a study for the central panel of an

no. 40.

1939-41.

immense

triptych in the

l.r.

cm.).

"Alb Gleizes 43".

Lent by Walter Firpo, Marseilles.

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.

with the demands of his painting style in order to produce murals

understandable to a wide public. The iconography of the Transfiguration, however, had been largely forgotten traditional,

and inclusion of

but obscure, symbols only further alienated the

STUDY, PAINTING FOR CONTEMPLATION. 1943. (ETUDE POUR SUPPORT DE CONTEMPLATION). Ink,

its

14ixll" (36x28

Signed and dated

artist

Lent by

V\ alter

l.r.

cm.).

"Alb Gleizes 43".

Firpo, Marseilles.

from popular appreciation.

160.

SKETCH FOR ALADDIN (ETUDE POUR ALADIN).

166.

1938.

Gouache, 17} xl0|" (44 x27 cm.). Signed and dated

l.r.

1942.

"Alb Gleizes 1938, Aladin".

Lent by Marlborough-Gerson Gallery,

New

PAINTING FOR CONTEMPLATION, DOMINANT ROSE AND GREEN (COMPOSITION, DOMINANTES ROSES ET VERTES). Oil

York.

on burlap, 85i x52" (217 xl32 cm.).

Signed and dated

l.r.

"Albert Gleizes 42".

Lent by The Solomon R. Guggenheim Museum, 161.

FOUR LEGENDARY FIGURES OF THE SKY. 1939-40. (QUATRE PERSONNAGES LEGENDAIRES DU CIEL). Oil

Madame

Provenance:

Gift,

Literature:

"Presence 1952,

on canvas:

New

York.

Albert Gleizes, Paris, 1963.

d'Albert

Gleizes",

Zodiaque,

January,

pi. 16, p. 42.

A. LEONARDO DA VINCI, 118i x50" (300 xl27 cm.). B. aladdin, 122 C. sinbad, 121}

During the war, which made materials impossible

x74i" (310 x 188 cm.). x74j" (308 x 189 cm.).

D. icarus, 122 x74}" (309 x 189 cm.).

paint.

He had used

Not signed or dated.

found

it

Lent by

Madame

Exhibition:

to obtain, Gleizes

painted on burlap, sizing the porous material with glue mixed with

burlap in some of his earliest paintings and

congenial to his again vigorous touch, for

it

now

took the most

powerful strokes even while preserving the matte surface he so

Albert Gleizes, Paris.

valued.

Chapelle du Lycee Ampere, Lyon, 1947, nos. 54, 55, 56, 57.

Literature:

labastie, a. "Albert Gleizes", Arts

de

France,

9,

167.

1946, pp. 77-85.

"Presence

d'Albert

Gleizes",

Zodiaque,

January,

SKETCH FOR "MOVEMENT WITH BLUE SPOTS". 1943. (ETUDE POUR "MOUVEMENT A TACHES BLEUES"). Gouache, 4} x5+" (11 xl4 cm.).

1952, p. 37.

Signed and dated

l.r.

"Alb Gleizes 43".

Lent by Walter Firpo, Marseilles.

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

four Villon panels dealing with the physical conquest

of space with four Gleizes panels reflecting man's

dream of

Although the mural was never executed, many studies for

168.

space.

it

were

Oil

produced and Gleizes made a separate canvas of each of his subjects. Illustrations for the

In 1963,

The Gobelins

translate the

Lent by

theme "Grandeur of Man" while the Icarus

panel was related to "the hateful ego" and suggests the studios of the French

work of the two friends into a

fall

COMPOSITION.

1937.

Gouache, 11 x8" (28 x20 cm.). Signed and dated

l.r.

"Alb Gleizes 37"

x61|" (115,5 xl56 cm.).

l.r.

"Albert Gleizes 43".

Gleizes, Paris.

Galerie Lucien Blanc, Aix-en-Provence, 1960, no. 46.

Musee

Calvet, Avignon, 1962, no. 32.

Musee de Grenoble, 1963, no. 43

to

tapestry.

169. 162.

45+.

Madame

Exhibitions:

of man.

Government began

on canvas,

Signed and dated

Pensees of Pascal show that the Leonardo

figure developed into the

MOVEMENT WITH BLUE SPOTS. 1943. (MOUVEMENT A TACHES BLEUES).

COMPOSITION.

1943.

Gouache, 12 x8" (30,5 x20 cm.). Signed and dated

l.r.

"Alb Gleizes 43".

Lent by Germaine Henry, Paris.

(pi. XIII).

97

170.

FOR MEDITATION (POUR MEDITATION). Oil on burlap, 25i x2H" (65 x54,5 cm.). Signed and dated

Madame

Lent by

Exhibition:

171.

IMAGE.

l.r.

Provenance: Hans Kleinschmidt,

1944.

The drawing

"Alb Gleizes 44".

(Chapter

Albert Gleizes, Paris.

1944.

178.

x234" (73 x60 cm.). Signed and dated l.r. "Alb Gleizes 44".

Oil on canvas, 284

Oil

In a general

way

it

relates to the Pascal

on board, 314 x20i" (80,5 x52 cm.).

Signed and dated

et dTndustrie, St. Etienne.

Madame

"Alb Gleizes 52".

l.r.

Albert Gleizes, Paris.

Galerie Lucien Blanc, Aix-en-Provence, 1960, no. 53.

Exhibitions:

SKETCH DEDICATED TO ANNE DANGAR. (ETUDE DEDIEE A ANNE DANGAR).

preparatory to an etching in the Pensees of Pascal

III) (see no. 161).

COMPOSITION, WHITE, BLUE, VIOLET. 1952. (COMPOSITION, BLANC, BLEU, VIOLET).

Lent by

172.

York.

phrase, "Le Cceur a ses raisons..."

Chapelle du Lycee Ampere, Lyon, 1947, no. 61.

Lent by Musee dArt

is

New

Musee

1944.

Calvet, Avignon, 1962, no. 39.

Musee de Grenoble, 1963, no. 47 (pl.XV).

Gouache, 6 J x4|" (17 xll,5 cm.). Signed and dated chere eleve

l.r.

ma

"Albert Gleizes 1944"; inscribed "pour

Anne Dangar

Saint Remy-de-Provence Avril 1945 Les

179.

Mejades Albert Gleizes".

Madame

Lent by

Albert Gleizes, Paris.

COMPOSITION, THE DRAGONFLY. (COMPOSITION, LA LIBELLULE). Oil

1951-52.

on canvas, 31+ x22i" (80 x57 cm.).

Not signed or dated. Lent by 173.

THE SCHOOLBOY Oil

(L'ECOLIER), third

Madame

Albert Gleizes, Paris.

Marlborough, London, 1956, no. 42 (misdated).

Exhibition:

version. 1944.

on burlap, 391 x31i* (100 x80 cm.).

Signed and dated Lent by Madame

"Alb Gleizes 44".

After completing the etchings for Pascal, Gleizes' painting style

Albert Gleizes, Paris.

achieved a lightness and liquidity of touch approached only by the

l.r.

New York and Bermuda This

is

FOR MEDITATION, WHITE.

Madame

Lent by

175.

l.r.

Lent by

x3H"

Signed and dated

l.r.

x80

(100

1945.

181.

cm.).

"Albert Gleizes 1945".

Cubisme",

4 Soli, no.

i

les destinees

1955, pp. 6-7.

(ill.

du

Madame

his typical tilting planes

Musee

as

and

COMPOSITION. Oil

called "the cadence",

dark

somber

1948.

182.

Signed and dated

Madame

l.r.

"Albert Gleizes 48".

Lent by

is

among

the last paintings

made

before Gleizes' two year

GRANDEUR OF MAN (GRANDEUR DE L'HOMME). 124x9+"

Signed

l.r.

(32

x24

Lent by The Solomon R. Mrs.

Kay Hillman,

1950.

1964.

Most of the tentative.

cm.).

"A. G."; inscribed

1.1.

"No

18. Ill

Grandeur d'Homme".

Guggenheim Museum, New

Albert Gleizes, Paris.

Galerie Lucien Blanc, Aix-en-Provence, 1960, no. 55. Calvet, Avignon, 1962, no. 42.

Musee de Grenoble, 1963, Literature:

Ink,

1953.

Musee

project, the illustrations of the Pensees of Pascal.

177.

always dominant, especially in a work of

dated.

Madame

Exhibitions:

This

is

on board, 284 x23+" (73 x60 cm.).

Not signed or

Albert Gleizes, Paris.

York,

Gift,

XVI).

colors.

ARABESQUES. Oil

(pi.

austere effect of his lucid construction even within the flowing

ease of the late style,

his forms.

on board, 18 x 15" (46 x38 cm.).

Lent by

The

circular motions, since the late 30's

emphasis to regulate the movement of

176.

Calvet, Avignon, 1962, no. 40.

Musee de Grenoble, 1963, no. 49

had increasingly added what he

Gleizes

Albert Gleizes, Paris.

Galerie Lucien Blanc, Aix-en-Provence, 1960, no. 54.

Exhibitions:

Ornement).

To

1952.

Not signed or dated.

"Albert Gleizes et 2,

GRIS-BRUN).

on board, 42 i x26l" (109 x66,5 cm.).

Lent by

r.

Calvet, Avignon, 1962, no. 38.

GRAY-BROWN FIGURE (FIGURE Oil

Lent by Rene Deroudille, Lyon.

deroudille,

Albert Gleizes, Paris.

Galerie Lucien Blanc, Aix-en-Provence, 1960, no. 52.

Musee

THE MISTRAL (VENT DU NORD).

Literature:

Madame

Exhibitions:

"Alb Gleizes 44".

Albert Gleizes, Paris.

Oil on canvas, 39i

1952.

x20i" (74 x51 cm.).

Not signed or dated.

on burlap, 36i x294" (92 x75,5 cm.).

Signed and dated

COMPOSITION ROSE. Oil on board, 29i

1944.

(POUR MEDITATION, BLANC). Oil

77 to 117).

a late return to earlier compositions, see nos. 131 and 132.

180. 174.

series, (nos.

Albert Gleizes:

titles

no. 51.

Hommage, Lyon,

1954.

of the late paintings, and this

But Arabesques

is

is

pi. 8.

his last,

a term he often used and

it

were

has refer-

ences appropriate to his often stated admiration for the lyrical and passionate geometry of Islamic art (see "Arabesques, L'Entrelac

Arabe", in Cahiers du Sud, special no., August-September, 1935).

98

141

148

99

100

144

147

154

102

146

A

103

!

146 B

104

150

105

106

156

107

108

161

A

161

B

109

161

C

161

D

110

Ill

'!"*>

112

113

/

176

114

181

115

116

117

182

D(imiE.\T.vrio.\

120

om:

11

a\ Minti 'io\s i

chateau DE lourmarin, Lourmarin, July-August, 1960, Albert

i

Gleizes, Art Sacre. 7, Paris, May 24-June 14, 1962, Exposition a" Albert Gleizes. musee calvet, Avignon, Spring-Summer, 1962, Albert Gleizes, 1881-

galerie

1953. Texts by Lucien Blanc, Waldemar George, Fernand Rude. MUSEE de grenoble, Grenoble, June 15-August, 1963, Albert Gleizes et

galerie dalmau, Barcelona, 1916

(Fall),

Tempete dans

les

Salons, 1910-1914. Preface by Gabrielle

Kueny.

Albert Gleizes.

galerie de l'effort moderne, Paris, 1920, Albert Gleizes. See Bulletin de

der sturm, of

l' Effort

Moderne,

Paris, no. 1, 1924.

November, 1920, Albert

Berlin,

der sturm. Travelled

to Stuttgart,

Der Sturm, Baden-Baden chez la cible (povolozky),

Gleizes. 91st exhibition

Rome and New

York. See

54, 1954, p. 266. Paris, April-May, 1921, Albert Gleizes.

belmaison gallery of modern art, Wanamaker's, New York,

March 15-31, 1923, Exhibition of Recent Paintings by Albert

GROUP

I

MilOtl

I

l«\>

Gleizes.

kuhn and kuhn, Dresden,

1924, Albert Gleizes.

galerie vavin-raspail, Paris, 1925, Albert Gleizes Retrospective. abstraction-creation, Paris, June 1-15, 1934, Exposition Gleizes: Oeuvres de 1901-1934.

rene gimpel galerie, New York, December 1937, Albert Gleizes.

A

15,

1936-January 15, Societe Nationale des Beaux-Arts, Paris, 1902.

Retrospective Exhibition.

galerie drouant-david, Paris,

May 20-June

5,

1943, Albert Gleizes.

galerie des carets, Paris, May 2-24, 1947, Albert Gleizes. Preface

by Dom. Angelico Surchamp, Albert Gleizes, 50

Peinture. Preface

extracts

Gleizes

galerie DES Dessins

et

garets, Paris, April,

14, 1947,

by Marcel Michaud,

from Temoignages, 12 and 1948,

14.

Gleizes: 30 Gouaches,

New

York, October 10-November

5,

1949,

galerie berry, Avignon, July 22-August 20, 1950, Albert Gleizes, galerie moullot, Marseilles, September, 1950, Albert Gleizes.

chapelle de l'oratoire, Avignon, July 22-August de Pascal sur I Homme

et

by Albert

31, 1950, Pensees

Dieu: 57 Eaux Fortes par Albert

by Maurice Allemand.

de Pascal sur I'Homme

by

et

Dieu: 57 Eaux-Fortes par Albert

de

Exposition de V Art Francois, Spring, 1908, organized by Alexandre

Mercereau for the Toison d'Or, Moscow. Paris, 1910.

Jack of Diamonds (Valet de Carreau), Moscow,

1st exhibition,

1910;

exhibition, 1912.

Salon d'Automne, Paris, 1910.

Originales par Albert Gleizes. Preface by Rene Jullian.

galerie colette allendy, Paris, November, 1951, Albert Gleizes. galerie lucien blanc, Aix-en-Provence, November-December, 1954, Retrospective Albert Gleizes. Preface by

Andre

Schoeller.

galerie mathias fels, Paris, 1956, Albert Gleizes.

Gleizes: Paintings,

Juliette

Roche

Gleizes,

Segonzac, Brussels, June 10-July

Leger,

3, 1911.

Le Fauconnier,

Catalogue preface by

Apollinaire.

December

16, 1911, Exposition d' Art

Paris,

November 20-

Contemporain. Catalogue

preface by Rene Blum.

Salon des Independants, Paris, 1912.

Salon d'Automne,

Paris, 1912.

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 Mo-

Gouaches, Drawings.

derne

et le

Tableau", by Henri Le Fauconnier.

galerie de la boetie, Paris, October 10-30, 1912, Salon de la Section d'Or. Catalogue preface by

Rene Blum.

galerie berthe Weill, Paris, January 17-February

art, ltd., London, September-October, 1956,

Albert

Brussels Independants: Delauny,

Societe

Gleizes.

musee des beaux-arts de lyon, December 2-31, 1950, Pensees de Pascal sur I'Homme et Dieu, Illustrees de 57 Eaux-Fortes

Preface by

Gleizes.

galerie simone heller, Paris, September-October, 1958, Albert Gleizes.

galerie lucien blanc, Aix-en-Provence, July- August, 1960, Albert Gleizes, 1881-1953.

Peintres

Salon d'Automne, Paris, 1911.

librairie la hune, Paris, October 20-November 10, 1950, Pensees

Marlborough fine

Les

1908,

galerie d'art ancien et d'art contemporain,

Gleizes.

musee d'art et d'industrie, Saint Etienne, September, 1950, Pensees de Pascal sur I' Homme, et Dieu: 57 Eaux Fortes par Albert

Gleizes. Introduction

January-February,

Salon des Independants, Paris, 1911.

Peintures 1915^18.

Gleizes. Preface

Paris,

"I'Abbaye".

2nd

Albert Gleizes Retrospective Exhibition.

Gleizes. Preface

LA FRANgAlSE,

Salon des Independants,

Ceramiques.

passedoit gallery,

Societe Nationale des Beaux-Arts, Paris, 1906.

Societe Nationale des Beaux-Arts, Paris, 1907.

o.s.B.

chapelle du lycee ampere, Lyon, November 15-December

Ans de by Surchamp and

Salon d'Automne, Paris, 1903. Salon d'Automne, Paris, 1904.

Preface by Jean Chevalier.

Metzinger, Leger. Catalogue introduction by

J.

1,

1913, Gleizes,

Granie.

Salon des Independants, Paris, 1913. International Exhibition of

Modern Art (The Armory Show), New

York, Chicago, Boston, 1913.

der sturm,

Berlin,

November, 1913, Expressionisten, Kubisten,

Futuristen.

galerie hans goltz, Munich, August-September, 1913,

2.

Gesamt

121

Ausstellung Neue Kunst. Catalogue texts by Hausenstein and

Andre Salmon. Paris, 1913. Catalogue preface

Salon d'Automne,

der sturm,

by Marcel Sembat.

September 20-October, 1913, Erster Deutscher

Berlin,

belmaison gallery of modern art, Wanamaker's, New York, March 9-31, 1922. ler Salon des Tuileries, Paris, 1923.

Salon des Independants, Paris, 1923.

Salon des Independants, Paris, 1914.

musee municipal, .Amsterdam, April-May, 1924, Exposition de VEjfort Moderne.

Exposition Universelle, Lyon, 1914.

galerie

Herbstsalon.

s.

u.

v.

MANES, Prague, February-March, 1914, Moderni Umeni

(Modern

Art). 45th exhibition, catalogue preface

by Alexandre

2eme Salon des

galerie andre groult, Paris, April 6-May Sculptures de R.

3,

1914, Exposition de

Duchamp- Villon; Dessins, Aquarelles d Albert

Gleizes; Gravures de Jacques Villon: Dessins de Jean Metzinger.

Berlin, July, 1914, Gleizes, Metzinger, Villon,

Duchamp-

January

2, 1915, First

Exhibition

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

Paris, 1924.

Catalogue preface by Guillaume Dalbert.

L'Art d'Aujourd'hui

Carroll galleries, New York, March 8-April

1915, Third Ex-

3,

bourgeois galleries, New York, April 3-29, 1916, Exhibition of Modern Art, arranged by a group of European and American

3eme Salon des

Tuileries, Paris, 1925.

bourgeois galleries, New York, February 10-March

Crotti,

Exhibition

International Societe

grand

of Modern Art, arranged by

New

10,

1917,

palais, Paris, 1926, Salon des Independants, Trente

6,

1917,

New

York

Independents (Society of Independent Artists). 11, 1917,

Exhibition of Modern Art. ardsley studios, Columbia Heights, New York,

31, 1919,

Tuileries, Paris, 1927.

6eme Salon des

Tuileries, Paris, 1928.

March

by Hamilton Easter

Tuileries, Paris, 1929.

de hauke &

New York, April,

preface

Co.,

by Albert

Seme Salon des

1930, Cubism (period 1910-1913).

Paris,

25-May

April

May-June, 1932, L'Epoque Heroique du

Paris,

Stuttgart, 1932.

L'Art Rhodanien, Serrieres, September, 1932.

12eme Salon des

Tuileries, Paris, 1934.

palais, Paris, January

20-March

4, 1934, Societe

des Artistes

Independants, (50th Anniversary). les expositions de "beaux-arts", Paris, March-April, 1935, Les Createurs du Cubisme. Catalogue by

by Maurice Raynal. Premier Salon de

I'

Art Mural, Paris,

Raymond

May 31-June

Cogniat, preface

30, 1935.

Carnegie institute, Pittsburgh, October 15-December

and Amsterdam.

6,

1936,

International Exhibition of Paintings.

Paris, 1920.

Pennsylvania academy of fine ARTS, Philadelphia, 1920, Loan Exhibition of Paintings and Drawings by Artists of the

Exposition

1932,

25,

Cubisme.

Salon des Independants, Paris, 1920.

d'Or. Travelled to Brussels

Firpo.

Tuileries, Paris, 1930.

Salon d'Automne, Paris, 1919. galerie de la boetie, Paris, March, 1920, 2eme Salon de la Section

14, 1930. Catalogue

by Walter

Gleizes, organized

d'Oeuvres Cubistes, Surrealistes et Abstraites.

grand

Field.

bourgeois galleries, New York, May, 1919, Annual Exhibition of Modern Art. Catalogue preface by Albert Gleizes.

Modern

French School.

galerie Weill, Paris, December, 1920-January, 1921, Fauves, Cubistes et Post-Cubistes.

Berlin, January, 1921, 93rd exhibition, Albert Gleizes,

Jacques Villon, Louis Marcoussis.

MUSEUM OF LIVING ART

New

University,

(a.

York,

E.

Helion.

petit

palais,

Paris,

June-October,

galerie de l'effort moderne, Paris, 1921, Les Maitres du Cubisme.

I'

Art

5,

1937,

International Exhibition of Paintings.

l' association

Salon d'Automne, Paris, 1921.

Les Maitres de

carnegie institute, Pittsburgh, October 14-December Exposition Internationale des Arts

Berlin, September, 1921, Hundertste Ausstellung.

1937,

Independant, 1895-1937.

museum of French art, New York, March 16-April 3, 1921, Loan Exhibition: Works by Cezanne, Redon... and others. Catalogue foreword by Forbes Watson.

New York

GALLATIN COLLECTION),

December, 1936. Catalogue by Jean

Exposition Internationale des Arts Plastiques, Geneva, January, 1921.

der sturm,

d'Art

Paris, 1928.

7eme Salon des

STUTTGART KUNSTGEBAUDE, to

Lithographs by Fantin-Latour and Recent Paintings by Albert Gleizes. Catalogue preface

5eme Salon des

galerie bonjean,

bourgeois galleries, New York, November 11-December

der sturm,

Ans

4-eme Salon des Tuileries, Paris, 1926.

leonce Rosenberg,

York.

grand central palace, New York, April 10-May

Salon d'Automne,

the

Anonyme.

Le Salon de Printemps, Nice, March 29-April

Exhibition of Modern Art, arranged by a group of European and Artists in

Paris, 1925.

the Brooklyn museum, New York, November-December, 1926,

Salon d'Automne,

York.

montross gallery, New York, April 4—22, 1916, Pictures by Duchamp, Gleizes, Metzinger. Den Franske Utstilling, Oslo, November-December, 1916.

American

No-

Paris,

Salon d'Automne, Paris, 1926.

hibition of Contemporary French Art.

New

(L'Art Plastique Non-Imitatif),

Independant.

preface unsigned.

Artists in

Lurcat,

galerie vavin-raspail, Paris, January 12-31, 1925, Section d'Or.

Salon d'Automne,

Villon. to

Valmier,

Gleizes,

vember 30-December, 1925.

Catalogue preface by Andre Salmon.

Carroll galleries, New York,

1924,

Paris,

Tuileries, Paris, 1924.

Salon d'Automne,

Mercereau.

der sturm,

briant-robert,

Marcoussis.

et

Techniques, Paris, 1937.

d'art mural, Paris, Troisieme Salon de

I'

Art Mural,

June, 1938.

george wildenstein and

Co.,

London, January, 1939, From the

Salon d'Automne.

musee galliera,

Paris, March-April, 1939,

(Exhibition porza).

De Vldee a

la Forme.

122

berner KDNSTMDSEDM, Bern. May 6-June Gris,' Leger,' Gleizes, Bores,

May 25-Jime

galerie de France, Paris,

4, 1939, Picasso,

Braque,

30, 1945,

Le Cubisme 1911-

1918. Catalogue preface by Bernard Dorival.

musee municipal d'art moderne,

Detroit institute of arts, September 27-November

3,

1957:

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.

Virginia

Beaudin, Vines, Laurens.

Paris, July, 1945, Salon des Re'alites

societe vivaroise des beaux-arts. Hotel de Ville de Privas, October

Nouvelles.

the London gallery, London, May, 1947, The Cubist

Spirit in its

27-November et

Time.

11, 1957, Albert Gleizes et les Peintres Vivarois

Rhodaniens. Introduction by Louis Cros.

galerie des garets, Paris, April 20-May 11, 1948, Gouaches par

Paintings from the Musee National d'Art Moderne, Paris, October 2,

Anne Dangar.

1957-April 15, 1958, institute of contemporary art, Boston,

Albert Gleizes; Ceramiques d'apres Gleizes par

Palais des papes, Avignon, July 20-October 30, 1948, Exposition

galerie colette allendy", Paris, February 27-March

15,

1951,

Robert Delaunay, Sonia Delaunay, Albert Gleizes. stedelijk van abbe museum, Eindhoven, March, 1951, De Europese

du kursaal, Menton, August 3-October

de Peinture de France.

1,

1951, ler Biennale

1st prize to Gleizes. (Recreation of

Menton

Biennale, Gleizes room in Marseilles, October, 1951.) MDSEU de arte moderna DE Sao paulo, Sao Paulo, Brazil. October,

1951,

/.

Paris,

May-June, 1952, L'Oeuvre du

siecle.

societe des beaux-arts de dragutgnan, Draguignan, May-June 15,

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. 1952,

hotel de

Avignon Salon.

ville, Avignon, February-March, 1953,

ecole des beaux-arts,

Paris,

March-April, 1953, Exposition du

Cubisme aux Arts Traditionnels, "la lecon cimaise de parts, Paris,

May

d' Albert Gleizes".

5-14, 1953, Les Peintres de I'Fcole de

Brazil,

December,

moderna museets vanner, Stockholm, stuttgarter kunstkabinet, Kunst- Auktion,

The

galerie fricker, Paris, March 13-April

musee national d'art moderne, les Collections

9,

1959,

Rythmes

Danses.

et

Paris, July, 1959, L'Ecole

de Paris

Beiges.

Marlborough fine art ltd., London, February-March, and XX Century Drawings and Watercolors. yale university art gallery',

New Haven,

Connecticut,

1960,

AVA"

May -June,

1960, Exhibition by Yale Collectors.

Ecole de Paris, Art Decoratif. Tokyo, 1960. Dangar compositions after Gleizes.

musee national d'art moderne, 23, 1961, "Les Sources

du

Paris,

XXe

November

siecle",

4,

1960-January

Les Arts en Europe de

1884 a 1914.

musee national d'art moderne,

Paris,

July-September.

Depuis Bonnard, and haus der kunst, Munich, 1961,

1961,

Von

Bonnard Bis Heute. 7,

1961,

nationalgalerie, Berlin, September 24-November

1961, Der

19,

Sturm.

1953, II Bienal.

Stuttgart,

1954, Cezanne Till Picasso.

November 24-26,

1954, 20

Sammlung Nell Walden.

musee national d'art moderne,

Paris, 1954,

haus der kunst, Munich, 1961, Les Chefs d'Oeuvres des Collections Privees Francois.

national museum

Le Dessin, de Toulouse-

gallery', London, 1955, Twentieth Century Masters.

the university of Michigan museum, Ann Arbor, 1955, The Winston

of western art, Tokyo, November,

1961-

January, 1962, Exposition d'Art Francois, 1840-1940.

hotel estrine,

Lautrec aux Cubistes. Catalogue by Bernard Dorival.

Remy-de-Provence, July-August, 1962, Gleizes

et

jahrhunderts, Vienna, September 21-November

4,

St.

Disciples.

museum des

20.

Kunst von 1900 bis Heute. wallraf-richartz museum, Cologne, September 12-December 1962,

Collection.

galerie de l'institut, Paris, March 18-April 13, 1955, Evocation de I'Epoque Heroique. Introduction by

W aldemar

musee d'antibes, Antibes, Summer, 1955, Baume-Durrbach. Tapestries,

1962, Europdische

George.

Tapisseries, Atelier J. de

after Albert Gleizes.

rose fried gallery', New York, October 17-November

26, 1955,

5,

1956, Six Disciples

de Gleizes. Including Rene Barlerin, Jean Chevalier, Albert Coste, Henriette Gremeret, Maurice Gremeret

and Rene Pascal.

kunsthalle Recklinghausen, Recklinghausen, June 16-July

31,

1957, Verkannte Kunst: Ausstellung der Ruhrfestspiele.

musee d'art et d'industrie, Saint Etienne, 1957, Art (1910-1939).

Catalogue

Abstrait, Les

by Maurice

Allemand.

galerie axdre bost, Valence, August 31-September 14, 1957,

Autour de Moly-Sabata.

A

9,

Kunst 1912.

library',

New

York, 1963, Stravinsky and the

catalogue of Decor and Costume designs for stage

productions of his works 1910-1962.

universite de Paris, palais de la decouverte, Paris, January 20-

galerie de l'institut, Paris, March 16-April

Generations

NEW YORK public Theatre:

30 Works by 17 Modern Masters.

Premieres

27, 1958,

Modern Masters.

museu DE arte moderna DE sao paulo, Sao Paulo,

la

1957,

Brooklyn Bridge.

international galleries, Chicago, September 15-October

Gleizes.

Salon des Independants, Paris, 1953.

Marlborough

the Brooklyn museum, New York, April 28-July

dans

Bienal.

musee national dart moderne,

XXe

art center, Minneapolis, Minnesota.

Marlborough FINE art ltd., London, October-December, XIX and XX Century European Masters. galerie knoedler, Paris, 1958, Les Soirees de Paris.

Kunst. Palais

columbus gallery of fine arts, Columbus,

Massachusetts;

Ohio: Carnegie institute, Pittsburgh, Pennsylvania; walker

d'Art Sacre.

February 17, 1963, Formes mathematiques, Peintres, Sculpteurs Contemporains.

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.

kaplan gallery', London, October-November

11, 1963,

The Cubist

Painters.

galerie romanet, Paris, November, 1963, Deux Cents Aquarelles

et

Dessins de Renoir a Picasso.

galerie romanet, Paris, April, 1964, Quelques Tableaux parmi Autres.

les

123

BIBLIOGRAPHY

The bibliography and

divides into two groups

:

first,

Gleizes, including articles, books,

by Albert

illustrated

a complete

list

of works

unpublished manuscripts

books and second, a selected ;

list

of works about Albert

Gleizes together with related source material, including articles, books,

unpublished manuscripts and those general studies of Modern Art

which contain significant material about the artist. Entries are arranged D.R.

chronologically.

BY GLEIZES

\ltlllll>

"L'Art et ses representants. Jean Metzinger", Revue Independante, Paris,

September, 1911, pp. 161-172.

"Le Fauconnier

5,

son ceuvre", Revue Independante, Paris, October,

et

1911. Unlocated article listed in Le Fauconnier bibbographies.

A propos du Salon d'Automne", Les Bandeaux d'Or,

"Les Beaux Arts.

series 4, no. 13,

"Cubisme devant Paris,

1911-1912, pp. 42-51.

les Artistes",

et la Tradition",

Reprinted in Tradition

from

O

burg, no.

3,

[Extracts

A

et litteraires,

response to an inquiry.

Montjoie, Paris, February 10, 1913,

et

p. 4.

Cubisme, Paris, 1927. St. Peters-

With commentary. Reference from gray,

1913.

Camilla. The Great Experiment: Russian Art, 1893-1922,

York, Abrams, 1962,

New

Le Mot,

la

mer que

Paris, vol. 1, no. 17,

le

May

fleuve reste fidele a sa source", 1,

"French Artists Spur on American Art", 24, 1915, part

ir,

pp. 2-3.

An

York Herald, October

"The Abbey of

Creteil,

School, Stelton, Zigrosser.

A

New

New

York, no.

5,

June 1917.

Communistic Experiment", The Modern Jersey,

New \ ork,

"Vers une epoque de batisseurs", Clarte (Bulletin Francois), Paris,

[Letter to

October-November

(?),

1919.

Herwarfh Walden, April 30, 1920], Der Sturm, Berlin,

Nationalgalerie, September, 1961, p. 46.

"L" Allaire dada". Action, Paris, no. 3, April, 1920, pp. 26-32. Re-

Poets,

Engbsh

New

in Motherwell, Robert, ed.

Dada

Painters

and

York, 1951, pp. 298-302.

"Dieu Nouveau", La Vie des

Lettres, Paris, October, 1920, p.

"RehabiHtation des Arts Plastiques",

La

178

ft*.

Vie des Lettres et des Arts,

Tradition et Cubisme, Paris, 1927.

October,

La

Vie des Lettres et des Arts,

Paris, series 2, no. 15, 1922, pp. 13-17.

Kunstblatt, vol. 6, no. "Perle",

interview.

Duchamp, Picabia and Crotti)], The New York, November 27, 1915, pp. 1224-1225.

"La Peinture Moderne", 391,

Bourgeois Galleries,

"Ein Neuer Naturalismus? Eine Rundfrage des Kunstblatts", Das

1915.

New

[Interview with Gleizes (and

Literary Digest,

art at the

"L'Etat du Cubisme aujourd'hui",

p. 14.

"C'est en allant se jeter a

an exhibition of modern

Paris, series 2, no. 4, April, 1921, pp. 411—122. Reprinted in

p. 308.

"Opinions (Mes Tableaux)", Montjoie, Paris, nos. 11-12, November-

December, 1913,

and

in 1919.

printed in

Kubisme], Soyuz Molodezhi, Sbornik,

nos. 4

1919, pp. 25-26. Translated by Stephen Bourgeois. Preface to

series 1,

Les Annates politiques

December, 1912, pp. 473-475.

"Le Cubisme

"The Impersonality of American Art", Playboy, New Y ork,

1918.

Edited by Carl

La Bataille

1922, pp. 35-36.

9,

1922, pp. 387-389. Reply to an inquiry.

Litteraire, Brussels, vol. 4, no. 2,

A poem, New York,

"Tradition und Freiheit",

February 25,

1916.

Das Kunstblatt,

vol. 6, no. 1. 1922. pp.

26-32.

"La Peinture

et ses Lois

:

Ce qui

devait sortir

du Cubisme", La

J ie

des

Lettres et des Arts, Paris, series 2, no. 12. March, 1923, pp. 26-73.

"Jean Lurcat", Das Kunstblatt, vol.

7,

no. 8, 1923, pp. 225-228.

124

"L'Art Moderne

Nouvelle", Moniteur de V Academic

et la Societe

in Tradition et

Moscow, 1923. Reprinted

Socialiste,

Cubisme,

"Le Retour a

"Oil va la peinture moderne?", Bulletin de TEffort Moderne, Paris, 5,

May, 1924,

"La Peinture

p. 14.

Response

to

May, 1924, pp. 4-9; no. 13, March, 1925, pp. 1-4. de la Section d'Or de 1912", Les Arts Plastiques,

"Chez

1,

les

5,

Response

to

an

"LTnquietude, Crise Plastique", La Vie dcs Lettres

Response

des Arts, Paris,

vol. 6, no. 11,

June

1,

Announced

de des Arts, Paris, series

French

as

text of

2, no. 21, 1926,

Kubismus, Bauhaus-

1926, pp. 4-6; no. 24, April, 1926, pp. 4-5; no. 25, May, 1926,

pp. 1-3; no. 26, June, 1926, pp. 1-3; no. 27, July, 1926, pp.

1^;

November, 1926, pp. 1-3;

no. 30, December, 1926, pp. 1-2; no. 31, January, 1927, pp. 1-3; no. 32, February, 1927, pp. 1-5. Extracts,

announced

as partial

contents of Kubismus, Bauhausbiicher 13.

le

De

la

Forme Immobile

Noir, Paris, October, 1929,

Kubismus, Bauhausbiicher "Charles Henry et

le

la

Vitalisme", Cahiers de I'Etoile, Paris, no. 13,

La Forme

et I'Histoire],

V Alliance

Universelle, Paris,

VII Congres de la Federation Internationale des Unions

Intel-

Cracow, October, 1930.

1938, p.

La Semaine Egyptienne,

Retour des Artistes au Village", Sud Magazine,

1,

1932, pp. 15-16.

Peinture, Lyon,

"Vers

la

1945,

Liberte, Paris,

May

7,

1933, p.

Regeneration Individuelle", Regeneration, Paris, new

2.

series,

no. 46, July-August, 1933, pp. 117-119.

Temoignages,

number, edited by

Guillaume Apollinaire, Souvenirs

Paris, Editions

de

la

et

Tete Noir, 1946, pp. 53-65.

Edited by Marcel Adema.

phiques,

new

April-June, 1946.

series, no. 2,

"PreRminaires a une Etude sur

les

1,

1947, pp. 34-35.

Variations Iconographiques de la

Cahiers de la Pierre-qui-vire, October,

1947. "Y-a-t-il

un Art Traditionnel Chretien?", Temoignages, Cahiers de est 9,

la

Theologique

et

Symbolique", Arts, Paris, no. 148,

1948, p. 8. Reprint of unlocated article by Gleizes,

"Active Tradition of the East and West", Art

A

and Thought, London, Ananda K. Coomara-

tribute to

swamy.

August

31, 1950. Introduction et

by

Gleizes.

Peinture de Metier",

V Atelier

de la Rose,

Lyon, June, 1951. "Reflexions sur l'Art Dit Abstrait et

du Caractere de l'lmage dans

"Reflexions sur l'Art Dit Abstrait et du Caractere de l'lmage dans

Non-Figuration, II",

1933, p. 18. la

Special

6.

la

Non-Figuration, I", L' Atelier de la Rose, Lyon, October, 1951.

[Statement], Abstraction-Creation, Art Non-Figuratif, Paris, no. 2,

"Le Retour de l'Homme a

section

Gaston Diehl.

"Peinture d'Opinion

La

31, 1941.

"Les Pensees de Pascal", Chapelle de VOratoire, Avignon, July 22-

1932.

[Statement}, Abstraction-Creation, Art Non-Figuratif, Paris, no.

Ville et Ses Signes",

May

Rythme, Forme", Confluences: Les Problemes de la

"Spirituality,

February, 1948, pp. 244-251.

1,

Paris, July 22,

"Autorite Spirituelle et Pouvoir Temporel" (1939^10).

Alexandria,

p. 5.

June

1938.

Pierre-qui-vire, July, 1948.

2", Confluences, Lyon, no. 8, February, 1942, p. 193.

"La Grande

Humaine du Cubisme", Beaux-Arts,

pp. 109-115.

January

le

Sablons, Moly-Sabata, 1938.

at Petit Palais, Paris, July 18,

"Artistes et Artisans", L'Opinion, Cannes,

"L'Art Sacre

Marseilles, no. 1021,

March,

"Tradition et Modernisme", Art et Artist, Paris, no. 37, January, 1939,

Quoted in Chevalier, "Le Denouement traditionnel du Cubisme,

October 31, 1932,

vol. 24, no. 192,

6.

[Preface to an Exhibition of Paintings by Gottfried Graf, Berlin, 1931].

"Moly-Sabata ou

Humaine du Cubisme,

Lecture delivered

Croix", Temoignages,

April 30, 1930.

"Civilization et Propositions",

1.

I'Art, Paris, 1937.

Signification

[Statement], Realites Nouvelles, Paris, no.

"Les Attitudes Fondamentales de l'Esprit Moderne", Bulletin de la

lectuelles,

1936, p.

"L'Arc-en-Ciel, Cle de FArt Chretien Medieval", Les Etudes Philoso-

13, 1928.

January-February, 1930, pp. 112-128. [Preface to

Lumiere", Cahiers du Sud,

"Apollinaire, la Justice et Moi",

Forme Mobile", Le Rouge et pp. 57-99. The final French text of a

La

"Signification

at Serrieres.

"Cubisme (Vers une conscience plastique)". Bulletin de VEffort Moderne, Paris, no. 22, February, 1926, pp. 6-7; no. 23, March,

no. 28, October, 1926, pp. 1-3; no. 29,

9,

et Surrealisme: Deux Tentatives Pour Redecouvrir l'Homme", 2eme Congres International d'Esthetique et de Science

an inquiry. et

la

October

"Cubisme

1925, pp. 235-237.

bucher 13, 1928, written in September, 1925,

"L'Epopee.

"Le Probleme de

Paris,

Arts a Paris, Paris, December 15, 1936.

les

1937, pp. 190-207.

que pensez-vous du... Pavilion de Russie", Bulletin

to

pp. 51-65.

et

May, 1925, pp. 38-52.

"Cubisme", La Vie des Lettres

November, 1934.

1936, pp. 7-8.

"La Question de Metier", Beaux-Arts, "Art Regional", Tous

inquiry.

de la Vie Artistique,

(?)

dent", vol. 22, no. 175, August-September, 1935, pp. 101-106. Article dated Serrieres d'Ardeche,

Cubistes: une enquete", Bulletin de la Vie Artistique,

l'Exposition,

August

[Statement], Abstraction-Creation, Art Non-Figuratif, Paris, no. 5,

Paris, vol. 6, no. 1, January, 1925, pp. 15-19.

"A

14, 1934, p. 2.

"Arabesques", Cahiers du Sud, (special number), "LTsIam et l'Occi-

Paris,

January, 1925, pp. 5—7.

series 2, no. 20,

December

Marseilles, no. 8,

probably from Slid Magazine, Marseilles.

"A propos no.

Sud Magazine,

"Retour a l'Homme. Mais a Quel Homme?", December, 1935. Offprint,

an inquiry.

Bulletin de VEffort Moderne, Paris, no.

et ses Lois",

Terre", Beaux-Arts, Paris,

1935, Offprint.

Paris, 1927, pp. 149-161.

no.

la

"Peinture et Peinture",

Vie", Regeneration, Paris, no. 49,

March, 1934, pp. 7-12.

L

la

Atelier de la Rose, Lyon, January, 1952.

"L'Esprit Fondamental de l'Art

Roman",

U Atelier de la Rose, Lyon,

September, 1952.

"Jeunesse", Regeneration, Paris, no. 51, May, 1934, pp. 4-7. [Statement], Abstraction-Creation, Art Non-Figuratif, Paris, no. 3,

"Mentalite Renouvelee, I",

"L'Esprit de

1934, p. 18.

"Agriculture et Machinisme", Regeneration, Paris, no. 53, August-

V Atelier

de la Rose, Lyon, December,

1952.

Ma Fresque

'L'Eucharistie'",

U Atelier de la Rose, Lyon,

March, 1953.

L

September, 1934, pp. 11-14. Enlarged version of article originally

"Mentalite Renouvelee, II",

published in Lyon Republicain, January

"Presence d'Albert Gleizes", Zodiaque, Saint-Leger-Vauban, nos. 6-7,

1,

1932.

"Le Groupe de l'Abbaye. La Nouvelle Abbaye de Moly-Sabata", Cahiers Americains, Paris,

253-259.

New

York, no.

6,

Winter, 1934, pp.

Atelier de la Rose, Lyon, June, 1953.

January, 1952. Extracts from his written works.

"Conformisme, Reforme, 2,

et

Revolution", Correspondances, Tunis, no.

1954, pp. 39^16. Preceded by a biographical note by Jean

Cathelin.

125

"'Anne Dangar, a

Potter',

funeral elegy). La Belle Journee est

(a

Art

Passee", Zodiaque, Saint-Leger-Vauban, no. 25, April, 1955.

"Caracteres de l'Art Celtique", extracts from Gleizes',

La Forme

\\

Art

hiers d'Histoire et de Folklore, Lyon, 1956, pp. 55-97.

Pobsh LInion

Intellectuelle,

et Science, Sablons,

Moly-Sabata, 1933; second edition, Aix, 1961.

Lecture delivered at Lodz, Poland, April 28, 1932, and Stuttgart,

May

jellett, mainie, The Artists' Vision, Dundalk,

to]

Dundalgan Press, 1958, pp. 25^5. Written

Production, Sablons, Moly-Sabata, 1933. Lecture delivered at arsaw, French Embassy, for the

April 24, 1932.

et

VHistoire, 1932. Reprinted in Actualite de l'Art Celtique, Ca-

[Introduction

et

6,

1932.

Homocentrisme ;

in 1948.

Retour de V Homme Chretien;

Rythme dans

les

Cubisme 1908-1914, Lyon, Cahiers Albert Gleizes

1,

le

le

Arts Plastiques, Sablons, Moly-Sabata, 1937. Souvenirs,

le

l'Association des

Amis

d'Albert Gleizes, 1957. Fragment from a

larger manuscript.

BOOKS BY GLEIZES

I

Du

\l»l

ISIII

III

l>

MANUSCRIPTS BY



Cubisme, Paris, Figuiere, 1912. With Jean Metzinger.

Cubism, London, T. Fisher Unwin, 1913. With Jean Metzinger. First English edition.

O Kubisme,

St.

Petersburg, 1913.

With Jean Metzinger. Translated by

E. Niesen. Reference from gray, Camilla. The Great Experiment:

Russian Art, 1893-1922,

O

New

York, Abrams, 1962,

Voloshm. Reference from gray, Camilla. The Great Experiment:

Du

New

York, Abrams, 1962,

Du

p. 308.

Modern Konst

ment.

1900-Totet, Helsinki, 1930, p. 353 as "newly revised edition by

et

La Mission

Moyens de le Comprendre, Paris, La Cible, PovoGerman edition: Vom Kubismus; die Mittel zu

Creatrice de

An

New

account of 1915 arrival in

\ork. Undated frag-

Souvenirs (Puissances du Cubisme), dated February, 1944.

A

thirty

page fragment.

des

Seinem Verstandnis,

Barce-

Bermuda.

Le Cavalier du Dimanche (Cinema- Proses), 1915-1918. New York, Souvenirs.

Gleizes" [of -Du Cubisme].

1920.

York, 1917.

listed in Gleizes

bibliographies as Cubisme: recorded in hintze,

lozky,

New

Barcelona, Bermuda.

Gleizes.

Cubisme, Geneva, 1918. Book unlocated, often

Du Cubisme

New York

to Spain.

La Tortue Emballee (Poems) 1915-1918. Poems, New York, lona,

Cubisme, Paris, Compagnie Francaise des Arts Graphiques, 1947.

With Jean Metzinger. Foreword by

and Montreal, written on shipboard, en route

L'Art a Travers VEvolution Generale (En Attendant la Victoire),

p. 308.

Kubisme, Moscow, 1913. With Jean Metzinger. Translated by M.

Russian Art, 1893-1922,

Contorsions, 1916. Manuscript of a novel, impressions of

Berlin,

Der Sturm, 1922.

V Homme dans

le

Domaine

Robert Delaunay, 1933. Revised in 1937 and 1945. Announced for publication

by Abstraction-Creation. Complete manuscript of a

critical study.

Plastique, Paris,

Povolozky, 1921.

La Peinture

et Ses

Lois: Ce Qui Devait Sortir

du Cubisme,

Paris,

1924; second edition, La Pense'e Universitaire, Aix, 1961. First published in

La

Vie des Lettres et des Arts, Paris, March, 1923.

Poslannictwo Tworcze Czlowieka no. 2,

W Dziedzinie

Plastyki, Praesens,

Warsaw, 1927. Special number.

Tradition et Cubisme:

Vers une Conscience Plastique. Articles et

Conferences 1912-1924, Paris, Povolozky, 1927. fifteen articles

A

collection of

BOOKS ILLISTOATKI) BY GLEIZES

from various publications.

Peinture et Perspective Descriptive, Sablons, Moly-Sabata, 1927. Lecture delivered to the Carnegie Foundation for the French Intellectuelle, at Paris,

Kubismus, Bauhausbiicher Vie et

Mort de VOccident

March 13,

Union allard, Roger. Le Bocage ou

22, 1927.

Munich, Albert Langen Verlag, 1928.

Chretien, Sablons, Moly-Sabata, 1930. First

published in the periodical, Cahiers de VEtoile, 1928, 1929. Life

and Death of the

Christian West, London, Dennis

1947. Foreword by H.

J.

Dobson

Ltd.,

Massingham; translated by Aristide Mes-

Vers une Conscience Plastique:

La Forme

et

VHistoire, Paris, Povo-

Religion, Sablons, Moly-Sabata, 1933. Lecture delivered at

Paris,

Foyer de l'Association des Etudiants Chretiennes, March

21, 1931

1932.

and

des amants citadins

with woodcuts by Gleizes, dating from 1910. Suite des Bois d'Albert Gleizes pour

Au Pays du

Mufte, Paris, Edou-

ard-Joseph, 1920.

tailhade, laurent.

Au Pays

by Albert

du Mufle,

Paris,

Gleizes. dating

Edouard- Joseph, 1920.

from 1919.

mercereau, Alexandre. La Conque Miraculeuse,

Paris, Povolozky,

1922. 28 compositions by Albert Gleizes, dating from 1910, cut

lozky, 1932. et

le divertissement

champetres, Paris, "ceuvres et jours" Figuiere, 1911. Illustrated

11 woodcuts

sinesi.

Art

et

at

Dresden, Galerie Neue Kunst Fides, April 13,

by

P. A. Gallien.

pascal, blaise. Pensees sur

de

la

I'Homme

et

Dieu, Casablanca, Editions

Cigogne, 1950. Choix et classement de Genevieve Lewis.

57 etchings by Albert Gleizes.

126

AltTH'LKN OX GLK1ZKS IM)

1(11 tllll

Mil IK

'1 \

I

reiser. "Salon Nationale des Beaux-Arts, 1902", Nouvelle

Moderne,

I

III VI

I

Revue

granie,

Paris, June, 1902.

"Salon d'Automne, 1903", Alliance Republicaine, October 13, 1903.

France

Radical, December 16, 1905.

moussey,

Bordeaux, Saturday, December 23, 1905. Address of Edouard

L 'Art

KAHN, OLIVIER. "La Section d'Or", Mercure de France,

mercereau, ALEXANDRE. "Une Cite d'Art en France", Toison d'Or, 10, 1906.

Review of Vildrac's poems.

La

(Barzun), L'Art Social,

Paris,

2nd

year,

by Henri Martin"

series

3,

February,

la

November

Realite,

L'Abbaye de

Creteil",

XIX

Siecle,

Creteil", Petite

Republique,

Tableau",

Mo-

1912, pp. 17-27. Reprinted in Le Faucon-

tober

6-November

nier,

stedelijk museum, Amsterdam, March 7-April 13, 1959,

additional text

October

8,

7,

by Conrad Kickert.

hourcade, Olivier.

January 28, 1908.

d'Automne",

"Salon

Paris-Journal,

Paris,

1912. Review.

hourcade, Olivier. "Section d'Or", Paris-Journal,

13, 1908.

Paris,

October 15,

1912. Review.

"Exposition de l'Art Francais", (organized by Alexandre Mercereau),

Moscow, nos. 7-9, 1908, p. 15. Unsigned review. apollinaire, guillaume, "Salon des Independants", Ulntransigeant,

Chambre des Deputes,

Paris,

December

1912. Debate between

3,

Marcel Sembat and Jules Louis Breton.

Toison, d'Or,

raynal, Maurice. "Essai de Definition de

22, 1910. 10,

1912.

9,

allard, ROGER. "Die Kennzeichen der Erneuerung in der Malerei",

Der Blaue Reiter, Munich, Piper, 1912, pp. 35^1. 2nd

October-November, 1910, pp. 649-652. allard, Roger. "Au Salon d'Automne de Paris", L'Art Libre, Lyon,

November, 1910, pp. 441-443.

edition,

1914.

apollinaire, guillaume. "Salon des Independants, 1912", Le Petit

mourey, Gabriel, "xxvn Salon des Independants", Le Journal,

Paris,

April 20, 1911.

Bleu,

March

20, 1912.

arcos, rene. "La Perception Originale

fort, PAUL. "Le Clair de Lune et

Peinture Cubiste",

la

Bulletin de la Section d'Or, Paris, October

metzinger, jean. "Note Sur La Peinture", Pan, 3rd year, no.

mon Ame",

no. 25, April-June, 1911, p. 94.

A poem

Vers et Prose, Paris,

dedicated to Albert

et la Peinture",

d'Or, no. 21, July-August, 1912, pp.

hourcade, Olivier. "Le Movement

Gleizes.

Les Bandeaux

402^06. une Ecole Fran-

Pictural: Vers

de Peinture", Paris-Journal, Paris, June, 1912. Also in Revue de France et des Pays Francais, June, 1912, pp. 254-258. chise

salmon, andre. "Salon des Independants", Paris-Journal,

Paris,

April 21, 1911.

vauxcelles, louis. "Section d'Or

allard, roger. "Sux Quelques Peintres", Les Marches du Sud-Ouest, no. 2, June, 1911.

et

September

Tradition", 15, 1911.

Paris-Journal, Paris,

Divided into two

mau, Barcelona, E. A.

Paris, Fall, 1911. Interview with Albert

Gleizes (interview with two journalists). Reprinted in Cabanne, Paris, 1963, pp. 158-161.

J.

Dal-

April, 1912.

in de Fransche Schilderkunst", Iskusstvo, title

"Les Independants", Le

Passy", Paris-Journal, Paris, October 17-30, 1911.

L'Fpopee du Cubisme,

"Cubisme

1912. Text and

nayral, jacques, and mercereau, Alexandre. "Les Artistes de

arnyvelde, andre. Gil Bias,

Salons de 1912",

nayral, Jacques. Preface to Exposicio d'Art Cubista, Galerie

Vers et Prose, Paris, no. 27, October-December,

1911, p. 139.

les

Gazette des Beaux-Arts, Paris, May, 1912 ; June, 1912 ; July, 1912.

issues.

mercereau, Alexandre. "Exposition de l'Art Contemporain, Rue Tronchet",

XI Salon d'Automne", Gil

Rosenthal, LEON. "Salon des Independants,

metzinger, jean. "Cubisme 16, 1911,

et Salle

Bias, Paris, October 14, 1912.

PUY, Michel. "Les Independants", Les Marges, Paris, July, 1911.

August

et le

derne Kunst Kring, musee municipal suasso, Amsterdam, Oc-

January 24, 1908. Review.

March

La Grande Revue,

Salon d'Automne",

et le

October 25, 1912, pp. 833-836.

le fauconnier, Henri. "La Sensibilite Moderne

Paris,

moine, LEON. "Les Peintres de PAbbaye", Critique Independante,

Paris,

d'Amerique,

Section d'Or.

23, 1907.

February

et

1912.

Paris, vol. 5,

caubert, Ernest. "L'Exposition de 'PAbbaye'", Ulntransigeant,

Paris,

1,

werth, LEON. "Le Cubisme

1.

normandy, Georges. "Les Peintres de

Paris,

March

Paris, vol. 100.

salmon, andre. Gil Bias, June 22, 1912. Announces exhibition of Terrestre Tragedie

amaudru, NOEL. "Voyages en Icarie-Les Poetes du Socialisme, du

Paris,

November-December, 1912, pp. 181-182. riviere, jacques. "Cubisme", Revue d'Europe

Mirages", Europe Politique, Paris, January, 1908.

to

Paris,

22, 1912.

1912.

et les Artistes,

Paris, June, 1906.

Reve a

"Le Salon des Independants, 1912", Journal,

G.

March

tabarant, adolphe. "Les Independants", Section, Paris, March 19,

Petit in the hall of the Theatre Pigalle, Montmartre.

guillemot, "Societe Nationale des Beaux-Arts",

1907, p.

des Pays Francais, March, 1912. Also printed in Cote,

et

March 19-20, 1912.

"L' Association Ernest-Renan, Fraternite laique", Avenir Mutalite,

kahn, gustave. "Preface

Prose, Paris, no. 27,

et

IT.

allard, ROGER. "Le Salon des Independants, 1912", La Revue de

La Societe Ernest-Renan",

lesigne, ERNEST. "Fraternite Laique,

et

15, 1911.

October-December, 1911, pp. 122

raynal. "Salon d'Automne, 1904", La Vie, Paris, October, 1904.

Moscow, no.

Salon d'Automne", Revue d'Europe et d'Amerique,

November

metzinger, jean. "Alexandre Mercereau", Vers

Unsigned review.

d'auray. "Images

"Au

j.

Paris,

Moscow,

in Russian.

Monde

Illustre, Paris, no. 2879,

March

30,

1912, pp. 202-203. Unsigned.

"A

Travers Paris,

les

May

Expositions, les Independants 1912", Art Decoratif, 5,

1912.

nayral, jacques, ed. Le Figuier, (Bulletin

Eugene Figuiere),

ojjiciel

des publications

Paris, no. 1, October, 1912.

Announces

Du

127

/

Cubisme. granie.

Eugene Figuiere),

tions

Paris,

3—1,

nos.

des publica-

officiel

December,

1912-

Paris, nos. 11-12,

November-December, 1913, pp. 9-10.

premier no., November 14, 1913, pp. 1-14. 148-149, February, 1913, p. 272.

March

nos. 3—4, special numbers,

1,

March 18 and

29, 1913.

sigeant, Paris, March, 1913.

"Vom

Peinture et Sculpture",

la

vol. 4, nos.

170-

fort, PAUL. "Le Dit du Braconnier", Vers

et

1,

Prose, Paris, no. 33,

no. 15, August

1,

la pittura francese",

Paris, nos.

11-12, November-December, 1913. Paris, vol.

allard, ROGER. "Les Arts Plastiques", Les Ecrits Francois, Paris, 1914.

tholba, PAUL antoine. "Albert Gleizes", Montparnasse,

Paris, July

20, 1914, p. 20.

Paris, vol. 113, no. 423, February7 1, 1916, pp.

466-176.

GOTH, max. "Odeurs de Partout", 391, Barcelona, no.

1,

January 25,

daubler, theodor. "Die Sammlung Bienert-Dresden", Das Kunstblatt, Berlin, vol. 3, no. 6, 1919, pp.

d'Albert)", 391, Barcelona, no. 14,

Cubisme

le

(a

propos

November, 1920.

vol. 12, no. 24,

December, 1920,

p. 900.

no.

1,

2,

January, 1921. A.

"Fauves, Cubistes et Post-Cubistes",

La

Vie des

Lettres et des Arts, Paris, series 2, no. 3, January, 1921, pp.

vauvrecy. "Le Salon d'Automne", L'Esprit Nouveau, Paris, no.

5,

george, waldemar.

"^Albert Gleizes",

La

Vie des Lettres et des Arts,

ridder, andre de. "Notes sur

la

Peinture Francaise Nouvelle", Selec-

hecke,

P. G.

van. "Interview dans

March

no. 8,

15, 1921.

le

March

15, 1921.

Miroir", Selection, Brussels, series

On Cubism.

george, waldemar. Review of Gleizes exhibition

at

La

Cible, L'Esprit

May, 1921, pp. 903-904. george, waldemar. "Un Exposition de Groupe" at Galerie de

Nouveau,

Paris, no. 8,

Modeme,

L'Esprit Nouveau, Paris, no. 9, June, 1921.

poisson,

J.

"Gleizes",

Revue de I'Epoque,

l'Effort

Paris, June, 1921, pp.

Paris, no. 21,

"Notizen",

steinitz, ernst.

November, 1919, pp. 223-228.

Das Kunstblatt, Berlin, vol. 4, no. 6, 1920, p. 190. "Neue Kunst aus Hannoverschem Privatbesitz", Das vol. 4, no. 7,

no. 2, March, 1920.

Der Ararat, Munich,

March, 1920. Unsigned commentary on Andre

Salmon's review of the Salon d' Automne.

"Der Salon der Unabhangigen von einem Amateur", Der Ararat, vol. 1, no. 7, April, 1920.

Lnsigned commentary.

apollinaire, guillaume. "Uber die Anfange des Kubismus", Der

f.

m.

des

F. T.

"Cubisme Sensible ou Dynamisme

Plastique'

.

La Vie

des Lettres et des Arts, Paris, no. 16, 1922, pp. 7-9. Review of

Lhote's book.

iiber der Pariser Herbstsalon",

Ararat, Munich, vol.

et

Arts, Paris, no. 15, 1922, p. 1-6.

marinetti,

1920, p. 221.

therive, andre. "Le Salon Cane des Independants", Action, Paris,

Munich,

Berlin, vol. 6, no. 1, 1922. pp. 8-25.

lhote, andre. "D'un Cubisme Sensible", La Vie des Lettres

GOLL, IVAN. "tJber Kubismus", Das Kunstblatt, Berlin,

vol. 1, nos. 5-6,

Brief. Uber die Kunstlerische Situation in Das Kunstblatt, Berlin, vol. 6, no. 1, 1922, pp. 1-7. westheim, PAUL. "Kunst in Frankreich: 'L'Esprit'", Das Kunstblatt,

george, waldemar. "Ein Frankreich",

Kunstblatt, Berlin, vol. 4, 1920, p. 74.

"Andre Salmon

raynal, maurice. "Revue de l'Annee: Peinture and Sculpture", L'Esprit Nouveau, Paris, nos. 11-12, July-August, 1921.

161-167.

GEORGE, waldemar. "La Vie des Arts-Albert Gleizes", La Forge,

huebner,

florent. "Pariser Kunstchronik", Das Kunstblatt, Berlin,

vol. 4, no. 10, 1920.

1039-1041.

1917.

L.

2,

November, 1920.

1,

wromant, marc. "La Peinture Simultaniste", Comoedia, June 2, 1914. severini, gino. "Symbolisme Plastique et Symbolisme Litteraire",

W.

vauvrecy. "Le Salon d'Automne", L'Esprit Nouveau, Paris, no.

tion, Brussels, series 1, no. 8,

Mercure de France,

15, 1920.

Paris, series 2, no. 3, 1921, pp. 353-355.

no. 3, March, 1914, pp. 24-27.

5,

September

February, 1921.

salmon, ANDRE, "xxxe Salon des Independants", Montjoie,

April

Comprendre, Paris, 1920.

le

361-363.

1913, p. 170.

salmon, ANDRE. "Le Salon d'Automne, 1913", Montjoie,

2,

Moyens de

fels, florent. "La Peinture au Salon d'Automne", Action, Paris,

SCHNEEBERGER,

dedicated to Albert Gleizes.

boccioni, umberto. "II dinamismo futurista e Lacerba, vol.

et les

picard, jean. "Der Pariser Herbstsalon", Der Ararat, Munich, vol.

171, July, 1913, pp. 67-70.

Poem

Du Cubisme

basler, adolphe. "Franzosische Kunstliteratur", Cicerone, Leipzig,

July 25. 1913.

Kubismus", Der Sturm, Berlin,

April-June, 1913.

series 1, no. 2, Sep-

paragraphs quoted from Glei-

tzara, Tristan, "Interview de Jean Metzinger sur

la fresnaye, ROGER DE. "De Limitation de

La Grande Revue,

Cubisme", Selection, Brussels,

ROSENBERG, leonce. "Un apercu historique du Cubisme", Selection,

FELS,

APOLLINAIRE, GUILLAUME. "Salle 48, Independants, 1913", L'lntran-

hausenstein.

le

15, 1902, pp. 6, 8. Several

no. 5, October, 1920.

apollinaire, guillaume. "Le Salon des Independants, 1913", MontParis, vol.

tember

Brussels, series 1, no. 2,

apollinaire, guillaume. "Die Moderne Malerei", Der Sturm, Berlin, vol. 3, nos.

868-869. Review of

Gleizes' book.

zes'

allard, Roger. "Le Salon d'Automne", Les Ecrits Francois, avant-

August

6, 1920, pp.

Folge, vol. 31, no. 45,

"Opinions sur

January, 1913, p. 29.

mercereau, Alexandre. "L'Esprit du Salon d'Automne", Montjoie,

joie,

Kunstchronik und Kunstmarkt, Leipzig, year 55; Neue

nis",

"'Du Cubisme", Le Figuier, (Bulletin

J.

1,

no. 8, July, 1920.

"Vom Kubismus und dem Weg

zu seinem \erstand-

salmony, Alfred. "Dusseldorf ", Das Kunstblatt, Berlin, vol. 6, no. 8, 1922, pp. 353-356. An account of an exhibition. Summer, 1922. [Review of Gleizes show at Belmaison Galleryl, Neiv York Herald,

March

25, 1923. Unsigned.

basler. adolphe. "Pariser Chronik", Der Cicerone, Leipzig, vol. 15. no. 18, 1923. Review of Salon des Tuileries. ozenfant and jeanneret. "Le Cubisme", L'Esprit Nouveau, Paris, no. 21, 1923. Chapter 5 of La Peinture Moderne, Paris, 1924.

128

Accounts of a lecture given May

OZENFANT and JEANNERET. "Le Cubisme: Deuxieme epoque", L Esprit Nouveau,

Army

Paris, no. 24, 1924, p. 2676. Illustration:

raynal, MAURICE. "Quelques Intentions du Cubisme"', Bulletin de

Moderne, nos.

I'Effort

1, 2, 3,

Commerce

Doctor.

chevalier, jean. "Le denouement traditionnel du Cubisme, 2", Confluences, Lyon, no. 8, February, 1942, pp. 182-194.

16, 1925.

szihya, EMIL. "Paris

am Anfang

der Neuer Kunst",

Das Kunstblatt,

torre, guillermo de la. "Recapitulacion del Cubismo", Cuadernos

"Modemisme dans

Americanos, Mexico,

le Literature",

La Vie des

basler, adolphe.

2,

1927, p.

Rouge

A

1924, pp. 1193-1195.

et le Noir, Paris, no. 8,

March,

review of Gleizes' book, probably by

1946, pp. 77-85.

"Doeumentaire sur

la

cember, 1929, pp. 448 January, 1930, pp. 17

Jeune Peinture: L'Avenement Clas-

Cahiers d'Art, Paris, 5th year, no.

ff.:

March, 1947, pp. 62-78. Reprinted in Lyon exhibition catalogue,

surchamp,

Anonymous review

by Montparnasse

Litteraires,

n.s., vol.

of an exhibition of

in major Brazilian cities:

Germain.

"Oeuvres

Cubistes,

VAmour de V Art, Paris, no.

Abstraites",

et

chapter

Histoire de

V Art Contemporain, chapter

et

exhibition.

Naum Gabo

and Antoine

Gabo and Pevsner by Ruth Olson and Abraham

New

York,

Museum

Modem

of

Art, 1948. Introduction

"Albert Gleizes

by Gleizes

et les Architectes",

no. 117, July 15, 1934, p. 18.

Review of 15, 1933, p. 3. Gleizes

Sud Magazine, Mar-

An

account of a lecture

et Creation",

Cahiers Americains, Paris-

no. 6, Winter, 1934, pp. 246-252.

"A

New

Gleizes' exhibition at Passedoit Gallery,

York Herald Tribune,

vol. 38, no. 2, pp.

14

New York,

October 16, 1949. Review

December, 1937, pp. 606 ff. pulby, pierre. "Homocentrisme ou le Retour de l'Homme Chretien", vol. 19, no. 4,

Etudes Traditionnelles, Paris,

vol. 43, no. 218,

February, 1938,

pp. 63-68. Review of Gleizes' book.

February, 1938. Letter.

chevalier, jean. "Position Humaine d'Albert Gleizes", Anthologie, Liege, no. 5, May-June, 1938.

tember, 1938, pp. 293-300.

I'

(?),

pouyaud, Robert. "Le Message d'Albert 2,

d'Industrie de Vienne, Vienne, vol. 19,

no. 76, July, 1939; Journal de Vienne et de I'Isere,

par no.

Gleizes", Atelier

de la Rose,

January, 1951, pp. 85—88.

chevalier, jean. "Affirmer

la

Vie", Atelier de la Rose, Lyon, no. 2,

January, 1951, pp. 89-92.

surchamp, dom. angelico. "Presence d'Albert Gleizes", Zodiaque, Saint-Leger-Vauban, nos. 6-7, January

1952.

7 ,

Saint-Leger- \ auban, nos. 6—7, January, 1952.

XXe Siecle",

Series 3, no. 5, June, 1952, p. 24.

May

9,

1939.

at

Art d'Aujourd'hui, Paris,

Review of exhibition organized

Musee National d'Art Moderne,

Paris.

"Une Fresque de Tri-

Association Amicale des Anciens Sieves de I'Ecole et

illustres

la Pierre-qui-vire,

Pensees de Pascal

pp. 202-208.

by James Johnson Sweeney Decoration, Paris, no. 67, Sep-

chevalier, jean. "Le Cubisme, Conscience Nouvelle", Bulletin

Pratique de Commerce

les

Albert Gleizes", Temoignages, Cahiers de

degand, leon. "L'Oeuvre du

et

vol. 43,

cassou, jean. [Preface to "Presence d'Albert Gleizes"], Zodiaque,

defries, Amelia. "Catholic Religious Art", Catholic Herald, London,

gadthier, m. "Moly-Sabata", Art

Magazine of Art, New York,

no. 6, October, 1950, pp. 207-210.

Lyon, no.

ff.

shapley, John. [Review of Homocentrisme by A. Gleizes], Art BulleYork,

GRAY", cleve. "Albert Gleizes",

29, 1950

Definition of Non-Objective Painting", Design, Co-

lumbus, Ohio,

mestriel de

c. B.

surchamp, dom. angelico. "Sur

for Abstraction-Creation group.

furth, dlana h. "Cubisme

New York,

New York, vol. 30, no. 4, December, 1948, pp. 270-278 New York Times, New York, October 16, 1949.

Bulletin,

of Gleizes' exhibition at Passedoit Gallery.

seilles, vol. 7,

New

Ampere

preston, stuart.

8.

May 15-June

illustration.

tin,

Peintres", IS'ouvelles

by Read.

'L'Effort

Paris, January, 1933, pp. 234-236.

I'Art,

Litteraire, Lodz, Poland,

rebay, hilla.

Deux

judkins, winthrop. "Toward a Reinterpretation of Cubism", Art

VAmour de

j.

Chanin,

Art Contemporain,

I'

8.

Moderne'",

daniel, M.

et

1947. Review of an exhibition at

22,

"Albert Gleizes", Emporium, Bergamo, vol. 107, no. 639, March,

Pevsner",

cogniat, Raymond. "Le Cubisme Methodique, Leger

Pologne

May

read, Herbert. "Constructivism: the art of

lhote, andre. "Naissance du Cubisme", L' Amour de V Art, Paris, January, 1933, pp. 215-218. Histoire de

Gleizes",

Galerie des Garets, 1947. c. v.

June, 1932, p. 217.

6,

Paris,

1948, p. 132. Review of Lycee

Surrealistes,

d'Albert

no. 14, October, 1947,

la Pierre-qui-vire,

pp. 390-405. Reprinted in Lyon exhibition catalogue, 1947.

Pernambuco, Rio de Janeiro and Sao Paulo. bazin,

"L'Enseignement

angelico.

dorival, Bernard. "Deux Sculpteurs

16, no. 58, January, 1930. art organized

dom.

Temoignages, Cahiers de

1,

ff.

"Notices sur les Peintres Exposants", Montparnasse, Paris,

d'Albert

et spirituel

Pierre-qui-vire, no. 12,

la

1947.

sique du Cubisme", Cahiers d'Art, Paris, 4th year, no. 10, De-

modem

Temoignages, Cahiers de

Gleizes",

Brielle.

(Georges Duthuit). [Review of Kubismus by Gleizes], Cahiers

E.

March-April, 1945, pp. 216-237.

Source de l'Art Moderne", Confluences,

surchamp, dom. angelico. "LTtineraire pictural

d'Art, Paris, 4th year, nos. 2-3, March-April, 1929, p. 16.

teriade,

vol. 4, no. 2,

la

labastie, albert. "Albert Gleizes", Arts de France, Paris, no. 9,

9. Illustrations.

"Tradition et Cubisme", Le

"A

Lyon, 1945, pp. 55-58. Gaston Diehl, ed.

Lettres et des Arts, Paris, series 2, no. 20, May, 1925, pp. 65-98.

Ray, London, no.

entre Gleizes et Picasso", Le Journal,

Lyon, June 30, 1942.

Berlin, vol. 9. no. 4, 1925, pp. 115-117.

perrine, ANDRE DE la.

"Wlaminck

BOISSY, GABRIEL.

March, 1925, pp. 723-724.

G. D.

de

fluences, Lyon, no. 7, January, 1942, pp. 35-43.

January

Paris,

leclere, tristan. "Cubisme", Larousse Mensuel, Paris, no. 217,

Roger

at I'Ecole Pratique

chevalier, jean. "Le denouement traditionnel du Cubisme, 1", Con-

January-March, 1924.

George. WALDEJtAR. "La Section d'Or", Paris-Journal,

1939

2,

de Vienne.

et d'Industrie

Gleizes, realisee

en equipe a Chantilly, 'Les Fon-

taines'", Atelier de la Rose, Lyon, no. 9, March, 1953.

romefort

(le pere de).

"Du Cubisme

a la Peinture Traditionnelle,

L'Oeuvre d'Albert Gleizes", Centre Interprofessionnel de Theologie Appliquee (C.I.T.A.), Paris, March

6,

1953.

129

degand, LEON

(et al)

"Cubisme", Art d'Aujourd'hui, Paris,

series 4,

nos. 3-4, May-June, 1953, pp. 14. 20, 21, 23, 30. Special issue.

metzinger, jean. "Le Cubisme apporta a Gleizes

moyen decrire

le

iiowe, R. w. ''Albert Gleizes", Apollo, London, vol. 58, August, 1953,

An

An

An

18-29.

1954, pp.

New

Art Journal,

York,

vol. 23, no. 2,

Winter, 1963-64,

pp. 111-117.

obituary.

"Sens de l'Art Moderne", Zodiaque, Saint-LegerA auban, 18-19, January,

Baltimore, vol. 26,

Summer, Autumn, 1963, pp. 2-31. roebins, damel. "From Symbolism to Cubism: The Abbaye de Creteil",

obituary.

gauthier, maxmillien. "Albert Gleizes", Larousse Mensuel, Paris, no. 469, September, 1953, pp. 327-328.

Museum of Art News,

Century", Baltimore no. 4,

l'espace", Arts, Paris, no. 418, July 3-9, 1953, p. 7.

p. 44.

pp. 5-7. Reprinted in Entretiens. Paris, no. 20, 1962.

golding, joiin. "Guillaume Apollinaire and the Art of the Twentieth

vol. 1, nos.

interview with .Albert

Gleizes.

chevalier, jean. "Cubisme

Pensee St.

d' Albert

Andre, no.

3,

Technique Religieuse: L/Oeuvre

et

Gleizes", L'Art d'Eglise, Bruges,

1954, pp. 287-290.

deroudille, rene. "Albert Gleizes i

et la

Abbaye de

du Cubisme",

destinees

et les

4 Soli, Turin, vol. 2, no. 2, March-April, 1955, pp. 6-7.

roche, Juliette (gleizes). "Albert Gleizes", Zodiaque, La Belle

Joumee

est Passee,

HOOKS o\

(.lll/.l>

WD HK1.ATK1) SOURCE HATIltl

VI.

Saint-LegerA auban, no. 25, April, 1955, pp.

24-28.

greenwood, Thomas. "L'Esthetique Religieuse du Peintre Zodiaque, La Belle Journee

est Passee,

Gleizes",

Saint-LegerA auban, no.

25, April, 1955, pp. 56-58.

Joumee

d" Albert Gleizes",

Zodiaque, La

Saint-LegerA auban, no. 25, April, 1955.

est Passee.

chevalier, jean. "Le Probleme du Critere: Structures objectives", L' Atelier de la Rose, Lyon, no. 18, May, 1955, pp. 273-288.

"Moly-Sabata", Atelier de la Rose, Lyon, 1955. Preface by Rene Deroudille, articles

et la

d'artistes, 1907.

surchamp, DOM. angelico. "Lueidite Belle

adam, PAUL. L'Art

by Robert Pouyaud, Cesar Geoffray and

Nation, Paris, L' Abbaye, groupe fraternel

Printed

December

Mercure de France, 1908.

MERCEREAU. ALEXANDRE. La Litterature

et les

Idees Nouvelles, Paris,

Figuiere, 1912.

salmon, andre. La Jeune Peinture Francaise,

others.

Burlington Magazine, London, p. 420.

vol. 98, no. 644,

Review of Gleizes exhibition

at

November, 1956,

Marlborough.

Muse'es de Lyon, Lyon, no.

1,

1956, pp. 1-11.

"Gleizes", Cincinnati Art

T.

Museum

Bulletin,

\\

apollinaire, guillaume. The Cubist Painters: Aesthetic Meditations, New York, Wittenbom, Schultz, (The Documents Modem Art: Director, Robert Motherwell), 1949.

of

BLUM-NER, rudolf. Der Maler des Expressionismus, Der Sturm Bilder-

Cincinnati, March, 1956, pp. 18-22.

Sylvester, David. "London

Paris, 1912.

apollinaire, guillaume. Les Peintres Cubistes: Meditations Esthetiques, Paris, Figuiere, 1913.

deroudille, rene. "Albert Gleizes au Musee de Lyon", Bulletin des

schoener, allon

volume

25, 1906, as inaugural

Abbaye de Creteil. arcos, rene. La Tragedie des Espaces, Paris, L' Abbaye, 1907. martin. HENRI (barzun). La Montagne, poeme legendaire, Paris, of the

The

eighs Pioneer Cubist",

New

York

biicher V, Berlin, 1914, pi. 8. pp. 16-17.

eddy, ARTHUR Jerome. Cubists and Post-Impressionism, Chicago,

Times, October 28, 1956. Cahiers

chevalier, jean. "Exposition Albert Gleizes a Londres",

A. C. McClurg, 1914, 2nd edition, 1919.

Gleizes, Lyon,

fechter. Paul. Der Expressionismus, Munich, Piper, 1914, pp. 30-41. wright, willard Huntington. Modern Painting: Its Tendency and

calvesi, maorizio. "II Futurismo di Boccioni, Formazione e Tempi",

Meaning, New York and London, John Lane, 1915, pp. 257-258. ozenfant and jeanneret. Apres le Cubisme, Paris, 1918.

Albert Gleizes,

I,

L" Association des

Amis d'Albert

1957, pp. 33-37.

Arte Antica e Moderna, Bologna, no.

2,

April-June, 1958, pp.

curnonsky' and zayas, George DE. Caricatures,

149-169. Discussion of possible Gleizes influence.

Schneider, pierke. Art News, p. 54.

Review of

New York, vol. 57, no. 6, October, Simone

Gleizes' exhibition at Galerie

1958,

Heller,

les Arts, Montpellier, no.

J.

"Les debuts de

boek, Koninklijk

l'art abstrait:

Gleizes et

Museum Voor Schone

Kupka", Jaar-

Kunsten, (1954-60),

Die Neue Male-

1919.

"Zum

Geleit",

Der Sturm, Herwarth W'alden

die Europaische Avantgarde, Berlin

1912-1932, Berlin,

Nationalgalerie, September, 1961.

ROEBINS, Daniel. "From Cubism

Work

to

Abstract

-Art.

The Evolution of

of Gleizes and Delaunay", Baltimore

News, Baltimore, reverdy, pierre. "Sur

Museum of Art

vol. 25, no. 3, Spring, 1962, pp. 9-21. le

Modeme,

L

Cubisme", Nord-Sud, no.

1,

March

15, 1917,

Effort

1919.

(kahnweiler) Daniel henry". Der

Berlin,

Weg zum

Der Sturm, 1919. Kubismus, Munich,

Delphin-Verlag, 1920.

kuppers, PAUL ERICH. Der Kubismus, Leipzig, Klinkhardt

Antwerp, 1960, pp. 109-116. reidemeister, LEOPOLD.

the

Paris, 1919.

et ses Initiateurs, Leipzig,

walden, herwarth. Die Neue Malerei,

10, 1960, pp. 30-34.

und

rei,

Le Cubisme

raynal. Maurice. Quelques Intentions du Cubisme, Paris,

Paris.

blanc, lucien. ".\lbert Gleizes", Vision sur

delehant,

DERI, DR. max.

&

Bier-

rnann, 1920.

salmon, andre. L'Art Vivant, Paris, Cres, 1920, pp. 15-16, 133, 142-150 passim. blumner, rudolf. Der Geist des Kubismus und die Kiinste,

Berlin.

Der Sturm, 1921. grautoff, otto. Die Franzdsische Malerei Seit 1914, Berlin, Mauritius Yerlag, 1921.

130

mercereau, Alexandre. Andre Lhole, d'art

Povolozky (Collection

Paris,

severini, gino.

Du Cubisme au

Classicisme, Paris, Povolozky, 1921.

salmon, andre. Propos d 'Atelier,

mercereau, Alexandre.

L Abbaye '

et

le

le

Bernard.

Anonyme,

Societe

ozenfant and jeanneret. La Peinture Moderne,

V Abbaye", pp.

1924, pp. 109

Modem

Art,

New

York, Huebsch,

lemaitre, Georges. From Cubism

Gris, his Life

to

Le Temps de

la

and Work, New

Surrealism in French Literature,

La Peinture en France depuis

fosca, Francois.

word by Forbes Watson.

pouyaud, Robert.

,

p. 89.

trente ans, Paris,

Milieu du monde, 1948, pp. 103, 109-110.

raynal, Maurice. Anthologie de la Peinture en France de 1906 a nos

Du Cubisme a

la Peinture traditionnelle, Cla-

mecy, 1948.

American Le Fauconnier Exhibition, New York,

Neumann.

Editions Montaigne, 1927, pp. 157-163; English

First

York, Brentano's, 1928, pp. 212-213.

December 18, 1949January 15, 1949; bibliography by Hannah B. Muller. azcoaga, enrique. El Cubismo, Barcelona, Ediciones Omega, 1949. DREIER, KATHERINE S., DUCHAMP, MARCEL and HAMILTON, GEORGE HEARD. Collection of the Societe Anonyme: Museum of Modern

romains, JULES. Le Fauconnier:

L 'Art et

la.

Vie, Paris,

Marcel Seheur,

cordon, JAN. Modern French Painting, New York, DoddMead, 1929, pp. 145-147. 1st edition, 1923.

U Art Cubiste:

janneau, guillaume.

critique, Paris, Charles

Theories et Realisations, Etude

Moreau, 1929.

vlaminck, MAURICE. Tournant Dangereux, Paris, 1929; English

Dangerous Corner, London, 1961, p. 78. edouard-joseph, rene. Dictionnaire biographique des

edi-

&

artistes con-

Edition, 1931, vol. 2, pp.

120-125, including facsimiles and bibliography.

miejskie muzeum historii

i

Art 1920,

New

nationale d'Art Nouveau, Lodz, 1932.

seuphor, michel.

& Kiepenheuer,

Paris,

Bienert, Dresden, Potsdam,

benezit,

E.

7th edition.

Mme

p. 146.

Dictionnaire critique et documentaire des peintres, sculpdessinateurs et graveurs, Paris, Librairie Griind, 1951,

vol. 4, p. 305,

"Albert Gleizes", by Jacques Busse.

The Dada Painters and Poets,

ed.

New

York,

(The Documents of Modern Art), Wittenborn, Schultz, 1951.

Arthur Cravan on

1933.

romains, jules. La Vie Unanime, Poemes, 1904-07, Paris, 1934.

Musees Nationaux, 1950.

Bernard Dorival and

UArt Abstrait: Ses Origines, Ses premiers maitres,

Maeght, 1950,

Motherwell, Robert,

pp. 21-22.

B.

Genevieve Homolle.

teurs,

sartoris, alberto. Elementi dell' Architettura, Milan, Hoepli, 1932,

J.

Circle,

Haven, Yale University Art Gallery, 1950. Gleizes

by Duchamp, pp. 145-146. Musee National d'Art Moderne,

Paris,

sztuki, Lodz, Poland, Collection Inter-

grohmann, will. Die Sammlung Ida

Art

Catalogue-guide by Jean Cassou,

tion:

temporains, 1910-30, Paris, Art

New

Exhibition catalogue,

1927.

Dada,

p.

Gleizes, p.

172; Barcelona, 1916,

10; p.

The 2nd Section d'Or and

262; Gleizes: The Dada Case,

pp. 298-303.

raynal, Maurice and cogniat, Raymond. Les Createurs du Cubisme, Paris, Expositions Jr.

de "Beaux-Arts", 1935.

Cubism and Abstract Art,

Modern

New

York, The Mu-

Social des Oeuvres Poetiques de I'Unanimisme et

Message de V Abbaye,

Lausanne, Paris, 1938.

Maitres de

I'art abstrait.

45, 75-90, 96, 115, 125, 137, 154, 161.

Album

1, Paiis,

Art d'aujourd'hui, 1953.

Introduction by Leon Degand, includes Gleizes pochoir.

cassou, jean; jullian, rene, villon, metzinger, severini, et

terrasse, Charles. French Painting in the

New York,

Paris,

gray, Christopher. Cubist Aesthetic Theories, Baltimore, Johns

Hopkins Press, 1953, pp.

Art, 1936, pp. 82, 92.

XX

Century, London,

Hyperion, 1939, pp. 20-21.

bonfante, egidio and ravenna,

roger-marx, Claude. Le Paysage francais de Corot a nos jours, Plon, 1952, pp. 64-65.

guisan, gilbert. Poesie et Collectivite, 1890-1914: Le

Paris,

Vie, vol. 3,

Cambridge, Massachusetts, Harvard University Press, 1947,

of Paintings, Watercolors Drawings and Sculpture from the John Quinn Collection, Huntington, New York, 1926. Fore-

Collection

of

ma

kahnweiler, daniel-henry. Juan

Eugen Rentsch Verlag, 1925.

barr, Alfred h.

ff.

York, Curt Valentin, 1947. Translated by Douglas Cooper.

arp, HANS and lissitzky, EL, eds. Die Kunstismen, Zurich, Munich,

Midler

du Symbolisme

Recherche, Paris, 1947.

Kubismus, Berlin, Der Sturm, 1924.

New

542

duhamel, Georges. Lumieres sur

ff.

walden, herwarth. Einblick in Kunst: Expressionismus, Futurismus,

edition,

la Litterature Francaise,

a nos jours, Paris, 1947. Chapter V, "Offensive Moderniste,

Paris, Cres, 1924,

ff.

pach, Walter. The Masters of

jours, Paris,

Edinburgh,

Artists, 1946.

Librairie de Medicis, 1946.

n.d. (Circa 1924),

clouard, henri. Histoire de

Leipzig,

vol. 3:

francastel, Pierre. Nouveau Dessin, Nouvelle Peinture, Paris,

New York,

p. 11.

seum

Contemporary French Painting,

Robert Grant for the Society of Scottish

Bolchevisme, Paris, n.d.

(Circa 1923).

pach, Walter. Villon,

pp. 89

Cubisme, 1905-1911;

et le

Cubisme, 1911-44, Paris, Gallimard, 1944. 2nd edition,

1946.

dorival,

Paris, Cres, 1922.

Le Fauvisme

raine, vol. 2:

Depuis

"La Cible"), 1921.

juti. Arte Cubista

tions Esthetiques sur la Peinture" di

Albert Gleizes:

Hommage, Lyon,

al.

Atelier de la Rose, 1954.

gaffe, rene. Introduction a la Peinture francaise: de

Manet a

con "les Medita-

Picasso, Paris, Editions des artistes, 1954, pp. 209-210, 218, 231.

Guillaume Apollinaire,

Philadelphia museum of art. The Louise and Walter Arensberg

Venice, Ateneo, 1945.

adema, marcel. Guillaume Apollinaire, Souvenirs

Collection: 20th Century Section, Philadelphia, 1954, pi. 92-94. et

Temoignages,

Paris, 1946.

dorival, Bernard. Les Etapes de la Peinture francaise contempo-

walden, nell and schreyer, lothar. Der Sturm: Ein Erinnerungsbuch an Herwarth Walden und die Kilnsller aus dem Sturmkreis, Baden-Baden, Woldemar Klein, 1954.

131

/

francastel, Pierre. Histoire de la Peinture Frangaise,

vol. II,

"Du

Classicisme au Cubisme", Paris, Elsevier, 1955, pp. 134, 137, 138, 150, 194.

descargues, pierre. Le Cubisme, Paris, Somogy, 1956, pp. 5-14. fosca, FRANCOIS. Bilan du Cubisme, Paris, La Bibliotheque des Arts, 1956, pp. 50-51, 69-75.

Painting, Paris, Hazan, ed.

;

New York,

Paris

Book

Center, 1956,

lhote, andre. La Peinture Liberee, petite histoire du Cubisme, Paris,

earlier articles

and

La

Peinture des

XIX et XX Siecles,

Catalogue

du Musee de Lyon, Lyon, 1956, pp. 313-322.

Du Cubisme a

Vart abstrait, Paris, s.e.v.p.e.n.,

1957, pp. 70, 71, 99, 109-112, 113, 114, 136, 214, 219, 222, 225,

226, 240. Edited by Pierre Francastel, with a catalogue by

Guy

Modern Sacred Art and

dorival, Bernard, Les Peintres du Vingtieme Siecle, Paris, Editions Pierre Tisne, 1957, pp. 74-86, 93-96, 100, 101, 118, 119, 129.

peters, heinz. Die Bauhaus-Mappen, Cologne, Christoph Czwik-

Belgium, 1885-1898,

New

Haven, Yale University Press, 1961.

Painting, Berkeley and Los

Angeles, University of California, 1957, pp. 7, 210, 265, 272.

seuphor, MICHEL. Dictionary of Abstract Painting,

New

York, Paris

Paris,

July, 1961. c.

New

Futurism.,

York, The

Museum

of

Modern

Art,

1961.

Bergman, PAR. "Modernolatria"

deux tendances dans veille

I'

et

"

Simultaneita"

avant-garde

'.

litteraires

Recherches sur

en Italie

et

en

de la premiere guerre mondiale, Bonniers,

Sweden, Studia Litterarum, Upsaliensia,

2, 1962.

chevalier, jean. Albert Gleizes et la Cubisme, Basel, Basilius Press, 1962. Foreword by R. Indlekofer.

dorival, Bernard. The School of Paris in the

1957, p. 11. Expressionist

New

the Church of Assy,

York, Columbia University Press, 1960, pp. 19, 29.

France a la

Habasque.

German

New York,

Munich, Prestel

edition, 1954-55,

rosenblum, Robert. Cubism and Twentieth Century Art, New York, Abrams, 1960.

TAYLOR, JOSHUA

1957, pp. 17, 37, 57, 153-180 passim.

peter.

in the Twentieth Century,

German

musee d'art moderne de la ville de PARIS, Catalogue-Guide,

buffet-picabia, gabrielle. Aires Abstraites, Geneva, Pierre Cailler.

delaunay, Robert.

lectures.

haftmann, werner. Painting Praeger, 1960. 1st

the 1913

Rochelle, French Forum, 1960. Reprints of

Herbert, Eugenia w. The Artist and Social Reform, France and

Bernard Grasset, 1956, pp. 127-136. VINCENT, Madeleine.

Book

New

Rubin, William.

p. 113.

selz,

Renaissance,

Verlag; English edition revised.

lake, Carlton and maillard, Robert, eds. Dictionary of Modern

litzer,

henry martin. Orpheus: Modern Culture and

barziin,

New

Musee

d'Art Moderne,

York, Abrams, 1962, pp. 12, 14, 23, 25, 31, 34, 46, 51, 138,

148, 150, 156, 180, 262, 267, 290, 295.

GRAY, Camilla. The Great Experiment: Russian Art, 1863-1922,

New

York, Abrams, 1962.

Center, 1957, pp. 179-180.

vallier, dora. Jacques Villon, Paris, Cahiers d'Art, 1957, p. 69. baljeu, joost. Mondrian or Miro, Amsterdam, de Beuk, 1958, pp. 16-21, extensive quotations from Gleizes in notes.

courthion, pierre. Art Independant,

maccarvill, eileen. Mainie hibition of Paintings of

Paris, Albin-Michel, 1958, pp.

80-81.

Modern

1897-1944.

Jellett,

A

Retrospective Ex-

and Drawings, Dublin, Municipal

Gallery

Art, July 26-October 7, 1962.

menna, filiberto. Mondrian, Cultura

e

Poesia,

Rome, Edizioni

del-

l'Ateneo, 1962, pp. 27, 30-32, 51, 96.

dorival, Bernard. Twentieth Century Painters: From Cubism to Abstract Art,

New

York, Universe Books; Paris, Editions Pierre

cabanne, pierre. L' £popee du Cubisme,

Paris,

La Table Ronde, 1963.

Extensive references.

SERULLAZ, MAURICE. Le Cubisme, Paris, Presses Universitaires de

Tisne, 1958, pp. 75, 111.

jellett, mainie. The Artist's Vision, Dundalk, Dundalgan Press, 1958. Edited by Eileen MacCarvill, introduction by Albert Glei-

France, 1963, pp. 82-85.

A

Life in Art,

New York, Farrar,

New York, Abrams,

1964, pp. 111-115,

tyler, PARKER. Florine Stettheimer: Straus, 1963.

zes.

apollonio, umbro. Fauves and Cubists,

New

York, Crown, 1959, pp.

60-70, 76, 79, 82.

meyer, FRANZ. Marc Chagall, 177

ff.

the art gallery of Toronto. Painting and Sculpture, Toronto, 1959.

dorival, Bernard. Le Dessin Francois de Signac aux Abstraits, Paris,

Musees Nationaux, 1959.

golding, john. Cubism:

A

History and an Analysis 1907-1914,

London, Faber and Faber, 1959. Extensive references.

the solomon

R.

Guggenheim museum. A Handbook

R. Guggenheim

Museum

Collection,

New

to

The Solomon

IVPl

HI 1*111

II

nVMSdlll'TK

York, 1959, pp. 62-65.

habasque, guy. Cubism, Geneva, Skira, 1959. lebel, ROBERT. Marcel Duchamp, 9, 10, 11,

New

York, Grove Press, 1959, pp.

13-27, 39, 43-45, 79, 80. Translated by George Heard

apollinaire, guillaume. Chroniques d'Art (1902-1918), Paris, Gallimard, 1960. Edited by L. B. Breunig.

banham, reyner. Theory and Design

stalter, marcel andre. Le Fauconnier

et

L'Expressionisme, Paris,

1961-62. Memoire principal presente pour

Hamilton.

in the First

York, Praeger, 1960, pp. 205-210, 248.

Superieures d'Historie de l'Art, sous

la

le

Diplome d'Etudes

direction de

M. Andre

Chastel.

Machine Age, New

gleizes, Juliette ROCHE. Memoirs, from 1912-53, written in the years 1959-63.

THE SOLOMON

R.

GUGGENHEIM MUSEUM

STAFF

Director

Thomas M. Messer

Curator

Lawrence Alloway

Associate Curator

Louise Averill Svendsen

Assistant Curator

Daniel Robbins

Research Fellow

Carol Fuerstein

Librarian

Mary Joan Hall

Public Affairs

Everett Ellin

Membership

Carol Tormey

Registrar

Kathleen W. Thompson

and Saul

Conservation

Orrin Riley

Photography

Robert E. Mates

Custodian

Jean Xceron

Business Administrator

Glenn H. Easton,

Administrative Assistant

V iola H. Gleason

Office

Manager

Jr.

r

Agnes R. Connolly

Building Superintendent

Peter G. Loggin

Head Guard

George

J.

Sauve

Fuerstein

PHOTOGRAPHIC CREDITS

All photographs but the following were

AGRACI,

made by Robert

E. Mates

and Paul Katz:

Paris: no. 2

Genevieve Allemand, Paris: no. 171

New York:

Oliver Baker,

no. 40

Henri Benezit, Paris: no. 73 J.

Camponogara, Lyon: no. 42

Rene Deroudille, Lyon: J.

W.

nos. 79, 175

Faulkner, Chicago: no. 131

Giraudon, Paris: nos. 27, 28, 88, 124, 128, 153, 154

Joseph Klima.

Jr.,

Detroit: no. 30

N. Mandel, Paris: no. 85

New York:

Robert L. Ross, Aimer;-

nos. 170, 173

Somogy, Paris no. 23 :

Studio Raissac Sete, Lunel: no. 100 Strickland Studios, London: no. 41

Taylor and Dull,

New \ork:

Marlborough Fine Art,

no. 82

London: nos.

Ltd.,

New

Marlborough-Gerson Gallery, Gallery

Andre Romanet,

4, 7, 148, 150, 155,

York: no. 21

Paris : no. 109

Josefowitz Collection, Genova: no. 33

Albright- Knox Art Gallery, Buffalo: no. 45

The

Cincinnati Art

Museum:

no. 117

Landesgalerie, Hannover: no. 35

Wadsw-orth Atheneum, Hartford: no. 136

The Trustees

of

The Tate

Musee des Beaux- Arts,

Gallery,

London

:

no. 123

Yille de Marseille: no. 132

Rijksmuseum Kroller-Muller, Otterloo: no. 47 Musee d'Art Moderne de

la \ille

Musees Nationaux, Paris: nos. Philadelphia

The Art

Museum

de Paris: no. 31

71, 161

of Art no. 62 :

Gallery of Toronto: no. 37

Portrait of Albert Gleizes

by Marcel Coen, Marseilles

Albert Gleizes in his library by Photo Lido

179

Exhibition 64/5

September-October 1964

3000 copies of this catalogue, designed by Herbert Matter, have been printed by Joh. Enschede en Zonen, Haarlem, in September 1964

for the Trustees of The Solomon R. Guggenheim Foundation

on the occasion of the exhibition "Albert Gleizes"

.An

THE SOLOMON

R.

GUGGENHEIM MUSEUM, IEW YORK

MUSEE NATIONAL DART MODERNE, PARIS

MUSEUM AM OSTWALL, DORTMUID

mm

SAN FRANCISCO MUSEUM OF ART CITY ART

MUSEUM

OF

ST.

LOUIS

KRANNERT ART MUSEUM, UNIVERSITY

OF

ILLINOIS

THE COLUMBUS GALLERY OF FINE ARTS THE NATIONAL GALLERY OF CANADA, OTTAWA

ALBRIGHT-KNOX GALLERY, BUFFALO THE ARTS CLUB OF CHICAGO