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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

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

ILLINOIS,

CHAMPAIGN

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

R.

GUGGENHEIM FOUNDATION

TRUSTEES

HARRY

F.

GUGGENHEIM. PRESIDENT
THIELE. VICE PRESIDENT

ALBERT
H. H.

E.

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

F.

WETTACH
WHELPLEY

MEDLEY

G. B.

CAUL ZIGROSSER

It is

appropriate that this

first

major exhibition of the

works of Albert Gleizes should be an international and

collaborative venture

among

three nations indisputably

is

linked with the painter. First and foremost, Gleizes

French

artist, a

founder of Cubism and an influence on

the School of Paris.

He was

also a

member

of Der Sturm,

and

his

many

theoretical writings were originally

at

most

appreciated in Germany, where especially

his ideas

the Bauhaus

were given sympathetic consideration. Finally,

he spent four crucial years in

New

York, and played an

art.

important role in making America aware of modern

His key paintings, long since scattered far and wide

across the globe, are, at
last,

brought together in this

work.

retrospective evaluation of his

life

Jean Cassou, Conservateur en Chef

Thomas M.

Messer, Director

Dr. Leonie Reygers, Director

Musee d'Art Moderne,

Paris

The Solomon R. Guggenheim Museum, New York

Museum

Am Ostwall, Dortmund

The Solomon R. Guggenheim Museum

is

the obvious institution to launch the

its

first

retro-

spective exhibition of Albert Gleizes in America. For

collection

numbers no

less

than 58

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

museum

in this countrv.

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

- an indifference that

to date

has remained unrelieved by a single full-fledged

museum

survey in this countrv. As a result, judgements about Gleizes and his work have been

based too often upon ready-made assumptions and too seldom upon inspection of the works.

As we look

again, or

more

likely, as

we look

for the

first

time,

we become aware of the

"Cubism"

in-

sufficiency of categories

and of the damaging

effect of generalizations.

as a pigeon-

hole

becomes

either too small or too large to

accomodate the

specific contribution of Gleizes if

we

insist that the

term should

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

Picasso and Braque.

As

is

made

plain in a key passage of the following introduction, Gleizes

and those sharing

his thoughts

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.

of course, the individual work.

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

own sake and

to

contemplate

them within

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.

liears of

Robbins

to

undertake a selection

and documentation

that

now

is

gratefully

acknowledged

as

an original and important con-

tribution to scholarship.

Thomas M.

Messer. Director

ACKNOWLEDGEMENTS

My particular
cooperation
to Dr.

gratitude

is

due

to

Madame
made

Albert Gleizes, whose enthusiasm,

this

and documentary

resources

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

to

thank Dr. Eileen MacCarvill and Dr. Tliomas

Kivell,

MacGreevey of Dublin: Rex de

C.

Nan

London: Bernard Dorival, Mme.

Rocher-Jauneau,

Sonia Delaunay and Henry Zerner, Paris:

Mme. Madeleine

M. and Mme. Rene

Georges Deloye,
St.

De'roudille,

Andre Dubois, and Jean Chevalier of Lyon:

Brun, Avignon; the late Joseph Olivier of

M. and Mme. Andre

Remy-de-Provence; Walter W. Firpo and

Gabrielle Kueny, Grenoble ; Maurice

Mme. Marie

Latour of Marseilles;

Mme.

Allemand of St. Etienne : Commandant

Georges Houot, Toulon: Claude Gleizes and

Matthew Robbins,

J\eic 1 ork.

M. Edouard

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.

in the

Bibliography and Exhibition

Many entries

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

G.

Samuel Josefowitz, Morton

Neumann, Herbert M. Rothschild,

S.

Augustin Terrin, Siegfried Lllmann, Pedro Vallenilla Echeverria, Richard

Zeisler,

The Musee de Grenoble, Museum des

J\eic I ork.

20. Jahrhunderts,

Vienna and

Marlborough-Gerson Gallery,

Finally, I wish to acknoicledge the support of the Director

and

the staff of

The

Solomon R. Guggenheim Museum

larly

in 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

Mr. and Mrs. Arthur G. Altschul,

Mr. and Mrs. Lester A\Tiet,

Herbert M. Barrows,
Jacques Barzun,

New York Kings Point, New York

Mr. and Mrs. Siegfried Ullmann. Palm Beach

Dr. Jules Vache. Lunel, France

Ann

Arbor, Michigan

Pedro \

allenilla Echeverria,

Caracas

New York
Lyon

Mr. and Mrs.

Ham-

Lewis
J.

^ inston,

Birmingham, Michigan

Madame Henri
Rene

Benezit, Paris

Mr. and Mrs. Samuel

Zacks, Toronto

Deroudille,

Richard

S. Zeisler,

New York

\^ alter

Firpo, Marseilles

Mr. and Mrs. Arthur Freeman,

New York

Aibright-Knox Art Gallery, Buffalo

Mr. and Mrs. Andrew Fuller,

New York

The

Cincinnati Art

Museum

Madame
Madame

P. de Gavardie, Paris

The Columbus
Musee de Dijon

Gallery of Fine Arts, Columbus, Ohio

Albert Gleizes, Paris

Germaine Henry, Paris

Professor and Mrs. Milton Handler,

Stadtische Galerie

im Landesmuseum, Hannover

New York

^ adsworth

Atheneum, Hartford
Gallery,

Commandant Georges Houot, La

Leonard Hutton-Hutschnecker,
Rudolf Indlekofer. Basel
Mr. and Mrs. Samuel Josefowitz,
Josefowitz Collection,

Fleche, France

The Trustees of The Tate

London

New York New

ork
"iork

The Los Angeles County Museum of Art

Musee des Beaux-Arts, Lyon Musee
Cantini. Marseilles

Geneva

The Solomon R. Guggenheim Museum, New \ ork

'i

Messrs. Kennedy-Garber,

New

Rijksmuseum Kroller Muller. Otterloo

Rex de

C.

Nan

Kivell,

London

Musee d'Art Moderne de

la Ville

de Paris

Edouard Labouchere, Paris

Mr. and Mrs. Isadore Levin, Palm Beach

Musee National d'Art Moderne, Paris

Philadelphia

Museum

of Art

Madame Ferdinand

Moller, Cologne

Saarland-Museum, Saarbriicken

Mr. and Mrs. Morton G. Neumann. Chicago

Collection

Musee d'Art

et

dTndustrie, St. Etienne

Lady Norton, London

Nationalmuseum. Stockholm

Mr. and Mrs. Meyer P. Potamkin, Philadelphia

Dr. and Mrs. Stephen Rafel, South Orange,
Dr. Henri.' M. Roland,

The Art Gallery

Jersey

of Toronto

New

Museum

des 20. Jahrhunderts, Vienna

London
Galerie Moos. Geneva

Collection Romanet, Paris

Mr. and Mrs. Herbert M. Rothschild, Kitchawan,

Mr. and Mrs. John Strauss, Glencoe,
Illinois

New York

Leonard Hutton

Galleries,

New

'iork

Marlborough-Gerson Gallery.
Galerie L. Bourdon. Paris

New ^ ork

Augustin Terrin, Marseilles

11

1881

Born. Paris. December

'ft

8.

Raised in Courbevoie. Secondary education at College Chaptal.

atelier.

1900
1902

orked in his father's fabric design

First exhibits at Societe First exhibits at the

Rationale des Beaux-Arts. Paris.

'

1903
1905

Salon d Automne. Military service

until 1905.

Founder of the Association Ernest Renan.

1906-1908 1909-1910
1911

Founded and

participated in the

Abbaye de

Creteil.

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

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

Commenced
1912

extensive writing. Friendly \rith

DuchampA illon

family:

formation of the Artists of Passy group.

Published

Du Cubisme
Army.

with Metzinger.

Assists in the formation of the Section d'Or.

1914 1915

Called into

First completely abstract works.

visits

Demobilized, married Juliette Roche and

Barcelona. Spring through

New

\ork.

1916
1917

Autumn.

1916.

Returns

to

New

"i

ork via Cuba. \

isits

Bermuda.

1918

Summer
Returns

in

Pelham.

Xew

"iork: beginning of religious orientation.

1919
1921

to France. Spring.

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

1922-1926

Gradual withdrawal from Paris-centered

art

world:

increased interest in social and intellectual problems.

1927

Established Moly-Sabata. a second Utopian

community of

artists-craftsmen in Sablons.

1927-1928

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

to

make

reasonably priced art available to a wide public.

1930

Strongest

Romanesque

influences appear in his art

and in the concurrent writing of

La Forme
1934-1935
1937 1939
1941

et L'Histoire,

published in 1932. Participates in Abstraction- Creation movement.

Reintroduction of rigorous brush work.

Executes murals for the Paris Exposition des Arts.

Permanently moves
Rejoins

to St.

Remy-de-Provenee.

Roman

Catholic church.
at

1947

Major retrospective exhibition

Illustrated the

Lyon. Chapelle du Lycee Ampere.

1949-1950
1951

Pensees of Pascal.
at the first

Awarded Grand Prix

French Biennial. Menton.

1952 1953

The Eucharist

is

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

Died. Avignon. June 23.

12

ALBERT GLEIZES: REASON AND FAITH

IN

MODERN PAINTING

BY D1X1EL BOBBINS

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

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

in

1875 as well as numerous

official

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. two
sisters

He was

always very close

to his

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

include their figures as well as that of his mother.

was intended that Gleizes should receive a normal bour-

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

and secretly
When
his

substituted

comedy

classes at the

drama conservatory

for attendance at his prescribed courses.

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

work

in his design shop where

he could personally supervise and discipline him. Working with

fifteen or

twenty other employees, Gleizes

found the

activity valuable, later claiming that the necessary precision

demanded by design was important

to his artistic training.

The anonymous designs produced

and

in the atelier were largely eighteenth century in

inspiration (destined for draperies, upholstery

clothing), but a certain art

nouveau influence

also crept in. 1

filled

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

the

more pleasure than

to

it

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

and a desire

become a

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

and Neo-Impres-

ambition was frowned upon. Despite lack of encouragement, however, Gleizes began to

paint seriously while serving in the north of France, and even submitted his works to the Salon Nationale

des Beaux-Arts. 2 His early subject matter reveals a preoccupation with social themes: laundresses, workers

'Some of these
2

fabrics are

still

preserved in the

home

of the artist's

sister, Mireille

Houot-Nayral, at La Fleche.

The

Societe Nationale des Beaux-Arts was founded in 1890 by a group of dissident artists, including Puvis de Chavannes
in opposition to the Societe des Artistes Francais, the official salon. See
to

and Rodin,

John Rewald, Post Impressionism:

From Van Gogh

Gauguin,

New

York,

Museum

of

Modern

Art, 1956, p. 462.

13

on the
writing

quais, factory laborers;

but

it

also included

some mysterious night scenes: small

solitary figures

by lantern
and

light in front of

camp

tents, or the silhouette of a

wind mi ll or church seen against a night

inclination for

sky. Gleizes

his closest friend, the future poet-writer

politics of

Rene Arcos, had developed an

sym-

bolist poetry

and for the

democratic socialism. Believing ardently in simple brotherhood without

organized religion, they read and admired

the sociology' of Durkheim. the music of
all

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

life,

from about 1901-05. Gleizes appears

to

have had

direct awareness of activity in the art world,

even

less contact

with other painters. Certainly, he was

familiar with the

work of

Pissarro and Seurat

and he admired Gauguin^, but these connections provided

vicarious rather than experienced culture. In contrast,

young painters

like

Braque and Picasso, even Metzinger

and Delaunay (who.

as Gleizes' friends,

were

later to share

many

of his ideals), already were engaged in a

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

and

development of the gallery-centered

art

market, and they observed with interest the growth of

Gleizes however, regarded the city as a bourgeois

various personalities and schools.

The unsophisticated
it

creation, a destestable place designed to trap artists as

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

J ie.

group of

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

(including Duhamel,
allies, all

Romains. \

ildrac

and Mercereau). Believing that

artists, intellectuals

and workers were natural

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

men and

intellectuals

particularly artists

together. In 1906. with the financial aid

new

friend,

Henri Martin Barzun. these young

men

established the

Abbaye de

Creteil. a phalanstery for

artists

and

writers. Barzun, rather

more

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
ideal, the conditions of his earlier fife

and

interests anticipated

even necessitated

his desire to

found such

a community. His early works, developed in isolation, consistently investing a vista or a genre scene with

broader significance than the subject normally permitted, often reconciled the contrasts of exterior and
terior or united ancient usage with

in-

modern

practice in simultaneously plastic

at

and symbolic terms. Gleizes

at relationships

seems never

to

have been absorbed by pure \ision but always hinted

something more,

and

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

city,

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
all

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

brought

to the

Abbaye, where they were expanded

and matured.

The Abbaye, supposedly supporting

the blessing of
that

itself

through the communal metier of publishing, received

its

many

Symbolists, but

it

was not long before

members began

to

break with the forms of art

artists

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

scorned

In an unpublished part of his Souvenirs Gleizes wrote that an initial idea for the Abbaye of Creteil was to escape from corrupt Western civilization to the simplicity f life in the South Seas, as he then believed Gauguin had done.
politics as

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

with poetry. In addition to publishing

L Art Social from 1905, he

14

the structure of a bourgeois world and sought to substitute a

communal

society,

but they did not reject the

themes of modern

life

in favor of the

Symbolist focus on single elements and internal, individual images.

art,

Thev wished instead

to create

an epic and heroic

stripped of ornament and obscure allegory, an art

dealing with the relevant subjects of

It

modern

life:

crowds,

man and

machines, even, ultimately, the city

unfulfilled

itself.

can be argued, of course, that the Abbaye intentions

vast as they were remained

reality.

and

that

their

dream,

like that of the

Symbolists before them, was an escape from

Yet there were important

distinctions, for the

Abbaye

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

creating solely

from an

aesthetic or a closed ideal.

If the physical

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

the

Abbaye

artists

expected

much

more.

It is

important to realize that their vision, although responding to

the conditions of

modern

life,

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

artists of doing.5 Gleizes

and his

dreamed of creating the future and

in the

collectivity, multiplicity,

simultaneity were the key

related

Abbaye concepts manifest

work of Barzun, Arcos. and

art,

especially in the

Unanimism

of Jules Romains. Theirs was a self-conscious

a synthetic concept of the possibilities

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

by

the limitations of physical perception nor

their

by

a separation of scientific fact

from

intellec-

tual

meaning

even symbolic meaning. Even

Moscow, attracted many
first to

images of simultaneity were synthetic because scope was

too vast, both physically and symbolically, for one man's limited participation.
circulated even in
writers like
artists.

The Abbaye, whose fame

and young

Marinetti and Brancusi were visitors there

Roger Allard (one of the

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

of the artists

who wanted

to

have the Abbaye publish their works. Nevertheless, after only two years, the

Abbaye was forced

keep going.

to close,

mainly because of material hardship. There simply was not enough money to

Gleizes' style

changed rapidly

at the

Abbaye. From a technique of paint application akin

Iris

to Pointill-

ism and a

light palette similar to Impressionism,

his structural

paint handling

became more robust, areas of

color

and

brushwork grew simpler, and

curvilinear forms.
multiplicity

rhythms became more pronounced, although softened by more

presenting the remarkable
to the ideals

A synthetic view of the universe,

phenomena

of time and space,

and

diversity, at

once was his painted equivalent

which were verbally realized in the

Abbaye poetry. Experienced in

of balancing

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

many

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

linear perspective,

by

flattening the picture plane; his skies

were on the same plane as the simple

flat

objects in front and, although scale was retained, a

form

in the distance

would be brought

to the

foreground

by making

it

bright.

Every element of the painting had

to

be reduced

to clear planes, treated as

uniformly as

possible, for attention lavished

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

color range

expanded in the winter

and contracted in the summer landscapes, the horizon

line

consist ently crept higher

and higher.

Unknown

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 the Nabis. was painting rocks and

sea.

His rocks became progressively more geometric

and

his sea crept higher

up the picture plane. He exhibited

his rocks at the

Independants in 1909 but Gleizes,

who had not

probably
first

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

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

know each

other's

work

until

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

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

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

Fig. 1.

Henri Le Fauconnier:

Fig. 2. Albert Gleizes:

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

PORTRAIT OF

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

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

Rene Arcos.

An

oil

sketch from 1909.

lines,

however, remains in the collection of

Madame

Gleizes

and

its

combination of curves and straight

coat, striding across

strikingly related to the Jouve portrait, depicts

Arcos in a dark, flatly-rendered

an enor-

mous

landscape. In 1910 both artists continued to concentrate on figures: Le Fauconnier on a portrait of the

poet Paul Castiaux and Gleizes on a majestic portrait of his uncle. Robert Gleizes. The two works are very
close

and

establish Gleizes' debt to

Le Fauconnier

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

artists in a

same year

Mercereau included these three

Moscow

exhibition

probably the
by

first

Jack of Diamonds

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

auxcehVs disparaging

comments on "des cubes Blafards" 6 which

,

surely referred to Metzinger's Portrait of Apollinaire

and

Gleizes'

Tree at the Salon des Independants .) Mercereau.

who had missed

the opening of the

Gleizes'

Abbaye

in order to ac-

company Nicolas Riabouchinsky

to

Moscow, had previously included

Les Brumes du Matin sur la

Marne

in a

Russian exhibition of 1908. 7

activity, it is

Given Mercereau's long standing delight in promoting group

easy to recognize his

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

who could be
As

own

synthetic ideals, ideals which had been influential in the Abbaye's development.

Gil Bias, March 18, 1910. quoted in John Golding, Cubism, London, 1959, p. 22.

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

16

organizer of the literary section of the Salon

exhibiting there and to introduce his
.

d'Automne of 1909. he was

to the

able to introduce Gleizes to painters

own concepts

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
fading Symbolists to

new concepts and

that in the 1910

work Les Contes des Tenebres. Mercereau had bansame character and
(like the

ished "anecdotal appearances", had

made

different forces operate within the

painters) had changed settings rapidly and fantastically.

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

circle of friends.

to

be integrated with Gleizes" older

Gleizes was illustra-

The

entire group, including Allard (whose

book Le Bocage Amoureaux

Theo
A arlet.

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

and even Apollinaire

and Salmon, became

party" to the ideas of the

Abbaye. 9 Apollinaire and Salmon were only peripheral members.

circle,

of course, the chameleon Apollinaire participating in almost every literary and artistic
that Apollinaire"s conception of

but

it is

clear

Cubism was influenced by the

epic notions found in the old

Abbaye
art.

circle.

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

sive

come

a simple

and noble

expres-

and measured, eager

to discover beauty-,
to

and entirely ready

to tackle those vast subjects

which the painters

of yesterday did not dare

daubers of the
official

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

is

Salons. " (italics mine). This conception

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

by the Mercereau-Gleizes

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

and Leger. The subjects treated by these Cubists,

chosen by Picasso and Braque. have
Their significance
is

markedly

different

from the isolated

still fifes

or figures

vital significance

both as intentions and as productive of different forms.

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

ceptual and technical advances, eventually being absorbed

by the

abstract art of Gleizes

and Delaunay.

As .Allard wrote
"Thus
is

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

born

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

was destined

to

develop and to be

transformed into abstract art in

Gleizes" painting

the work of Delaunay and

Gleizes. In order to

understand the passage of

it is

from an

epic, visionary (as

its

opposed

to 'visual) reality- to abstraction,

important

to

under\^ e

stand his early Cubist style and

differences

from our

traditional understanding of analytic

Cubism.

have ahead}- discussed some of the thoughts stemming from abstract considerations of relationships that
intervened between appearances and the paintings of Gleizes and his friends. These involved the interaction
of vast space with speed and action, with simultaneous work, commerce, sport, and flight: with the
city-

modern

and the ancient

country-, with the river, the

harbor and the bridge and, above

cultural thought

all.

with time, for the sense

reality-

of time

involving memory,
and

tradition

and accumulated

created the
to
reality-

of the w-orld.

In poetry-, this post-symbolist attempt to achieve

unities of time, place
action.

new forms had

break decisively with the old

of

Unity of scene did not correspond with the

modem
is

life;

unity of

time did not correspond with the culturally

(as

known and

anticipated effects of change. That

tried to solve the

why Mercereau

Metzinger noted) H shifted his scenes so violently,

why Barzun

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

treat collective

and simultaneous

factors. This

necessitated a

new kind

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
op.

Salon d'Automne de Paris",

cit.

V Art Libre,

Lyon, October-Xovember, 1910.

"See Metzinger,

17

equivalent of another.

tentative precedent perhaps existed in Courbet' s

allegorical failure

Real Allegory which, however,

might have been considered an

that the visible world only

by Gleizes and Metzinger because Courbet "did not suspect

became the

real

world by the operation of thought."! 2

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

made

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

irresistably toward

life

and

civilization,

moving

harmonious interaction, was the subject of

Gleizes' art. This subject

was treated neither

but was

as a confined symbolic allegory nor as a cultural

background indicated by
r

specific real appearance,

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

d'Or (no. 34),

is

not merely an anecdote in a scene. Rather,

it is

a multiple panorama celebrating the worker,

his material life

and

his collective activity in securing that life

on a permanently changing land. Gleizes contime, but with past

fronts us not with one action or place, but with

many: not with one

and future

as well as

present.

In contrast to Picasso

and Braque, Gleizes never

set out to analyze

and describe
daily Hfe

visual reality.
satisfy

mandolin, guitar, pipe or bow] of fruit

all

more

or less neutral objects

from

could not

his

complex
and

idealistic

concepts of true

reality.

He

always stressed subjects of vast scale and of provocative

social

cultural meaning.

He

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

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

The iconography

of Gleizes, as of Delaunay, Le Fauconto the analytic

to

and Leger, helps

to explain

why

there

is It

no period in their work corresponding closely

also explains

Cubism developed by Picasso and Braque.

become
abstract painters,
Gris,

why

it

was possible for Gleizes and Delaunay

to

more

theoretically sympathetic to

Kandinsky and Mondrian than

Picasso,

Braque and

who always remained

associated with visual reality.

is

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

not the same as the

is

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

deformed by

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

major factor in his process was the study of volumes utilized

placement and
effects

to

convey the
to this the

known

solidity

and structure of form and

objects, their weight,

upon each

other.

Add

inseparability of

color, the modifications in

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

principal lessons of Cezanne) and

fied

we

arrive at Gleizes' 1910-11 style of painting.

Although forms are simpliAlthough

his color is

and

distorted, each shape

and color modified by another, they are not

grisaille.

splintered.

sober,

it is

always rich, never

Gleizes did not use the device (found in

many works by

Picasso and Braque) which involved

filled

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

with a tex-

tured horizontal brushwork. sometimes modifying the composition into an elegant oval. Having always to

do with the synthetic treatment of a broad subject, no part of his canvas received

less attention

than another.

Consequently, Gleizes always had to grapple with the problem of getting into the picture plane, a search that
led

him

in

1913

to

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

article

was aware of the differences between his own interests

first

and those of Picasso and Braque than the

he wrote after seeing Picasso's work for the

to the

time.

lj

Having quoted Apollinaire's remarks 14 about a return

grand principles of structure, color and

in-

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

and Braque, in
to (an

spite of every-

thing, did not depart

from an impressionism of form which, nevertheless, they opposed

impressionism

'Albert Gleizes and Jean Metzinger,

Du

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

Rue

"Gleizes and Le Fauconnier are supposed to have met Picasso for the first time when Apollinaire introduced them in a bar, d'Antin, at the moment of the Salon d' Automne. 1911. They accompanied Picasso and Apollinaire to Kahnweiler's gallery to look at Picasso's paintings. See: Gleizes, Souvenirs: see also Gleizes. "L'Epopee", Le Rouge et le S\oir, October, 1929, p. 63; see Golding, op. cit., p. 23: see Cabanne, L'Epopee, Paris, 1963, p. 163. Kahnweiler, however, in conversation and in letters to the author, claims, to the best of his recollection, that Gleizes visited his gallery before this date.

"From

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

18

Fig. 3. Albert Gleizes:

THE CITY AND THE RIVER.

1913.

Fig. 4. Albert Gleizes:

THE CITY AND THE RIVER.

X
187 cm.).

1913.

Catalogue no. 46.

86} X 73}" (220 Whereabouts unknown.

Oil on canvas,

of) color." !5 Gleizes

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

planes, as "an impressionism of

form" because of the emphasis on relationships and rhythms

set

up by parts
to establish

of a dissected subject.

He

realized that they were quite distinct

from

his

main concern which was

weight, density and volumetric relationships

characterized this phase of his
traditional use of the

among

parts of a broad subject.

it

Although Gleizes himself

little

work

as

an "analysis of volume relationships,"

bears

similarity to the

word

"analytical" in our understanding of

Cubism.
Paris, Gleizes

In the

little

reviews and newspapers from pre- World

War I

had always been identified

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

modernism in

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

because Cubism

itself

was no longer the avant-garde. Instead,

it

it

was regarded by some people as a freak, a

as

phenomenon

that

had passed, or

was looked upon by others merely

groundwork

for the

newer freedom

of Dada or the more specific program of Surrealism. Even after historians began their attempts to analyze
the obviously vital role played by Cubism, the
early

name

of Albert Gleizes was always mentioned because of his

thirties

and important participation in the movement. Yet, by the

for,

he came to be regarded as an anachrocall

nism

being alive and decidedly articulate, he had never ceased to

himself a Cubist and presumably

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

Nor
were

did he practice that most rational and ordered

close to those developed

art,

Neo-Plasticism. Although in

many ways

his theories

by Mondrian,

his paintings

never submitted to the discipline of primary colors and

the right angle

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

and generally negative

intellectuals

criticism

from the accepted

art press,

he was actively taken up by a small group of Catholic

who regarded

]5

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

critics for

some

thirty years.

The

literature of

Cubism,

(as

of

all

twentieth century painting)

may be

divided into two categories:

contemporary criticism and

historical study

the two overlapping and intermingling as our centurv advanced.

first

Serious historical study of Cubism, (distinct from criticism), began in the late 1920"s. Drawing at sources of limited original data, chiefly the opinions of Apolliniare.
it

from

came

to rely heavily

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

Gris.
to

Our

tradi-

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

some

extent,

on the ideas of Juan Gris 16 and the two major terms "analytical" and "synthetic", which subsequentlv emerged,
have been widely accepted since the mid-thirties 1 ". Both terms are historical impositions that occurred after
the facts they identify, for neither phase was so designated or explained at the time corresponding works

were being created. Their wide acceptance was

at least partially

due

to

an historical desire to give pattern and

continuity to the course of a painting tradition which by 1911 had been irrevocablv affected
revolution. This, of course, does not invalidate our use of the words analytical

bv the Cubist
it

and svnthetic but

does

suggest that a further examination of

them might be

well advised.

Analytical and synthetic, due to their clear applicability to the paintings of Picasso. Braque and
Gris.

have long seemed to be perfectly acceptable descriptions of Cubism's development. By 1911. the shat-

tered planes of Braque

and Picasso reached "analytical" pinnacles where the

initial subjects

were only hinted

at within the context of the

new

reality

the painting

itself. T\ ith

the introduction of collage, there

emerged

a simplification resulting reconstituted into a

from the broader and

flatter

shapes of introduced fragments of reality which were

new

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

of

Cubism

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

Picasso painting, the Demoiselles

lonian. sculpture

d'Avignon

and the influence of primitive,

particularly African

and Cata-

on the Cubist painters.

serious general objection to an historical tradition
art

The most
origin of

which regards the Demoiselles as the

as

Cubism and. noting the evident influence of primitive

form
is

on

it.

symptomatic of Cubism's

relation-

ship to primitive

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

this familiar explanation fails to give

adequate consideration

to the complexities of

a flourishing art that

fifty

existed just before

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

years later,

we

are only beginning to examine the relationships between

Italy

Cubism and contemporary developments in

Germany. Holland.
changes in
art. If

and Russia, where

a self-conscious search for a

new

style

was

also causing rapid

we

elect the Demoiselles as the beginning,

we must

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

work of Picasso and Braque).

to neglect parallels in the

Similarly,

by accepting the
literature
Y\ e

simplified view of the Cubist revolution,

social thought, turning to

we tend

development of

and
even

them only

after 1911. after

Cubism had become a recognized movement.

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

Cubism

as descending

from the Demoiselles,

later

as a

system developed across analytic and

a valuable interpreta-

synthetic phases

by Picasso and Braque and practiced only

by Gris and Leger. As

16 See Daniel Henry Kahnweiler, Juan Gris: Sa T'ie. Son Oeuvre, Ses Ecrits. Paris, Gallimard. 1947. (English translation by Douglas Cooper, New York. Valentin, 1947, pp. 144. 145). Gris" reply to the questionnaire "Chezles Cubistes". Bulletin de la Vie Artistique, Paris, 6th year, no. 1, pp. 1517, January 1, 1925.

17

See Alfred H. Barr.

Jr.,

Cubism and Abstract

Art.

New

York, The

Museum

of

Modern

Art. 1936. pp. 29. 3112. 77-95.

20

tion of these painters

it

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

ment of painting

it is
it

incomplete and misleading.

matters
little

Certainly,

what designation

later historians

apply to events.

If

Kahnweiler considers
to the rigors of that

Cubism
hmited

as Picasso
definition.

and Braque. our only

fault is in subjecting other Cubists'

works

The contemporary
must be added

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

qualifying adjective

to differentiate

between branches of Cubism. an appreciation of the works of

The

traditional interpretation, formulated post facto to assist in

also affected our

Braque and Picasso, naturally has

understanding of other twentieth centurv French painters.

illon.

But

it is

difficult to

apply to

men

such as Delaunay. Gleizes. A

Metzinger. and Le Fauconnier.

who

exhibit such fundamental differences

rigbt to be called

from the

traditional Cubist

works that Kahnweiler even questions their

an ideal definition,

Cubists at

all.

If the
it.

now

historical interpretation is regarded as

naturally these

men

will fall short of

To

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
is

Cubism

a profound mistake. Similarly,

traditionally

it is

foolish to
\rithout

assume

that they did not understand Cubism's real meaning,

it

which

had been defined

an examiniation of their work. Clearly

would be useful

to
if

examine their intentions, techniques and theories as carefully as we have those of Picasso and Braque,
necessary adjusting or redefining our theories to take account of what

we

find.

Our
were
first

theoretical understanding of

Cubism has changed very

little

since the

main interpretive

fines

explored during the 1930s. Recent studies have gathered and sifted a quantity of important docuoriginal period but this information has generally
details

ments from the

contributing

been

fitted into the existing

framework,

many

but merely solidifying our extant comprehension of the movement.

The

history of the very

word "Cubism"

illustrates the

dangers inherent in our traditional approach

its

to the history of

Cubism. Like the names of many other

art

movements,

general use was an accident.

The

traditional

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

1908 and that the term was published twice by the

Louis ^ auxcelles ls in a similar context.

It is

interesting

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

made

a reference to

Cubism

as early as 1906 but.

since

it

was made in reference

to

Delaunay and Metzinger rather than

to Picasso or

Braque,

its

possible

significance has not

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

like general usage until 1911.

If,

and then mostly in connection with

Gleizes, Metzinger.

Delaunay and Leger.

to find prece-

in attaching special

meaning

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

one had sought

dence in connection with Metzinger and Delaunay rather than with Picasso and Braque. Chassevent' s use of
the "cube" might have assumed the retrospective significance the significance of the

now

attached to \ auxcelles' remarks. Thus.

its

word

itself is

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

it

general

acceptance as the "beginning" of Cubism seems to have occurred because

in which the historian deliberately sought evidence

suited an historical

framework

from an already

specified direction. In contrast, recogbasis, a different historian

artists

nizing

its

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

would
suffi-

be equally

Cubism with the

efforts of a

second group of

those who were

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

rough characterization of the geometric appearance of certain

canvases. In 1911, Apollinaire accepted the term

exhibit at the Brussels Independants-

on behalf of

group of

artists

who had been

invited to

and the following

year. Gleizes

and Metzinger wrote and published

Du Cubisme. an
work was,

effort to dispel
first

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

in effect, the

definition of

Cubism and
its

it still

remains the clearest and most

of discussion bv the

intelligible.
artists

The

result not merelv of collaboration

between

two authors but also

circle of

who

'

Gil Bias,

November

14.

1908: Gil Bias.

May

25. 1909. See Golding, op

cit.,

p. 20.

"Louis Chassevent, "Les Artistes Independants, 1906", Quelques Petits Salons. Paris, 1908, p. 32. Chassevent discussed Delaunay and Metzinger in terms of Signacs influence, referring to Metzingers "precision in the cut of his cubes...'
20

See p. 16 for quotation.

21

met in Puteaux and Courbevoie.

Villon brothers, to

it

reflects the attitudes of the "artists of Passy",

it

which included the Duchamp-

whom

parts of

were read before publication.

Why
taken for

did these artists evidently want so

much

to

be understood?

It

was because they had arrived

or Cezanne) being

at their art after a slow

and meticulous search and did not

relish (any

more than had Manet

madmen. Their

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

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

Such mental
at the

attitudes, while

perhaps not the

century,

stuff of novels, are readily

understandable in
that

men who grew up

end of the nineteenth

could be improved
role in the

imbued with optimism, believing

environment could be shaped, that

to

life

and

especially

that

art, affecting

both environment and man. was destined

expand

its

human

consciousness.

The whole of the

work

art

and

life

of -Albert Gleizes

testifies to his

consistent attempt to realize those

aims. In examining his

especially in relation to the succeeding interests

and influences

it

manifests

we

discover, if not alternatives to the

is

dominant

attitude, at least valuable

fine artist

supplementary information.

Gleizes

a particularly

good

subject, for not only

was he a

but he was also a brilliant theoretician,

even philosopher, who

Gleizes

left lucid

and

logical evidence of his self-conscious development. In

Du

Cubisme,

and Metzinger pointed

to their specific intentions

when they
yet.

wrote: "...let us admit that the reminisraised to the level of

cence of natural forms cannot be banished

effusion at the
first

in any event, not

An art cannot be

pure

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

Delaunay painted

his simultaneous discs, in a

single unprecedented

jump

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 191415, 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,

like a

final, circling,

astronomical.

Delaunay played with moons and suns

Gleizes

wondering child."21
for plastic equivalents of the great

became obsessed by the search

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

by

a synthesis

of essential plastic equivalents of his physical reality.

colors (no. 74) witness the
plastic translation of

The Lorraine Pitcher

(no. 75)

and

its

preparatory water-

same process and

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

city

one of his most cherished themes, the

to
is

which draws

life

from the

river.

His old

interests

were intensified and pursued even when he came

America. The three Brooklyn Bridge paintings

are key examples. Similarly, his continuous development

documented by the 1917 painting Stunt Flying

flight,

which derives from the 1914 Acrobats. In the

earlier

work, three trapezists are frozen in

suspended in

a specifically described circus environment. In Stunt Flying, however, imitated forms are abolished, replaced

by soaring rhythm,

the exultant sensations of height and velocity. This synthesis of controlled kinesthetic
is

action within a given experience

achieved without the methodology of simultaneous -news, without facetting

or fragmentation, even without Gleizes'

own technique

of volumetric relationships.

21

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

and 1945.

22

Between 1914 and 1917,

Gleizes' evolution

was not marked by absolute consistency, for the

artist

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

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

number of

ob-

exuberant 2 - (as well as in a lost

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

for light-modified

forms and his consocial values,

brushwork overcome any conceptual

efforts. Gleizes'

concern for

human and

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

developed certainty.
activity in 1918,
it

On

the contrary,
to

it

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

life

even seems

have threatened his

life,

as an artist. Li\ing in the

its

most modern

city in the
its

world, the very epitome of collective

industrial conformity,
its

he was alternately exhilarated by

tasteless shapes.

energy and depressed by

monotonous production of drab,

This experience of the "future"

occurred
life

at the

very

moment when he was

writing about the need to subordinate individual ego to the greater

still

of the group in L'Art

dans V Evolution Generate, and was

optimistic about the course of events in

all

Russia.
reality.

He was

torn apart by conflicting forces; his cherished ideals were

but contradicted by a maddening

These
1918

conflicts doubtless contributed to

7

an unforeseen experience which took place in the

summer of
said,

at the Gleizes" rented

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

"A

terrible thing has

happened

me:

believe

am

finding God. "23 This

new

religious conviction resulted

not from any mystical visions but instead from Gleizes' rational confrontation of three urgent problems
collective order, individual differences

and the painter's

role.

Although Gleizes did not join the Church

until

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

God but

also to

have

faith.

The

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

he chose

to 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

human

spirit,

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

7

art. It

was an ivory tower,

it

spoke a strange language, unintelligible

to those wiio lived in the world

. . .

The

Artist [had

become] a curious being, an anarchist, a product of spontaneous generation, a being apart from the crowd." 24
His dissatisfaction with the old system and with the anarchy of art led Gleizes toward a passionate
pursuit for an absolute order. His self-discipline was extreme, including even renunciation of the broad and

powerful touch so characteristic of

variations

all

his previous painting.

clearest sacrifices his

The ehmination of bewitching

textures, surface
plastic interest

and sensual paint were the

own

painterly ego could

make;

would henceforth reside in the relationships among forms and shapes, relationships
the austere essentials usually clouded by appearances.

that

would communicate

The most

disciplined works

from the twenties do not

alone, Gleizes retained
violets,

produce the tenderest results but, although achieving

their effects

by color and form

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

pinks and

He

regarded as false and pernicious the distinction between easel painting and

decoration, developed and sustained for so long only because of the pretensions of class society. Thus, in his
effort to abolish that distinction,

he created paintings

like

In the City and Along the Avenue, preliminaries

to

an enormous project for the Gare de M(oscow)

wliich, of course,

was never

realized. 25 Yet,

even as he

"Such

work

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

"Juliette

Roche

Gleizes,

Memoirs,

to

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

New

York, 1917.

25

The

project for the Gare de

is

in the collection of the

Musee de Grenoble.

23

purged

his art of textures, his color

doubled

its

intensity

and

his

own

personality persistently cropped up in

reverses.

vigorous and unique patterns

bars, dots, hatchings

and curves, intersections and

During the early twenties,

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

became a
the

factor increasingly vital to his artistic developments. In the

works from 1914 through the end of

visual basis exist side

New York

period, paintings without subject

and paintings with an evident

by

side,

their difference in degree of abstraction

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

constant effort to

tie

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

of his individual reflexes, these unique references

the generalized nature of his austere,
flat

no matter how neutral seem

less

and

less in

accord with

painting style.
tried to reconcile the

Throughout the decade, Gleizes

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

which dwelled wholly on essential

to a painting

rhythms (an object

total in itself)

was more universal and therefore superior

still life,

which retained

reminiscences of subjective, individual perception. Thus, although

subject,

derived from a specific and limited

still life

had

little

universality,

any reasoned construction

even an imaginary

was more ideal and

hence represented a higher

reality. Gleizes

was approaching abstraction conceptually rather than visually and

to

his intricate dialectic caused

him, in 1924,

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

and cannot be shown
to

will paint
I'll

you an angel"
it."'

to

be "As long as an angel remains an unembodied ideal

me,

paint

These years, during which Gleizes developed

critical
effort,

his consistent liierarchy of values, also witnessed

changes in the

artist's life.

By 1919

the unity of the Cubist

movement, the pre-war sense of common

had been

totally shattered. Paris

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

tionary construction and

acterized

common

effort

while the avant-garde was char-

by the anarchic and,

to him, destructive spirit of

Dada. 26 Neither alternative held any appeal for

his old hostility to the city

him and,

with the Salons once again dominated

by conservative painters 2 ^,

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

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

came

alienated

from the Paris

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

to

Madame

Gleizes had

enough independent income

realities that

pursue their goals without bowing

to material considerations,
artists.

remaining unfettered by the

made such heavy demands on many

other

The

Gleizes spent

more and more time

in the country, at Serrieres,

Madame

Gleizes' family

home, or

at Cavalaire,

then an even

quieter spot on the Riviera.

active in the

Becoming involved with people more sympathetic

and lectured extensively
in France.

to his social ideas28 ?

he was

Union

Intellectuelle

Germany. Poland and England. He

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

own were

practiced)

new book on Cubism 2 ^

by the epoch, were nonetheless constant and
to the

Gleizes' ideals of a social art. so severely contradicted

in 1927, he

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

Abbaye

26

ed.,
27

See Gleizes, "L' Affaire dada", Action, Paris, no. 3, April, 1920, pp. 26-32. Reprinted in English in Robert Motherwell, Dada Painters and Poets, New York, 1951, pp. 298-302.
Gleizes painted an ironic

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

modern

life.

Into this venture he poured energy,

money and
tion

all his

hope. Planned as a community of artists

who were

to

support themselves by artisan producalthough for

and

agriculture, Moly-Sabata did

manage

to survive until 1951,

many

years

especially
her

during World

War

II

it

functioned almost purely because of the remarkable dedication of an Australian

life

woman named Anne

commitment than
centralization

Dangar.30 The relatively long

of Moly-Sabata was due

more

to the strength of

to the general workability of

such a semi-agrarian scheme

at a

time of greater and greater

and

industrialization.
art

Concurrent with the establishment of Moly-Sabata, where

craftsmanship, agriculture and other activities were placed within the

was created as a metier and where

daily
life,

rhythm of

Gleizes

embarked

on a systematic examination of the

art

forms of other cultures. In

his

book La Forme

et VHistoire, Celtic,

Romanesque and

Oriental forms particularly were studied for their innate and unselfconscious presentation

of what he considered to be the fundamental basis of

human

life.

From

these studies he concluded that

all

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

in space,

and

that

all

human

activity

was the most spiritual and

socially organized.

The

natural cadence of

life

had never been expressed more

fruitfully than in

Romanesque

art,

where painting

and sculpture were

so naturally adjusted to architecture,

and that period was

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

those

who were
his

active in the

French

resistance.

For a time, in 1928-29,

to a lack of practice
it

own

painting suffered.

One

suspects that although this was partly due

also resulted

from

a too literal search for the

rhythms of the Romanesque (seen in a

group of religious paintings related he wanted walls

to decorate.

to his studies of

Autun and

St.

Savin) and the practical needs of an ideal:

it

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

for the

was incomprehensible. Similarly, his murals

church of

St.

Blanche de Serrieres, in spite of the iconoas incomprehensible.

graphy depicting the Descent from the Cross, were again rejected

The Church he

so

admired could not see the

spiritual values of his curves

it

and planes! Indeed, only once did he get an opin 1951

portunity to realize a large religious mural and

came only

when he was

too old to do

much

of the

execution himself. In a pediment high above the altar in the Jesuit Chapel of Les Fontaines at Chantilly, 32
Gleizes' design for the Eucharist ironically concedes

more iconography

in

title

than in specific form.

In

La Forme

et VHistoire, Gleizes

had subordinated iconography

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
is

found

in his illustrations for Blaise Pascal's Pensees.

Executed in

1949-50, toward the end of Gleizes'

career.

fife,

these etchings deliberately reviewed bis entire artistic and

all

human

The Pensees have

for centuries provided philosophical insights into almost

of the ultimate problems

of

life:

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

free will. It is perhaps the noblest effort in

significant

Western

literature to reconcile faith with reason, to reconcile

human

activity with the eternity of Catholicism.

30

Originally a painting student of Gleizes', Miss

Dangar under

his influence

became

superb potter, a true disciple of his

social ideafs

and a sincere extension of

his artistic consciousness, adapting his art to ceramics

often under heartbreakingly difficult material conditions

31

in the rural community

V Atelier de la

and participating

selflessly

fife

of Isere.

For the Ecole du Pharmacie, Paris.

See Albert Gleizes, "L'Esprit de

32

ma

f'resque 'L'Eucharistie'",

Rose, Lyon, March, 1953.

25

It is

from these etchings that we learn the

titles

of Gleizes'

first

Painting for Contemplation, (no.

147). a horizontal composition in

which the

circular

movements of

earlier

more sensual works

the Pascal

are reconciled
also trace

with the austere manner

characteristic of his painting of the twenties.

From

we can

Gleizes' intellectual iconography, the

meanings that he attached

to other works.

Thus, the nature of the

central element in the

Painting with Seven Elements

(no. 151) is revealed as a variation

on the theme "Gran-

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

and unique experience

is

traced through works like the 191419 circus

theme

pictures,

which in Pascal are

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

why man

can-

not remain

idle, for
all.

he then

falls

into a melancholy helplessness, realizing his

own

misery.

Above
final style

in the Gleizes illustrations to Pascal,

we

find a conscious explanation for the painter's

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

into an exuberant

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

structure and control achieved

artist's career. \^ ith

by

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

and

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

flat,

forthright,

uncompromising

is

virtually

Pascal's

Geometry". His

style of the late thirties,

matured in the Meditation

first is

series of the forties, is Pascal's

is faith,

"Spirit of Finesse", the product of a

nimbly discerning mind. The

reason and the second

originally in opposition to each other but ultimately reconciled.

The
period)
is

"Spirit of

Geometry" (exemplified by Pascal's mathematical approach and

Gleizes' ascetic

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

and they
"Spirit of

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

The

Finesse", however, as in the Paintings for Meditations (see especially no. 168). produces shapes that have

opened, like a rose relaxing into bloom, creating fullness, grace and a more liquid movement which suffused
the picture plane. In his final paintings Gleizes surrendered pure reason to the back of his consciousness

and

returned (with delight) to the pleasures of paint. Paint was his faith and theory was
of struggle, the two could coexist, complementing and nourishing each other.
Gleizes' individual development, his

Iris

reason: and after years

unique struggle

to reconcile forces,

made him one

of the few

painters to

come out of Cubism with

a wholly individual style, undeflected

by

later artistic

movements. Al-

though he occasionally returned

to earlier subjects (for

example, in 1943 he did a new version of the Compoinsights.

sition with Seven Elements), these later

works were treated anew, on the basis of fresh

He

never

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

Albert Gleizes
the

is

perhaps the only painter of our century to have consciously struggled between
faith, in a
it

demands of reason and

faith.

reasonable

indeed a
who

brilliant

manner and

finally to

have come down

it

on the side of
is

Like PascaL

is possible to regard

him

as

an apologist for intellectual orthodoxy but

also possible to regard

him

as a lucid sceptic
activity.
its

consistently demonstrated that

no firm decisions are

to reject

possible in

any area of human

He was
ended

a metaphysician in

an age that wanted not only

metato

physics but to deny the relevance of

unanswerable questions. For Gleizes, such a denial was equivalent

in 1953 but his paintings

denying the grandeur of Man. His

struggle for final answers. His
is

life

remain

to testify to his willingness to

an abstract

art of

deep significance and meaning, paradoxically

human even

in his verv search for absolute order

and

truth.

CATALOGUE
Except for certain works which are juxtaposed beside the
final

versions to which they relate, entries in this catalogue are chronological.

References to literature and exhibitions under each heading

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).

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

1901.

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

Signed and dated
l.r.

1905.

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

Signed and dated

1.1.

"Albert Gleizes 1901".

Kive.ll,

"Albert Gleizes 05".

Lent by Rex de C. Nan

London.

Lent by Musee des Beaux-Arts, Lyon.

Exhibitions:
Societe Nationale des Beaux-Arts, Paris, 1906, no. 565.

An

interest in epic subject matter, here the

modern

city set in surfirst

rounding countryside, was already manifest in 1901, the

that Gleizes

year
Literature:

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

began

to paint seriously.

Although

clearly related to

Albert Gleizes:

Hommage. Lyon,

1954, p. 127.

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

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

Bulletin des

composition and conception of this canvas

style of late Impressionism.

is

a departure from the

it is

Musees de Lyon,

no. 1, 1956, p. 11.

The

density-

with which

painted
Gleizes' affinity with Pissarro
city life.

and

its

solid

framework suggest
critics.

affinities

with Pointdlism which

was particularly marked in scenes of

were often noted by early

THE BRIDGE OF NEUILLY (LE PONT DE NEUILLY).

Oil

IN

THE RAIN.

1901.

6.

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

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

l.r.

Signed and dated

"Albert Gleizes 1901".

Signed, dated and inscribed

l.r.

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

Lent by Commandant Georges Houot, La Fleche, France.

baye de Creteil 1908". 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-

atmosphere and motion.

tion of the idealistic

Abbaye, possibly

results

from a reworking

in

the early forties.

3.

THE MARKET AT ABBEVILLE.

(LE
Oil

1903.

MARCHE

D'ABBEVILLE).
23+/' (73

CHURCH AT CRETEIL
Oil

(EGLISE A CRETEIL).

1908.

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

l.r.

on canvas, 281 x
1.1.

x 60 cm.).

Signed and dated

"Albert Gleizes 1908".

Signed and dated

"Albert Gleizes, Abbeville, 1903".

Lent by

Madame

Lent by

Madame

Albert Gleizes, Paris.

Albert Gleizes, Paris.

Exhibition:
1.

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

Exhibitions:

Galerie Drouant-David, Paris, 1943, no.

The landscapes from

During
his years of military service in Picardy

the Creteil period

show an increasing concern

and the north,

for solidity, a

much

broader handling of the paint, and a careful

Gleizes' style again

moved

closer to Impressionism.

balancing of rhythms, foreshadowing what would develop into one

of Gleizes'

paramount concerns. The man

in

the foreground

is

probably Dr. Morinaud, later the subject of The

Man

on the Bal-

PICARDY (PAYSAGE PICARD).

Oil on canvas, 21+

1904.

cony

(no. 32).

xl8"

(54,5 x45,5 cm.).

l.r.

Signed, dated and inscribed

"Albert Gleizes, Picardie, 1904".

Lent by

Madame

Albert Gleizes, Paris.

CANAL BOATS ON THE

light

SEINE.

1908.

(PENICHES SUR LA SEINE).

Although Gleizes became increasingly concerned with
effects, his early interest in

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

theless continued.

Lent by

Madame

Albert Gleizes, Paris.

27

Exhibitions:

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

By

treating the sky in geometric terms

and by modifying curves to

Musee

Calvet, Avignon, 1962, no. 4.

become
Still Life

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

of

Cezanne

is

here more evident, even in the handling of paint.

Flowers

(in his sister's collection at

La Fleche), but Gleizes does not

Fauve painting.

seem

to

have explored these possibilities further until early in 1908

as this

when works such

show

affinities to

14.

PARIS (LES QUAIS).

Ink, 12

1908.

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

l.r.

Signed and dated

"Alb Gleizes 08".

PARIS FROM THE SEINE (BORD DE RIVIERE).

Oil

1908.

Lent by

Madame

Albert Gleizes, Paris.

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

l.r.

Signed and dated

"Albert Gleizes 08".

Preliminary drawing for no. 15.

Lent by

Madame

Albert Gleizes, Paris.

Exhibitions:

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

Musee

Calvet, Avignon, 1962, no. 5.

15.

PARIS (LES QUAIS).

Oil

1910.

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

l.r.

Gleizes' Fauve-like period

was

brief, lasting

only a few months, and

Signed and dated

"Alb Gleizes 1910".

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

Lent by Professor and Mrs. Milton Handler,

New

York.

rhythms and simplification was dominant.

Provenance

George Moos, Geneva.

10.

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

Oil

He
1908.

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

ordinating his former concern for social activity to his fresh interest
in construction. Here, an overall rose tonality was

employed

to

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

l.r.

counter the illusion of depth.

Signed and dated

"A. Glezies 1908".

Lent by The Solomon R. Guggenheim Museum,

Provenance:
Exhibitions:
Gift,

New

York.
16.

Madame
a,

Albert Gleizes, Paris, 1963.

Galerie,

Rene Gimpel
Paysage

New

York, 1937, no. 2

(as

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

Oil on canvas, 44J

la couleur simplifiee).
3.

Chapelle du Lycee Ampere, Lyon, 1947, no.

x60|" (113,5 xl54

cm.).

Signed and dated

l.r.

"Albert Gleizes 1910".

Gleizes, Paris.

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

Musee

Lent by
Calvet, Avignon, 1962, no. 7.
3.

Madame Alb

Exhibitions:

Exposition Universelle, Lyon, 1914.

Pictures by Crotti,

Musee de Grenoble, 1963, no.

Gleizes spent several

Duchamp,

Gleizes, Metzinger,

summers

Montross Gallery,
in

Gascony where he painted

New

York, 1916, no. 29.

this

key work

in

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

with the older Picardy landscape theme (no.

4), in

order to find the

underlying principles that organize a vast scene.

11.

DONKEY

CARTS.

1908.

17.

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

Pencil and ink, 9i

1909.

(CHARETTES A BAGNERES DE BIGORRE).

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

xl2i"

(23,5

x31 cm.).

Signed and dated

1.1.

"Alb Gleizes 09".

Signed and dated

1.1.

"Albert Gleizes 08 B. de. B."

Lent by Walter Firpo, Marseilles.

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

18. 12.

LANDSCAPE NEAR BAGNERES DE BIGORRE. (ENVIRONS DE BAGNERES DE BIGORRE).

Ink, 11

1909.

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

Pencil, crayon

1910.

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

1.1.

xl7" (28 x43 cm.).

l.r.

Signed and dated

"A. Gleizes 1910".

Signed and dated

"Alb Gleizes pres de B. de Bigorre 09"

Lent by Walter Firpo, Marseilles.

Lent by

Madame
his

Albert Gleizes, Paris.

During

1909

trip to

Gascony, Gleizes concentrated exclusively

to

19.

THE TREE
Oil

(L'ARBRE). 1910.
(91,5 x72,5 cm.).

on landscape, reducing the forms of nature

primary shapes.

on canvas, 36 x28i"
l.r.

Signed and dated

"Albert Gleizes 10".

Private Collection, Paris.

13.

WALLED CITY
Oil

(VILLE FORTIFIEE). 1909-10.

Exhibitions:

Salon des Independents

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

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

Lent by Mr. and Mrs. Siegfried Ullmann, Palm Beach, Florida.
Provenance:
Private Collection, Wisconsin.

Salon de la Section d'Or,

Moderni Umeni, S.V.U. Manes, Prague, 1914, no. 33. Trente Ans d'Art Independant, Grand Palais, Paris,
1926.

Andre Emmerich, New York.

Rene Gimpel

Galerie,

New

York, 1937, no.

6.

28

Passedoit Gallery,

New

York, 1949, no.

2.

The
Paris,

effort to grasp the intricate

rhythms of

panorama

resulted in

Le Cubisme, Musee National d'Art Moderne,

1953, no. 35.

a comprehensive geometry of intersecting and overlapping forms

which created a new and more dynamic quality of movement.

Depuis Bonnard, Musee National d'Art Moderne,

Paris, 1960-61.

Von Bonnard
1961.
Literature:

bis Heute,

Haus der Kunst, Munich,

pi. 2.

23.

LANDSCAPE AT MEUDON (PAYSAGE, MEUDON).

Oil

1911.

on canvas, 57j x45i" (147 xll5 cm.).

l.r.

Albert Gleizes, 50 Ana, Lyon, 1947,

Signed and dated

1950,

"Albert Gleizes 1911"; on reverse: "Paysage,

gray,

c.

"Gleizes",

Magazine of Art, October,

Albert Gleizes, 1911".

p. 208.

Lent by Musee National d'Art Moderne, Paris.

G.

habasque,

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

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

Paintings from the
Paris,

year 1910, we see the

his successful

artist's

volumetric approach to Cubism and

field

Musee National d'Art Moderne,

in the
ill.

union of a broad

of vision with a

flat

picture
Literature:

American circulating exhibition, 1957-58.

b.

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

dorival,

The School of Paris

Musee d'Art

development.

Moderne,
golding,

New
j.

York, 1962, p. 148,

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

20.

PORTRAIT OF
Oil

R. G. [LEIZES]. 1910.

Man

is

reintroduced, but subordinated to the heroic concept of

on canvas, 55i x44" (140 xll2 cm.). Signed and dated 1.1. "Alb Gleizes 10".
Private Collection, Paris.
Literature:

landscape which simultaneously comprehends the close and the

distant, the earth's curve, the sun,
trees.

even the force of wind against

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

In his Souvenirs Gleizes wTote of the debt he

nier, especially to the

owed

to

Le Faucon-

24.

PORTRAIT OF MADAME BARZUN.

Oil on canvas, 39 x28", (99

1911.

1909 Portrait of P.

J.

Jouve. In 1910, Gleizes'

x71 cm.).
York.

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

Signed and dated

1.1.

"Albert Gleizes 1911".

Castiaux, the co-editor of Les

artists

Bandeaux

d'Or,

show these two

Lent by Jacques Barzun,

Exhibition:
Literature:

New

working

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

Passedoit Gallery,

New

York, 1949.
1950,

gray,

c.

"Gleizes",

Magazine of Art, October,

21.

WOMAN WITH PHLOX

Oil

(LA

FEMME AU PHLOX).

p. 207.

1910.

on canvas, 31 J x39+" (81 xlOO cm.). Signed and dated 1.1. "Alb Gleizes 10".
Lent by Marlborough-Gerson Gallery,
Exhibitions:

Begun
York.

in the spring, this portrait

was never finished, for after the

stylistic

New

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

development
style.

homogeneous

Salon des Independants, Salon de la Section d'Or,

Paris, 1911, no. 2612. Paris, 1912, no. 35.

International Exhibition of Modern Art (The

Armory Show), New York, Chicago, Boston,

no. 195.

1913,

25.

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

Ink,

1910.

Rene Gimpel

Galerie,

Passedoit Gallery,

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

no. 5.
4.

20x15"
le

(51

x38cm.).
l.r.

Signed and dated

Paris,

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

Le Cubisme, Musee National d'Art Moderne,

1953, no. 37.

pour

portrait de Jacques Nayral, expose

au Salon d'Automne

1911".

Twentieth Century Masters, Marlborough Gallery,

Lent by

Madame

Albert Gleizes, Paris.

London, 1955, no. 21.

Albert Gleizes, Marlborough Gallery, London, 1956,
no. 8.
Literature:

26.
c.

gray,

"Gleizes",

Magazine of Art, October,

1950,

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

Oil

1911.

p. 208.

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

l.r.

golding,

J.

Cubism, London, pp. 150-151.

Signed and dated

"Albert Gleizes 11".

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

Madame

Albert Gleizes, Paris.

Exhibitions:

Art Contemporain, Paris, 1911, no. 36.

Galerie Dalmau, Barcelona, 1912, no. 17.

same sobriety and broad

vista seen

scale that

had always informed

his landscapes. Thus, exterior nature is here

Musee

Calvet, Avignon, 1962, no. 8.

6.

brought into a room and the distant

is

through the window

Musee de Grenoble, 1963, no.

formally resolved with a corresponding interior shape.

27.

PORTRAIT OF JACQUES NAYRAL.

Oil

1911.

22.

LANDSCAPE (PAYSAGE).
Oil

1911.
(71

on canvas mounted on board, 28 x36i"

1.1.

x91,5 cm.).

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

Signed and dated

"Albert Gleizes 11".

Lent by Commandant Georges Houot, La Fleche, France.

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

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

Salon d'Automne,

Paris, 1911, no. 609.

Paris, 1912, no. 38.

Salon de la Section d'Or,

29

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

1937, no. 17.

XIX
Literature:

and
c.

XX

Century European Masters, Marlbo-

rough Gallery, London, 1957, no. 44.

a" Art

Le Cubisme, Musee National

1953, no. 64.
II Bienal,

Moderne, Paris,

gray,

"Gleizes",

Magazine of Art, October,

et le

1950,

p. 208.

Sao Paulo, 1953, no. 16.

gleizes,
et le Noir, Octo-

a.,

"L'Epopee", Le Rouge

Noir, Octo-

Literature:

gleizes, a. "L'Epopee", Le
ber, 1929, p. 64.

Rouge

ber, 1929, p. 71.

apollinaire,
(cf.

G.

L 'Intransigeant,

October 10, 1911.

This painting

is

derived from a 1909 brush and ink drawing titled

the

Chroniques d'Art, 1960,

p. 199).

Menagere

in

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

is

emphasizing curvilinear patterns,

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

an important link in Gleizes'

to

development from symbolist-derived forms

the

volumetric

young author-dramatist who two years

later

married Mireille

Cubism of
tion of

this

work.

It is

particularly interesting to see the adapta-

Gleizes.

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

an

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

and Metzin30.

Du Cubisme

as well as for Apollinaire's Les Peintres Cubistes

series

THE BATHER (BAIGNEUSE).

Oil on canvas,

1912.

and the projected

background shows

Tous

les Arts.

This work, in which the

stylistically fulfills

24 xl5" (61 x38 cm.).

1.1.

Gleizes'

Courbevoie garden,

Signed and dated

"Alb Gleizes 12".

the direction established in the unfinished portrait of

Mme.

Barzun.

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

Provenance: Earl Stendahl, Hollywood, California.

Theodore Schempp,
28.

Paris.

THE HUNT
Signed
l.r.

Oil on canvas, 48i x38i" (123

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

Exhibitions:

Moderne Kunst Kring, Amsterdam, 1912, no. 113. Societe Normande de Peinture Moderne, Rouen,
1912, no. 92.

"Albert Gleizes".

Lent by Edouard Labouchere, Paris.

Winston Collection, The Cranbrook Academy of

Arts

Provenance Rene
:

Museum,

1951.

Jaffe, Brussels.

Exhibitions:

Salon d'Automne,

Winston Collection, University of Michigan Museum,

Paris, 1911, no. 610.

1955.

Jack of Diamonds, Moscow, 1912.

Salon de la Section d'Or,

1953, no. 64 bis.

Paris, 1912, no. 37.

Paris,

The Collection of Mr. and Mrs. Harry Lewis Winston, Detroit, Institute of Arts, Virginia

Le Cubisme, Musee National d'Art Moderne,

Museum

of

Art, San Francisco

Museum

of Art,

The Milwaukee

Art Les Soirees de Paris, Galerie Knoedler, Paris, 1958,

no. 13.

Institute,

1957-58, no. 45.

Les Chefs d'Oeuvres des collections privees francaises,

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

related to a 1910 painting.

Nude, (present whereabouts un-

Haus der Kunst, Munich, 1961,

Musee de Grenoble, 1963,
Literature:

no. 51.

known) and represents an

methods.

effort to fuse classical subjects to

new

no. 5.

apollinaire,
(cf.

g. L' Intransigeant,

October

10, 1911.

Chroniques d'Art, 1960,

j.

p. 199).

granie,
et

"Au

Salon d'Automne", Revue

d Europe
31.

d'Amerique, Paris, October, 1911.

THE BATHERS
Oil

(LES BAIGNEUSES). 1912.

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

Cahiers

d 'Albert
B.

Gleizes, Lyon, 1957 (frontispiece).

on canvas, 41i
1.1.

dorival,
p. 76.

Les Peintres du

XXe

Signed and dated

siecle, Paris,

1957,

Lent by Musee d'Art Moderne de

Exhibitions:

de Paris, Paris.

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

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

Here Gleizes not only created
ments are placed
in unreal but a synthetic landscape, in

no. 36.

which

ele-

Trente

Ans d'Art Independant, Grand

Palais, Paris.

symbolic relationships

to

each other,

1926, no. 1057.

but also created a synthesis of social experience, showing two

distinct types of

Les Createurs du Cubisme, Paris, 1935, no. 31. Les Maitres de I'Art Independant 1895-1937, Petit
Palais, Paris, 1937, no. 6.

human

use of the land. Le Fauconnier painted a

similar subject the following year. Dorival has suggested that the

treatment of the horses

may

well be an important source for those

Literature:

apollinaire,

g.

Le Petit Bleu, March

p. 230).
j.

20, 1912

(cf.

of Duchamp-Villon in 1914.

Chroniques d'Art, 1960,

bonfante,

e.

and Ravenna,

Arte Cubista con "les

Meditations Esthetiques sur la Peinture" di Guil29.

THE KITCHEN
Oil on canvas, 46 J

(LA CUISINE). 1911.

x37l" (118,5 x94,5 cm.).
"Alb Gleizes".
l.r.

laume Apollinaire, Venice, 1945, no. LVIII. Musee d'Art Moderne de la Ville de Paris, CatalogueGuide, Paris, 1961.

Signed and dated

Lent by Marlborough-Gerson Gallery,

Exhibitions:

New

York.
In

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

The Bathers

(as in

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

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

Rene Gimpel
Galerie,

no. 34.

extent, in Metzinger's

Meudon Landscape,

1913), certain elements

Passedoit Gallery,

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

7.

from modern

industrial life are sharply contrasted with the classical

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

Paris,

Le Cubisme, Musee National d'Art Moderne,

1953, no. 64
ter.

This optimistic reconciliation of traditional harmony with con-

temporary
9.

life

was an aspect of simultaneity that was of particular

Marlborough Gallery, London, 1956, no.

concern to the Passy group of Cubists.

30

32.

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

Oil

1912.

This work, with Delauney's City of Paris,

is

the largest and most

this

ambitious Cubist painting undertaken up to

point (1912).

It

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

1.1.

summarizes Gleizes'

interests,

presenting an epic panorama of

Signed and dated

"Albert Gleizes 12".

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

Lent by Philadelphia

Museum

of Art,

The Louise and Walter

a simultaneous celebration of the harvest, nature and

idealistic

man

in

Arensberg Collection.
Provenance
:

harmony. The painting

it

is

Gleizes' parallel to
it

Le Faucontheme not

Arthur Jerome Eddy.

Walter C. Arensberg.

nier's

Abundance, and

seems

likely that

takes

its

merely from the social and synthetic program of the Abbaye de

Creteil,

Exhibitions:

Salon d'Automne, Paris, 1912, no. 689.

International Exhibition of

but specifically from the long

poem

of Henri Martin Barzun,

Modern Art (The Arno.

La Montagne, poeme

legendaire, the 5th part of

La

Terrestre Trales

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

196.

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

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

Literature:

eddy,
1914.

a.

j.

Cubists

and Post Impressionism, Chicago,

Its

wright, w. H. Modern Painting,

Tendency and
35.

Meaning, New York, London, 1915.

ozenfant and jeanneret. La Peinture Moderne,
Paris, 1924, p. 93.

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

Oil

on canvas, 28 x23" (72,5 x60 cm.).

1.1.

gleizes, A. "L'Epopee", Le
ber, 1929, p. 68.

Rouge

Signed and dated

et le

"Albert Gleizes 12".

Noir, Octo-

Lent by Stadtische Galerie im Landesmuseum, Hannover.

Philadelphia museum or art. Arensberg Catalogue,

1954, pi. 92.

Provenance:
Exhibitions:

Mme.

F. Picabia.

Societe

Normande de Peinture Moderne, Rouen,

(as

golding,

j.

Cubism, London, 1959,

1912, no. 93.

p. 161.

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

Church).

The

This second portrait of Dr. Morinaud, probably from his

office

on

Cezanne

till

Picasso,

Moderna Museets Vanner,

Avenue de

l'Opera, shows Gleizes again giving prominence to the

Stockholm, 1954, no. 146.

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

The
netti

painting

became the subject of a

et

lively debate

between Mari-

The

cathedral had a special fascination for

its

and Lhote. (La Vie des Lettres

many French
its

Cubists,

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

in which the Futurist leader insisted that a Futurist painter would

not only because of

social

admirable architecture but because of the

have attempted to "give the ensemble of visual sensations capable

of being experienced by the person on the balcony". Lhote replied
that such preoccupations were "literary"

and

historical synthesis

which resulted from

context as the

focal point of

an otherwise modern town.

and "psychological", and

outside the interests of the French Cubists.

He was wrong

for,

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

36.

THE PORT
Pencil,

(LE PORT). 1912.

(15

deeply committed to symbolic and

6x71"

xl9cm.).
"Alb Gleizes 12"; on reverse, "Dessin pour
le

psychological relationships.

Signed and dated

tableau

l.r.

Un

Port 1912 qui appartient a

Madame Duchamp-Villon

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

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

Provenance: from the

artist,

1938.

x65

cm.).
37.

Signed

l.r.

"Albert Gleizes".

THE PORT
Oil

(LE

PORT MARCHAND).

1912.

Lent by Mr. and Mrs. Samuel Josefowitz,

Provenance:
Exhibitions:

New

York.

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

l.r.

Mme.

P. de Cugio, Paris.
bis.

Signed
no. 37.

"Albert Gleizes 12".

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

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

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

Committee Fund, 1955.

Provenance:

Raymond Duchamp-Villon. Madame Lignieres Duchamp-Villon.

Sidney Janis Gallery, 1954.
Salon des Independants, Paris, 1913, no. 1294.
Galerie Berthe Weill, Paris, 1913, no.
1.

34.

HARVEST THRESHING
1912.
Oil on canvas, 106

(LE

DEPIQUAGE DES MOISSONS)

Exhibitions:

xl38j" (269 x353 cm.).

"Albert Gleizes, 1912".

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

no. 43.

Signed and dated

l.r.

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

Lent by The Solomon R. Guggenheim Museum,

Provenance: from the
Exhibitions:
artist,

New

York.

and Company,

New

York, 1930, no. 12.

1938.
Paris, 1912, no. 43. Paris, 1926, no. 1058.

Le

Cubisme,

1907-1914,

Musee

National

d'Art

Salon de la Section d'Or,

Trente

Moderne, 1953, no. 87.

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

Ans d'Art Independant,

Literature:

hourcade,
gray,

o. Paris-Journal, October, 1912.

p. 2,
ill.

Literature:

art gallery of Toronto, Painting and Sculpture,

1959, p. 57.

Les Beaux-Arts, Paris, August, 1938,

c.

"Gleizes",

Magazine of Art, October,

1950,

p. 208.

The
j.

Port, also a popular Neo-Impressionist subject,

was another

golding,

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

characteristic

theme appropriate

to

the interests

of the Passy

31

Cubists.

The word on

the hull of the center ship

is

probably the

first

41.

THE METRO
Signed
l.r.

(LE METRO). 1912.

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

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

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

"Alb Gleizes".

word "King" reinforces symbolic

associations of the Port, an

Lent by Rex de C. Nan Kivell, London.

Exhibition: Galerie Berthe Weill, Paris, 1913, no.
3, (as

international commercial center.

La

Gare).

Embodying
38.

as

it

did the modern realities of speed and decreased

LANDSCAPE (PAYSAGE).
Oil

1912.

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

Signed and dated

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

was a logical subject for Gleizes. Although

nay's

less heroic

than Delau-

Hommage

to Bleriot,

it is

symptomatic of an

essential over-

Lent by The Solomon R. Guggenheim Museum,

New

York.

lapping interest shared by these men.

Provenance

from the

artist,

1938.
no. 114.

Exhibitions:

Moderne Kunst Kring, Amsterdam, 1912,

Cubism, Arts Club of Chicago,

19.55, no. 36.

42.

With

this

work

(actually the

mouth of a

river) Gleizes again takes

up

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

Oil

1913.

themes from his

earliest paintings.

Signed and dated

on canvas, 56i x40i" (143 xl02 cm.). l.r. "Alb Gleizes 13".
Salon d'Automne, 1913, no. 768. Moderni Umeni, S.V.U., Manes, Prague, 1914, no. 47. Les Maitres de V Art Independant 1895-1937, Paris,
1937, p. 94, no. 16.
Galerie Drouant-David, Paris, 1943, no. 12. Galerie des Garets, Paris, 1947, no.
1.

Lent by Musee des Beaux-Arts, Lyon.

39.

PASSY (BRIDGES OF PARIS).

Oil

1912.

Exhibitions:

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

1.1.

Signed

"Albert Gleizes".
des 20. Jahrhunderts, Vienna.

Lent by

Museum

Provenance: Sidney Janis Gallery,

Exhibitions:

New

York.
Paris, 1912, no. 41.

Salon de la Section d'Or,

Societe

Normande de Peinture Moderne, Rouen,

Berlin, July, 1914.
bis

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

1912, no. 91.

he Cubisme, Musee National d'Art Moderne,

1953, no. 119.

Paris,

Der Sturm,

Kunst von 1900

Literature:

Heute,

Museum

des 20. Jahr-

Les Sources du

XXe

Siecle,

Musee National d'Art

hunderts, Vienna, 1962, no. 58.

Moderne,

Paris, 1961.

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

p. 105.

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

seum
G. Paris- Journal, 1914, (cf.

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

a.

apollinaire,

Chroniques

Literature:

salmon,

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

Les Ecrits Francois, 1913, p.

d'Art, 1960, p. 405).

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

golding,

J.

Cubism, London, 1959, p. 158.

with

allard,

r.

3.

gleizes, a. Kubismus, Munich, 1928,

pi. 9.

synthesis of the

modern

city

its

smoke, river and

steel

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

Paris, 1949, p. 40.

bridges, this

work probably

refers also to the spirit of solidarity

it

among

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

indi-

deroudille,
no.
1, p.

R.

Bulletin des

Musees Lyonnais, 1956,

cates an awareness of factions within

Cubism.

12.

Vincent, M. Catalogue du
p. 315.

Musee de Lyon,

1956,

40.

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

Oil

rosenblum,

R.

Cubism and Twentieth-century Art,

New York,
Eugene

1960, no. 117.

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

1.1.

Signed and dated

"Albert Gleizes 1912-13".

Figuiere, head of his

own publishing company,

strove to be

Private Collection,

New

York.

identified with every

modern development. In

this portrait

which
is

Provenance:
Exhibitions:

Collection Dalmau, Barcelona.

Salmon admired
friends:

for its "fine

and most adroit psychology", he

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

Erster Deutscher Herbstsalon, Berlin, 1913, no. 147.
Galerie Dalmau, Barcelona, 1916.

surrounded by his publications which were written by Gleizes'

Mercereau, Georges Polti, Apollinaire, Metzinger. Paid

Fort, Gustave

Kahn, Henri Martin Barzun and Jacques Nayral.

Literature:

apollinaire,

g.

L'Intransigeant, Salon des Indepen(cf.

dants, 1913, March 18, 1913,

Paris, 1960, p. 292).

Chroniques d'Art,
43.

MAN
Signed

IN
l.r.

A HAMMOCK (L'HOMME AU HAMAC).

"A. Gleizes".
Albert Gleizes. Paris.

1909.

Montjoie, no.

4,

March

29, 1913, reproduction of

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

drawing for Football Players. azoaga,

e.

El Cubismo, Barcelona, 1949, no.

41.

Lent by

Madame

The

role of

team

sport, especially in the context of

mass audience
of Passy.
44.

participation,

reflects

another interest of the

artists
(cf.

Jacques Nayral was occasionally a sports writer

velle,

V Action Nouas

MAN

IN

A HAMMOCK (L'HOMME AU HAMAC).

l.r.

1913.

February 25, 1914) and a fan

(as

was Delaunay) of foot and

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

bicycle racing. Gleizes' Football Players dates

from the same year

Signed and dated

"Alb Gleizes, 1913".

Delaunay"s Cardiff Team.

Lent by

Y\ alter

Firpo, Marseilles.

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10

35

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21

39

40

22

41

23

42

24

43

27

44

45

46

47

34

48

49

39

50

40

51

41

52

45.

MAN
Oil

IN

on canvas,

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

1.1.

1913.

48.

THE HARBOR,

sketch for

(LE PORT, etude pour "LES

Watercolor, 25S xl9i" (64,5

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

x49
cm.).

Signed and dated

"Alb Gleizes 13".

Lent by Albright-Knox Art Gallery. Buffalo.

Exhibitions
:

Signed and dated

41.

l.r.

"Albert Gleizes 1913".

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

Der Sturm,
Berlin, July, 1914.
4,

Lent by Nationalmuseum, Stockholm.

Exhibition
:

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

Literature:

apollinaire, g. Paris-Journal, July

1914.

(cf.

Chroniques d'Art, 1960. p. 405).

gleizes, A. "L'Epopee", Le
ber. 1929. p. 81.

Rouge

el le Noir,

Octo-

49.

FISHING BOATS (LES BATEAUX DE PECHE).

Oil

1913.

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

l.r.

Signed and dated

This painting presents an interesting synthesis of back and forth

"Alb Gleizes 13".

Moller, Cologne.

Lent by

Madame Ferdinand

motion and introduces a composition based on the intersection of

powerful diagonals.
It

Provenance: Korner, Essen.

Exhibitions:

goes back to a

number
large

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

of related sources in

addition to the drawings no. 43, 44.

and finished painting of

the reverse

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

Der Sturm, Nationalgalerie, Berlin, 1961, no.
Cologne, 1962, no. 61.

no. 44.
85.

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

of Houses

among

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

Literature:

Europdische Kunst 1912, Wallraf-Richartz Museum,

Ulntransigeant, November 14, 15,

and

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

den), the

man

wears a large sombrero.

apollinaire.
1913.
339).
(cf.

g.

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

kuppers,
46.

P. E.

Der Kubismus, Leipzig, 1920,

pi. 3.

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

Ink,

1913.

gleizes, A. "L'Fpopee", Le

Rouge

et le Noir, Paris,

October, 1929, p. 69.

7ix6i" (19,5x16

cm.).
l.r.

dorival,

B.

Les Peintres du Vingtieme Siecle, Paris,

Signed, dated and inscribed

"Alb Gleizes 1913 La

Ville et le

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.
It

recapitulates the artist's longstanding social concern for

7

This drawing (see

one of Gleizes'

known record of most important works, The City and the River,
fig. 3, p.

18)

is

the only presently

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

which combined in a large canvas

all

his attitudes

toward the
life

modern
the

city: its location in landscape, its

river.

establishment and

on

50.

bank of a

An

oil

sketch, once in the Graf collection,

DRAWING FOR "HEAD IN A LANDSCAPE". (ETUDE POUR "TETE D'HOMME").

Sepia ink, 4i x6i" (11 x 16,5 cm.).

1913.

Stuttgart, unfortunately has also disappeared.

Signed and dated

l.r.

"Alb Gleizes 1913".

Lent by The Solomon R. Guggenheim Museum,

47.

New

"iork. Gift of

SEWING WOMEN (FEMMES COUSANT).

Oil

1913.

Mr. and Mrs. Sidney Colin, 1964.

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

1.1.

Signed and dated

"Alb Gleizes

13"';

on reverse "A. Gleizes

les

femmes qui cousent". Lent by Rijksmuseum

51.

HEAD

IN

A LANDSCAPE (TETE D'UN HOMME).

l.r.

1913.

Kroller-Muller, Otterlo.

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

Provenance: Herwarth Walden, Berlin, 1913.

Blumenfeld, Berlin, with Komter, Amsterdam.

Signed and dated

"Alb Gleizes 13".

Lent anonymously.
Exhibition:
Galerie

Komter
Exhibitions:

sale,

Maks, Amsterdam, January 24, 1922.

Hans

Goltz,

Munich, 1913, no. 31.

Der Sturm,
no. 65.

Berlin, 1913.

Kestner Gesellschaft, Hannover-Dusseldorf,

1928,

The work

is

probably a

self-portrait.

Volksuniversiteit, Rotterdam, 1949.

Sous
sels,

le

Signe d Apollinaire, Verviers, Ghent, Brus-

52.

1950, no. 18.

Paris,

LANDSCAPE WITH BRIDGE. (PAYSAGE AVEC UN PONT).

Ink, 7

Circa 1912-13.

Le Cubisme, Musee National d'Art Moderne,

1953, no. 20.
Literature:

x5+" (18x14
1.1.

cm.).

Signed and dated

"Alb Gleizes 1910-12".

raynal, m. Anthologie de la Peinture en France,

Paris, 1927, p. 159;
p. 212.

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

New

York.

English

edition,

New

York,

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

pi. 5.

53.

LANDSCAPE (PAYSAGE).
Oil

1913.

The artist's mother and two sisters were the models for this work. The treatment of faces and hands shows the close relationship between the individual
publication of
styles of Gleizes
oil

on canvas, 35J x28}" (91 x72,5 cm.). Signed and dated 1.1. "Alb Gleizes 13".
Lent by Ferdinand Howald Collection, The Columbus Gallery of
Fine Arts, Ohio.

and Metzinger shortly

after the
is

Du Cubisme. An

sketch for the central head

in

Provenance: John Quinn,

New

\ork, 1927.

the collection of Dr. Kriegel, Lackawanna,

New

York.

Ferdinand How-aid.

53

One

of a

number

of small paintings from 1912-13 involving the

this

58.

TWO WOMEN
Oil

theme of the bridge,

ground of Sewing
(no. 52).

suburban landscape
(no. 47)

relates to the back-

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

on canvas, 44i x57"
(13,5

Women

and the preparatory drawing

x45

cm.).

Signed and dated "Alb Gleizes 14".

Lent by Pedro Vallenilla Echeverria, Caracas.

Provenance: John Quinn, 1927.
54.

LANDSCAPE WITH WINDMILL. (PAYSAGE AVEC MOULIN).

Oiljjn canvas, 38}

Pierre Matisse.

1913.

Exhibition:
Literature:

Carroll Galeries,

New

York, 1915, no. 31.

x3H"

The John Quinn Collection, Huntington,

1926.

New York,

(98,5 x79,5 cm.).

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

New

York.

The
Connecticut,

artist's

mother and
motif

sister

once again are seen from the interior

Provenance: Suillerot, Paris.

Exhibition
:

Yale University Art Gallery,

1960, no. 103.

New Haven,

of the Courbevoie house where the arabesque against the

recalls the grille
first

window

expressed in the 1909 drawing for The

Literature:

apollonio,
p. 67.

u.

Fauves and Cubists,

New

York, 1959,

Kitchen,

now

in Lyon.

Concentrating more on

effect,

the

power of wind, harnessed

this painting contrasts

for

59.

man's use, rather than on the object,

with

SKETCH FOR "THE CITY". 1914. (ETUDE POUR "LA VILLE").

Ink, 10+

a slightly earlier variant once in the Jacques Villon collection.

x8" (27x20
1.1.

cm.).

Signed and dated

"Alb Gleizes 14".

J.

Lent by Mr. and Mrs. Samuel

Zacks, Toronto.

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

Ink,

1914.

There

is

another version of this drawing in the Leffert collection.

New

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

10ix7i" (26x20

cm.).
l.r.

and are preliminary notations

"Etude Stravinsky,
Paris, Juki,

1914 painting The City,

in

Signed, dated and inscribed

1914, Alb Gleizes".

formerly in the Quinn collection,

Chicago.

now

private collection,

Lent by Walter Firpo, Marseilles.

60. 56.

PORTRAIT OF IGOR STRAVINSKY.

Oil on canvas, 51i

1914.

MONTREUIL LANDSCAPE. 1914. (PAYSAGE DE MONTREUIL).

Oil

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

l.r.

on canvas, 28i

36i" (73 x 92 cm.).

Signed, dated and inscribed

vinsky".

"Albert Gleizes 1914, Igor Stra-

Signed and dated

l.r.

"Alb Gleizes 14".

Lent by Saarland-Museum, Saarbriicken.

S. Zeisler,

Lent by Richard
Provenance:
Exhibitions:

New

York.

Provenance:

Nell Walden.
Stuttgarter Kunstkabinett, 1954.

Madame

Frigerio, Paris.

Montross Gallery,

New

York, 1916, no. 35.

5.

Exhibitions:

Sammlung Nell Walden,

1927, no. 75.

Galerie Flechtheim, Berlin,

Chapelle du Lycee Ampere, Lyon, 1947, no.

UOeuvre du

XXe

siecle,

Musee National d'Art Mo-

Wege

abstrakter Malerei, Galerei Gunther Franke,

12.
1

derne, Paris, 1952.

Munich. 1929-30, no.

Twentieth Century Masters, Marlborough Gallery,

Der Sturm, Kunstmuseum. Bern. 1911

5,

no. 284.

London, 1955.

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

Paris,

Le Cubisme, Musee National d'Art Moderne,

1953, no. 171.
Literature:

Sammlung
no. 237.

Nell Walden, Kunsthalle, Basel, 1953,

degand,

l.

Art d'Aujourd'hui, Series

3, no. 5,

June

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

Exposition Verkannte Kunst, Kunsthalle. Recklinghausen, 1957, no. 55.

1952, p. 24.

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

January. 1952, p. 31.

Der Sturm, Nationalgalerie, Berlin, 1961, no.

dozen pen and ink

86.

For the Portrait of Stravinsky there

studies,

exist half a
oil

Among the last of Gleizes'

pre-war suburban landscapes, this canvas

such as no. 55, as well as a large

sketch which bears the

inscription,

"Etude pour Stravinsky,

his association with Albert

Petroushka,

Theatre

de

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

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

he did so with a marked reduction of specific references to

reality.

music since

Doyen

at the

Abbaye.

61.
57.

TWO WOMEN

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

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

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

1913.

Not signed or

dated.

"Alb Gleizes 1914".

Lent by Philadelphia
York.

Museum

of Art,

The Louise and Walter

Lent by Marlborough-Gerson Gallery,

New

Arensberg Collection.
Literature:

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

Philadelphia museum of art. Arensberg Catalogue,

1954,

pi. 93.

54

62.

WOMAN AT THE PIANO (FEMME AU

Oil

PIANO).

1914.

Literature:

ozenfant and jeanneret. La Peinture Moderne,

Paris,
date).

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

l.r.

1924, p. 118 (reproduced showing 1914-15

Signed and dated

"Albert Gleizes 14".

Lent by Philadelphia

Museum

of

-Art.

The Louise and

^ alter

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

January, 1952, pp. 32-33.

Arensberg Collection.
Exhibitions:
Literature:

Carroll Galleries,

New

York, 1915, no. 30.

rosenblum,
1960, no. 118.

r.

Cubism and Twentieth Century Art,

pi. 94.

At

least eight studies survive for this majestic portrait of Professor

New York,

Lourbet of Nancy. Painted

early 1915,
it

at the fortress city of Toul, late

1914

Philadelphia museum OF art. Arensberg Catalogue, 1954,

began

to fuse circular

rhythm

(see the treatment of the

shoulders) to the estabbshed composition based on intersecting

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

diagonals, (see cat. nos. 45, 47).

Courbevoie

is

an important source for the

first

Portrait of Florent

Schmitt (no. 70).

68.

MY FRIEND

THfiO M. (MON AMI

l.r.

THEO

M.). 1914.

Watercolor, 18 xl4" (46 x35,5 cm.).

Signed, dated and inscribed
63.

"Alb Gleizes

Mon ami Theo M. New

York.

THE

14th

OF JULY

(LE 14 JUILLET). 1914.

"Alb Gleizes 1914: Dessin pour Le

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

Ink. 153

*12i" (40 x31 cm.).

l.r.

Signed, dated and inscribed

Provenance: from the

artist,

1938.

14 Juillet".

Lent by Walter Firpo, Marseilles.

69.

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

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

of July are of

critical

importance, for their rhythms

anticipate Gleizes' vital theory of translation

and

rotation.

They

Signed and dated

l.r.

"Alb Gleizes 15".

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

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

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

New Jersey.

when war broke out

in 1914.

The Moselle

river,

spanned by a bridge, dominates the lower part of

this composition,

one of several studies for two 1915 paintings of the

first

City of Toul.
64.

The

of these, in the

Bourdon

collection, Paris, is

STUDY
(ETUDE

NO. 2
2

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

l.r.

an echo of the City and the River theme. The second, (exhibited
Marlborough, London, 1956, no. 11) converts the subject into
powerful circular rhythms, akin to nos. 72, 73, 75.

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

Signed and dated

"Alb Gleizes Toul 15": on reverse "No. 2 Toul 1915".

Etude pour Medecin

Militaire

Lent by The Solomon R. Guggenheim Museum,

Provenance: from the
artist.

New

York.

PORTRAIT OF FLORENT SCHMITT.

Oil on canvas, 79

1914-15.

1938.

x60" (200 xl52

l.r.

cm.).
14, 15".

Signed and dated

"Alb Gleizes Toul

Lent by Josefowitz Collection, Geneva.

Provenance: Bourdon, Paris.
65.

STUDY NO. 7 FOR "PORTRAIT OF AN ARMY DOCTOR". (ETUDE 7 POUR "MEDECIN MILITAIRE"). 1915.
Ink with crayon, 9i x 7i" (25 x20 cm.).
Signed and dated
l.r.

Exhibitions:

Montross Gallery,

New

York, 1916, no. 41

(as

The

Man

at the Piano).

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

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

Chapelle du Lycee Ampere, Lyon, 1947, no.

6.

pour Medecin

Militaire

Le Cubisme, Musee National d'Art Moderne,

Paris,

Lent by The Solomon R. Guggenheim Museum,

Provenance: from the
artist,

New

York.

1953, no. 172.

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

1938.

Florent Schmitt, an important French composer, wras stationed at

66.

ARMY DOCTOR (MEDECIN

Gouache, 6 x 7i" (15 x 19 cm.).
Signed and dated
1.1.

MILITAIRE). 1914.

Toul with

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

York.

ment

in

which broad planes, angled from the perimeter, meet

for

circles.

The source

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

71.

x37i" (120 x95

cm.).

PORTRAIT OF FLORENT SCHMITT, THE SONG OF WAR. (PORTRAIT DE FLORENT SCHMITT. CHANT DE GUERRE).
1915.
Oil

Signed and dated

l.r.

"Alb Gleizes, Toul 1914".

Lent by The Solomon R. Guggenheim Museum,

Provenance:
Exhibition:
Gift,

New

York.

Solomon R. Guggenheim, 1937.

Galerie,

Signed, dated and inscribed

8.

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

Rene Gimpel

New

York, 1937, no.

Toul 1915, a F. Schmitt".

55

Lent by Musee National d'Art Modeme, Paris.

Exhibitions:

the subject for one of Gleizes' rare

his life Gleizes

still life

paintings. (Throughout

Montross Gallery,

New

York. 1916. no. 47.

was deeply attached

to the principles of artisanship.)

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

Several studies,

among them

no. 74, preceded this work.

Tate Gallery. London, 1956.

La Musique, Besancon,

195..

Apollinaire, Palazzo Barbarini,

Rome, 1960.

THE PARISIENNE. PORTRAIT OF JULIETTE ROCHE.

(LA PARISIENNE). 1915. Oil on canvas, 24+ xl4l" (61,5 x36,5
Signed and dated
l.r.

Literature:

Musee de Grenoble, 1963, no. 14. dorival, b. The School of Paris in the Musee National d'Art Modeme,

cm.).

New York

1962. p. 262.

ill.

""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
of the composer into the overall whirl of the composition.

Exhibitions:

Chapelle du Lycee Ampere, Lyon, 1947, no.

Galerie Bern", Avignon, 1950, no.
1.

7.

Literature vrxcEXT, m. Catalogue

:

du Musee de Lyon, 1956,

p. 316.

Juliette

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

COMPOSITION.
Oil

1915.

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

Signed and dated

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

Canudo

to

be taken to Gleizes' studio. During the

first

year

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

married.
1957, no. 59
(pi. 25).

Lent by

Exhibitions:

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

Albert Gleizes:

Musee de Grenoble, 1963, no.

Literature:

11. (frontispiece).

Hommage, Lyon,
is

1954, pi.

1.

77.

NEW" YORK.
Gouache and

1915.

ink,

26 x20" (66 x51 cm.).

l.r.

This work, based on The Song of War,

position. In
it

Gleizes' first abstract

comis

Signed and dated

"Alb Gleizes 1915

New

York".

a total balance of planes

and

circular

movement

Lent bv

Madame

Albert Gleizes, Paris.

achieved, the painter carefully building his forms in logical transitions

from the square of the canvas.

students version of

this

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

Remy-

de-Provence.

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

Signed and dated
l.r.

""JAZZ"). 1915.

"Albert Gleizes 15 N.Y.".

Lent by The Solomon R. Guggenheim Museum.

73.

New

\ ork.

COMPOSITION.
Oil

1915.

Provenance
Literature:
p. 1225.

Feragil Gallery,

New 1 ork,

1938.

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

l.r.

The

Literary- Digest,

Sew- York, November 27, 1915,

Signed and dated

"Albert Gleizes 15".

Benezit, Paris.

Lent by

Madame Henri

Literature:

seuphor, m. Dictionary of Abstract Painting,

York, 1957,
p. 179.

New

Gleizes was tremendously impressed

earliest

by New \ork City but the

New York

paintings continued without break the formal

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

This complex painting

to nos. 71

is

based on compositional problems related

of

new

subject matter

is

apparent. In a photograph

first

published

and

72.

in the Xeic York Herald, later reprinted in

The Literary Digest,

this painting.

October 27, 1915, he can be seen

at

work on

74.

THE LORRAINE PITCHER. (LA CRUCHE LORRAINE).

Signed and dated
l.r.

1914.
79.

JAZZ ILE JAZZ).

Oil

1915.

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

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

l.r.

"Albert Gleizes, Toul, 14".

Signed and dated

"Albert Gleizes

New York

1915".

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

Preston Harrison Collection.

W ilham

Lent by Rene Deroudille, Lyon.

Exhibitions:
Galerie Berry, Avignon, 1950, no. 2. Galerie Drouant-David, Paris, 1943, no. 15 (as Banjo).
Literature:

deroudille,

r.

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

THE LORRAINE PITCHER. (LA CRUCHE LORRAINE).

Oil

1915.
Jazz again exploits circular
tilting planes,

movements

in combination with broad

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

l.r.

incorporating the specific gestures of the two players

clearly to the style of the

Signed and dated

"Alb Gleizes 15".

into an inner

framework that points

20

s.

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

Exhibitions:

New York.
80.

Bourgeois Galleries,

Rene Gimpel

Galerie,

Passedoit Gallery,

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

CHAL POST.
Gouache with

1915.
oil

Signed and dated

Searching for subjects appropriate to his
interests in circu l a r

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

Lent by The Solomon R. Guggenheim Museum.

Provenance: from the
Exhibition:
Literature:
artist,

New

"i

ork.

movement,

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

1938.

many

as four circular handles attached to

neck. This traditional

Montross Gallery,
Albert Gleizes:

New

York, 1916, no. 36.

1954. pi. 2.

form, whose possibilities had been explored for centuries, became

Hommage, Lyon,

56

81.

KELLY SPRINGFIELD.
Gouache with
oil

1915.

85.

BROOKLYN BRIDGE.
Oil with sand

1915.

on board, 39s x30" (101 x76 cm.). Signed and dated 1.1. "Alb Gleizes N.Y. 15"".
Lent by The Solomon R. Guggenheim Museum.

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

l.r.

Signed and dated

"Albert Gleizes

New York
10.

1915".

New

York.

Lent by

Madame
:

P. de Gavardie, Paris.

Provenance: from the

Exhibitions:

artist,

1938.

Exhibition

Musee de Grenoble, 1963, no.

Montross Gallery,

New

\ork, 1916, no. 37.

This second
oil

version of the Brooklyn Bridge

is

totally abstract,

Gleizes

was fascinated by the signs of

New \ ork,

especially those

its

dominant patterns derived from the

criss-cross of intersecting
first

painted across windows read in reverse from the interior.

supporting cables. This work marks Gleizes'

use of sand on a

pictures surface and signals a period of experimentation with

painting techniques.
82.

new

BROADWAY.
Oil

1915.

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

1.1.

Signed

"Albert

Gleizes"-.

ON BROOKLYN BRIDGE (SLR BROOKLYN BRIDGE).

New
York.
Oil

1917.

Lent by Mr. and Mrs. Arthur G. AltschuL

Provenance: Dalmau. Barcelona.
Exhibition:

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

1.1.

Signed, dated and inscribed

Gallery-,

"Albert Gleizes

New \ork

1917 sur

\ale University Art

104.

New

Haven, I960, no.

Brooklyn-Bridge"

Lent by The Solomon R. Guggenheim Museum,

New \ ork.

Literature:

Literary Digest.

New

York. November 27, 1915.

Provenance: from the

Exhibitions
:

artist.

1937.

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

gray,
"Gleizes",

The
3,

initial

American reaction
this painting

to Gleizes

might be typified by a
Literature:

letter

about

published in Literary Digest on December

in Detroit, Michigan: "...

c.

Magazine of Art, October,

1950,

from Mr. W. E. Bolles

Among

the

p. 208.

mass of indicated characteristics of Broadway, such as skyscrapers,

great newspapers, rapid transit, etc. a person with a vivid imagination can see... in the grouping of these elements the face of a

This third and

last oil version, related

most closely

to the

1915

drawing (no. 83), attempts to synthesize the City under the symbol
of the Bridge. Lnified by whirling circles, the composition shows

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

related study, developed

collection at the

from the strong diagonals,

Arts.

is

in the

both ends of the bridge with the river below and buildings of Manhattan and Brooklyn beyond. Gleizes and Joseph Stella had been
friends since 1915

Howald

Columbus Gallerv of Fine

and

it is

interesting to

compare

this painting
later.

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

a3.

BROOKLYN BRIDGE.
TtiI-

1915.

and gouache, 9i

>:

7*" (25 x 19 cm.).

On

reverse: "Albert Gleizes Brooklyn Bridge 1915".

Lent by

Madame

Albert Gleizes, Paris.

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

The

first

of Gleizes" Brooklyn Bridge drawings, this work

a study

Gouache with

oil

for the 1917 oik no. 86.

Signed and dated

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.
artist,

New

"i

ork.

1938.

BROOKLYN BRIDGE.
Oil

Exhibitions:
1915.

Montross Gallery.

New

York, 1916, no. 39.

Signed and dated

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

The gay motif borrowed from

la \ ille

the races was later incorporated into

Lent by The Solomon R. Guggenheim Museum,

Provenance: John Quinn,
J.

New

the second version of Clowns, 1917. at the

Musee d'Art Modeme de

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

(Sale, 1927).

B.

Neumann, 1944.

note of deep irony

his

struck for the

numbers 8 and 6 are those of

98).

Exhibitions:

Montross Gallery,

New

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

York, 1916, no. 40.

Cubism and Abstract Art, Museum of

Modem

Art,

New

York, 1936, no. 88.

Contemporary Movements in European Painting,

Toledo
Literature:

OVERLAND.
Oil

1916.

Museum

of Art, Ohio, 1938, no. 40.

Literary Digest,

November 27,

1915, p. 1225 (visible

on canvas, 31i x25+" (81 x65 cm.). Signed and dated l.r. "Alb Gleizes 1916".
Lent by Galerie L. Bourdon, Paris.
Exhibitions :

in photograph of Gleizes).

SEtPHOR, M.

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

R.

Montross Gallery,

New \ ork,

1916, no. 48.

Paris,

ROSESBLOl,

Cubism and Twentieth-Century Art,

Le Cubisme, Musee National d'Art Modeme,

1953. no. 38.

New

York. 1960.

The Bridge, which appears

in elevation in

Chal Post

(no. 80) is here

is

synthesized into a dizzying structure in which a cityscape

seen

89.

through the great swing and intersecting patterns of the cables

TOWARD NEW YORK. (IMPRESSION DE NEW

Ink. 17

1916.

YORK).

which dominate the canvas surface. In the

lyn Bridge, comparing
architecture.

first interview-

given after

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

l.r.

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

Signed and dated

"Alb Gleizes 16, N.Y.".

to the noblest achievements of

European

Lent bv

Madame

Albert Gleizes, Paris.

57

Tk
49

58

47

59

m
51

^m

62

60

54

61

62

63

67

64

73

66

72

67

75

68

76

78

....

,:

.ii
:

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

.IIJ

88

70

80

81

71

72

73

74

90.

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

Gouache, 24} x 18 J" (63 x48 cm.).
Signed and dated
Gleizes. 16
l.r.

with circular motion. This specific

method of picture construction

later, be-

was (theoretically) formulated by Gleizes several years

tween 1920 and 1923.

"Alb Gleizes 1916

New York" on reverse "Alb

;

N.Y. No. 16)

New York

1916 Etude. Gouache pour

l'huile appartient a le

'Downtown'

New

York. La peinture a

Gug-

96.

CLOWNS.

1916.

genheim Foundation".
Lent by The Solomon R. Guggenheim Museum,
Provenance: from the
artist,

Oil on board, 29i

x25" (75 x63

1.1.

cm.).

New

York.

Signed and dated

"Alb Gleizes 16".

1938.

Lent by

Madame
:

Albert Gleizes, Paris.

no. 16.

Exhibition

Musee de Grenoble, 1963,

theme interested

91.

TARRYTOWN.

1916.

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

circus

Gleizes for several years, appearing in

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

Signed and dated
1.1.

pre-war Paris works (no. 119, for example) and continuing through
1920, (no. 120).

We

also

know

second version of

this painting

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

tableau".

from 1917,

(see

comment

for no. 87).

Lent by The Solomon R. Guggenheim Museum,

New

York.
97.

Provenance: from the

artist,

1938.

TO JACQUES NAYRAL

(A

JACQUES NAYRAL).

1914.

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

This
is

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

Signed, dated and inscribed

tue a La Bossee, 1914".

1.1.

"Alb Gleizes 14; Jacques NayTal

Lent by Marlborough-Gerson Gallery,

92.

New

York.

COMPOSITION (TARRYTOWN).
Oil on canvas, 36 J

1916.

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

a painting of

Signed and dated

1920:

l.r.

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

Gleizes

first

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

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

in Front

Woman

when

a postcard
it is

on which he had written "Patience, a

little

more

patience,

impossible that this war can endure

much

longer...

then we will put ourselves back to work..." came back marked

In his attempt to organize in plastic terms the abstract equivalent of his earlier broad panoramas, Gleizes reverted to the tilting planes

"disparu".

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

(A

JACQUES NAYRAL).
"Alb Gleizes
17, a

1917.

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

l.r.

93.

NEAR NEW YORK (ENVIRONS DE NEW YORK).

Gouache and
N.Y.".
ink,

Signed, dated and inscribed

1915.

Jacques Nayral".

251 x 19}" (65

1.1.

Lent by Leonard Hutton Galleries,

Exhibitions:

New

York.

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

Signed, dated and inscribed

"Albert Gleizes, 1915, Terrytown,

Les Peintres Cubistes, Galerie Suillerot, Paris, 1963.

Lent by

Madame

Albert Gleizes, Paris.

This

is

a private portrait, an intensely personal

memorial

to his

closest friend, a

key figure who shared the hopes of the pre-war

artistic

94.

HEAD OF A CLOWN (TETE DE CLOWN).

Ink,

Passy group for a collective

1915.

program.

7}x7i"

(19,2 xl8,2 cm.).

I.e.

Signed, dated and inscribed

"Alb Gleizes Toul 1915 Etude pour

99.

Tete de Clown".

STILL LIFE
Ink, 10 J

WITH FLASKS.
(27,5 x21,5 cm.).
l.r.

1916.

Lent by Mr. and Mrs. Arthur Freeman,

New

York.

(NATURE MORTE AUX FLACONS).

x8i"
Signed and dated
"Dessin a
la

Provenance

Rose Fried,
Royal

New York. Marks, New York.

who was
in

"Alb Gleizes Barcelone 1916"; on reverse

flacons' Barcelone

plume pour 'Nature morte aux

1916

This

is

actually a portrait of the artist Georges Valmier,

le

tableau app. a Alb Gleizes".

Gleizes'

regiment

at

Toul.

Lent by The Solomon R. Guggenheim Museum,

New

York.

Provenance: from the

artist,

1938.

95.

HEAD OF A CLOWN (TETE DE CLOWN).

Oil

1914-17.

Preliminary drawing for no. 100.

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

1.1.

Signed and dated

"Albert Gleizes 1914-17".

100.

Lent anonymously.
Exhibitions:

STILL LIFE
Oil

WITH BOTTLES.

1916.

Ardsley Studios,

New

York, 1919, no.

8.

(NATURE MORTE AUX BOUTEILLES).

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

Les Maitres de V Art Independant 1895-1937, Petit

Palais, Paris, 1937, no. 20.

Signed and dated

"Alb Gleizes 16"; signed and dated

1.1

"Albert Gleizes, Barcelone, 1916".

Developed from studies begun

at

Toul in 1915

(see no. 94), this

Lent by Dr. Jules Vache, Lunel, France.

Exhibition:
Galerie Berry, Avignon, 1950, no. 4.

painting displays Gleizes' characteristic fusion of tilting planes

75

Gleizes rarely painted

still lifes,

his epic interests usually finding

105.

BERMUDA STUDY
Signed and dated
Paysage,
la
I.e.

(LES BERMUDES).. 1917.

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

sympathetic echos in more inclusive themes. His earliest Cubist

still life,

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

dating from 1912, formerly in the

Weimar Museum,

is

un-

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

maison du Gouverneur

Bermuda

1917.

le

tableau ap-

Apart from The Lorraine Pitcher

1924.

(no. 75),

he made no more until

partient a Stieglitz, N.Y.".

Lent by The Solomon R. Guggenheim Museum,

Provenance: from the
artist,

New

York.

1938.

101.

JEAN COCTEAU.
Signed and dated

1915.
106.

Gouache, 22 xl5i" (56 x40 cm.).

I.e.

BERMUDA STUDY
Signed and dated
l.r.

(LES BERMUDES). 1917.

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

Watercolor and gouache over crayon,

"Albert Gleizes, Jean Cocteau 1915".

Lent by

Madame

Albert Gleizes, Paris.

no. 13.

Lent by Walter Firpo, Marseilles.

Exhibition:

Musee de Grenoble, 1963,

Gleizes
first

and Cocteau, who was

later a witness at Gleizes' marriage,

became

friends during their collaboration

on an unrealized

107.

production of
the
first

A Midsummer Night's

Dream. This would have been

was
be performed
at the

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

Oil

1917.

Cubist stage production and Gleizes was to design the

the sets. It
to

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

l.r.

costumes and Andre Lhote

Cirque Medrano
this

Signed and dated

"Alb Gleizes 1917".

in the

summer

of 1915, but, because of the war,

in the

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

New

York.

proved impossible. All of Gleizes' costume drawings are

Provenance

A. Stieglitz,

New

York.

collection of the

Musee des Beaux-Arts de Lyon.

Exhibition:

H. D. Walker, Minneapolis.

Loan Exhibition, Pennsylvania Academy of Fine

Arts, 1920. no. 45.

102.

PORTRAIT OF JEAN COCTEAU.

Oil with plaster on canvas, 45 J

1916.

Returning

to

America early in 1917, the

Gleizes' left almost im-

x31i" (116 x80 cm.).

"Albert Gleizes, Barcelone, 16 Jean

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

Signed, dated and inscribed

l.r.

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

Cocteau".

directly influenced Gleizes' style,

which became unusually sensuous.

in-

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

Exhibitions:
Galerie Dalmau, Barcelona, 1916.

These paintings seem removed from the complex formal and

tellectual

concerns which Gleizes had already begun to deal with.

Rene Gimpel
Literature:

Galerie,

Passedoit Gallery,

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

no. 11.
7.

The

parallel brushstrokes indicate also a

temporary return

to a

Cezannesque technique.

goth, m. 391, no.

1,

Barcelona, January 25, 1917.

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

108.

BERMUDA DRAWING
Signed and dated
l.r.

(LES BERMUDES).
x8J"

1917.

same vein
basket of

as their

Shakespeare project. Although he carries a

Pencil and watercolor, 10J

(27,5 x21,5 cm.).

fruit, (as

did Ariel

who produced

the grand banquet at the

"A. Gleizes 17".

end of the Tempest) the costume

also relates to the

Red Cross

Lent by Galerie Moos, Geneva.

uniform worn by Cocteau during the war. Such an interpretation

would be
thinking.

in

agreement with the generally symbolic tenor of Gleizes'

109.

BERMUDA SCENE (PAYSAGE DES BERMUDES).

Oil

1917.

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

1.1.

Signed and dated

103.

"Alb Gleizes 17".

DANCER (DANSEUSE).
Oil

Collection Romanet. Paris.

1916.

Provenance:
Gleizes, Barcelone 16".

Pierre Faure.

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

Exhibitions:

Bourgeois Galleries,

New

York, 1917.

Signed and dated

l.r.

"Alb

Lent by Dr. Henry M. Roland, London.

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

1935.

A
104.

variant of this painting, with the composition reversed,

is

in the

SPANISH DANCER (DANSEUSE ESPAGNOLE).

Oil with sand

1916.

collection of the

Musee National d'Art Moderne,

Paris.

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

l.r.

Signed and dated

"Alb Gleizes 16".

Lent by The Solomon R. Guggenheim Museum,

New

\ork.

110.

BARCELONA HARBOR

Provenance:
Exhibitions:

Gift,

Solomon R. Guggenheim, New \ork, 1937.

Bourgeois Galleries,
Ardsley Studios,

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

no. 29. 3 (west room).

(LE PORT DE BARCELONE). 1916. Mixed media on paper, 18i x23" (46,5 x58,5 cm.). Signed and dated l.r. "Barcelone. 1916 Albert Gleizes": on reverse

"No

15)

Aquarelle etude pour 'Un port',

le

Barcelone 1916, Le
II

tableau a l'huile appartient a

Guggenheim Foimdation,

a ete

The

brief Barcelona period

specific patterns

produced a host of similar paintings in

in

which

and motifs were exploited

an

effort to

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

place the painting in the context of a precise encounter.

Provenance: from the

artist,

1938.

76

111.

HERE
Oil

IN

PORT (DANS LE
l.r.

PORT).

1917.

Lent by The Solomon R. Guggenheim Museum,

Provenance:
1917".
Hilla

New

York.

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

"Albert Gleizes

Rebay, Green Farms, Connecticut.

Signed and dated

New York

Solomon R. Guggenheim, New York, 1938.

Gift,

Lent by The Solomon R. Guggenheim Museum,

New York. Provenance: Gift, Solomon R. Guggenheim, New York, 1937. Exhibition: Ardsley Studios, New York, 1919, no. 3.
This work incorporates part of the harbor scene explored in the

Solomon R. Guggenheim, 1941.

Paris, 1920, no. 1011.

Exhibitions:

Salon des Independants,

Rene Gimpel
and On a Circus Theme
rise to the

Galerie,

New

York, 1937, no. 13.

These subjects of On a Music Hall Singer,

Barcelona study of 1916 (no. 110).
of

(collection Baltimore

On a Vaudeville Theme Museum of Art), gave

monograph
ca. 1924).

An

ink drawing in the collection

this

concept of the subject as a "springboard" credited to

in his little

Madame

Gleizes, executed

between the Barcelona study and

Gleizes

and elaborated by Walter Pach

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

on Jacques Villon for the Societe Anonyme (New York,

112.

STUNT FLYING (VOLTIGE AERIENNE).

Oil with sand

1917.

116.

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

1.1.

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

Signed and dated

ne.

"Alb Gleizes 1917" on reverse " Voltige aerien;

New

York, 1917, Albert Gleizes".

New York

1916 Alb

Lent by The Solomon R. Guggenheim Museum,

Provenance:
Exhibitions:
Gift,

New

York.

Gleizes"; on reverse

"No
II

8)

Dessin a

la

plume pour 'Naissance d'un

l'huile doit etre

Solomon R. Guggenheim, New York, 1937.

building'

New York

1916 Le tableau a
a ete

dans une

Ardsley Studios,

New

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

collection allemande

vendu par Walden".

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

Literature:

Lent by The Solomon R. Guggenheim Museum,

New

York.

robbins,

d.

"Gleizes

and

Delaunay",
3,

Baltimore

Provenance

from the

artist,

1938.

Museum of Art News, vol. XXV, no.

pp. 9-21.

Spring, 1962,

117.

Although not the

respects the

last

painting of the circus theme, this

is in

many

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

Oil

culmination of Gleizes' treatment of the subject.

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

l.r.

Derived from a 1914 painting in the collection of

Madame

Gleizes

Signed and dated

"Alb Gleizes 17".

where

trapezists,
is

audience and nets are clearly identifiable, this

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

Exhibition
Literature:
:

work

abstract,

employing

tilting planes

and

circular

movement

Ardsley Studios,

New

York, 1919, no.

7.

to express the essence of

dynamic rhythm.

schoener,

a.

The Cincinnati Art Museum Bulletin,

1956, pp. 18-22.

This work (and the preceding study for

113.

it)

are Gleizes' final syn-

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

1916.

thesis of

New

York. In

it

we

see all the elements of his style of the

1920's,

combined with the sensuous paint handling which he

later.

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".

renounced a few years

118.

ON THE FLAT IRON

Ink, 104

(SUR LE FUA.T IRON).

l.r.

1916.

Lent by The Solomon R. Guggenheim Museum,

New

York.

x8i" (27 x21 cm.).

"Alb Gleizes

Provenance: from the

artist,

1938.

Signed, dated and inscribed

New \ ork Sur

le Flat-

iron 16".

Lent by Herbert M. Barrows,

114.

Ann

Arbor, Michigan.

ON A VAUDEVILLE THEME
Oil

(SUR

UN VAUDEVILLE).

1917.
119.

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

l.r.

Signed and dated

"Alb Gleizes N.Y. 1917".

Lent by The Solomon R. Guggenheim Museum,

Provenance:
Gift,

Solomon R.

New York. Guggenheim, New York, 1937.

this

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
circus series.
first

work

is

also a return to

an
This drawing furnished a departure point for an etching of the same
year, as well as serving as the basis for a series of paintings.

treated in 1914 (no. 119)

and

relates to the

115.

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

Oil

120.

HALL).

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

Oil

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

1.1.

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

l.r.

Signed and dated

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

Signed and dated

"Alb Gleizes,

New York

19"

No

17 sur une chanteuse de music hall

New York

1917".

Lent by Augustin Terrin, Marseilles.

77

Exhibitions:

Ardsley Studios,

New

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

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

without subject", explorations of plastic relations that concentrated

Musee
This

Calvet, Avignon, 1962, no. 14.

on familiar visual problems of movement and depth.

is

the penultimate version of the Equestrian which in 1914,

(no. 119),

had begun the circus pictures. The

last

version from
124.

1920 was reproduced in Ozenfant and Jeanneret's La Peinture

COMPOSITION.
Oil on canvas,

1921.

Moderne,

Paris, 1924,

and

is

in the collection of the

Musee National

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

l.r.

d'Art Moderne, Paris. Both works, as well as the study, relate not

Signed and dated

"Alb Gleizes 21".

only to the Vaudeville theme (nos. 113, 114) but also to the
Circus

On a

Lent by

Madame

Albert Gleizes, Paris.

Theme

in the

Baltimore Museum.

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

Gleizes' reputation as

an uncompromising practitioner of austere

121.

ALONG THE AVENUE (SUR L'AVENUE).

Oil

1920.

abstract art in 1921 brought

him

his first pupils, the Irish painters

to clarify his

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

l.r.

Mainie

Jellett

and Evie Hone. Obliged

methods

for his

Signed and dated

"Albert Gleizes 1920".

students and for himself as well, he called the

tilting

now

characteristic

Lent by Rudolf Indlekofer, Basel.

Provenance: G. David Thompson, Pittsburgh.
Exhibition:

planes "translation" and the circular

movements
to

"rotation".

Both compositional techniques can be traced back

(see no.

about 1914

Der Sturm,

Berlin, 1921.

63).

The developing
et ses lois, ce

theories were incorporated in his

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

qui devait sortir du Cubisme, written

New

in 1922.

\ork City
life

as representative of the direction that

his

modern

collective

would pursue. Although

manner of composing did not

all

change, he deliberately purged his art of

powerful touches of

paint application in order to focus attention on the relationships

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

Tempera on
Collection

Circa 1922.

among
thought

forms.

He

eliminated
it

the

dominating presence of his

canvas, 47i

x37" (120 x94

cm.).

physical gesture because

was too individual, amounting

he

Not signed or dated.

Lady Norton, London.
:

to

an "aesthetic trick". Although eliminating sensuous-

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

Exhibition
Literature:

Marlborough Gallery, London, 1956, no. 20.

"Presence d'Albert Gleizes", Zodiaque, nos. 6-7,
January, 1952. p. 35.

began
result

to

make

his

own, often mixing pigments with gasoline. The

fragile

was an extremely

matte surface, forthright but, un-

fortunately, highly susceptible to

such as

this

found their

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

in

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

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

the Grenoble

organized his canvas by the guided

surface. Plane surfaces

Museum.

movement move back and forth,

of a chosen plane
to right

and

left,

progressing to more complex forms, so that curves were infused

into the developing rhythm.

122.

WOMAN WITH BLACK

Oil

GLOVE. (FEMME AU GANT NOIR).

on canvas, 49+ x39i" (126
l.r.

1920.

100 cm.).
1.1.

126.

OCTAGONAL COMPOSITION.
Oil

Circa 1922.

Signed

"Albert Gleizes", dated

"1920".

(COMPOSITION OCTAGONALE).
on canvas, 35i x27i" (89,5 x69,5 cm.).
1956,
no.

Lent by

Madame

Albert Gleizes, Paris.

13
(as

Exhibitions:

Marlborough Gallery, London,

Not signed or dated.

Lent by

Femme
Musee
Literature:

Assise).
Calvet, Avignon, 1962, no. 17.

Madame

Albert Gleizes, Paris.

Musee de Grenoble, 1963,

lake and maillard
Painting, Paris,

no. 23.

This

is

(ed.).

Dictionary of

Modern

at

work.

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

New York and London,

1956, p. 113.

ses Lois,

when

it

was printed in La Fie des Lettres

et des

Arts

(1923), was purchased

by Larionov who presented

it

to the

Museum

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

illustrate

of Western Art in Moscow.

activity in the early 20's: reminiscences of

evoked within the context of increasingly careful

127.

picture construction.

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

Gouache and watercolor, 9 x 7i"
(23

1923.

x20

cm.).

123.

COMPOSITION (TABLEAU).
Tempera on
panel, 36}
l.r.

1921.

Signed and dated

l.r.

"Alb Gleizes, 23"

('?).

x28j" (92 x73 cm.).

Lent by Germaine Henry, Paris.

Signed and dated

"Albert Gleizes, 1921".

Lent by The Trustees of The Tate Gallery, London.

Provenance:

Leonce Rosenberg,

Paris.

128.
Islands.

COMPOSITION OCTOBER.
Oil

1922.

James Wardell Power, Jersey, Channel

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

l.r.

Power
Literature:

Sale, Sotheby's,

November

7,

1962, no. 17

Signed

"Alb Gleizes": dated

1.1.

"X BRE

1922".

(as Abstraction).

Lent by

Madame

Albert Gleizes, Paris.

Bulletin de
pp. 8-9.

I'

Effort

Moderne, March, 1925, no.

13,

Literature:

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

78

This painting relates

to a

1923 painting entitled La Vieille

ill.)

Dame

134.

IMAGINARY STILL
Oil on canvas, 41 i

LIFE, BLUE. 1924.

(Marlborough, London, 1956, no. 18,

a yellowed photograph of
Gleizes in the

and both were inspired by

NATURE MORTE IMAGINAIRE,

x29i" (105,5 x74
Signed and dated
l.r.

BLEUE).
cm.).

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

"Alb Gleizes, 24".

Lent by Germaine Henry, Paris.

Exhibitions:
129.

WHITE COMPOSITION. Circa 1922. (PEINTURE-OBJET A DOMINANTE BLANCHE).

Oil on board, 36i

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

no. 23.

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

x28i"

(92

x73

cm.).

New

York, 1949, no. 13.

1950,

Not signed or dated.

Lent by

Literature:

gray,

c.

"Gleizes",

Magazine of Art, October,

Madame

Albert Gleizes, Paris.

Calvet, 1962, no. 22.

p. 209.

Exhibitions:

Musee

Musee de Grenoble, 1963,

no. 26.

135.

After two years of increasing austerity, Gleizes

still

occasionally

STUDY FOR "IMAGINARY STILL LIFE, GREEN". (DESSIN POUR "NATURE MORTE IMAGINAIRE.
VERDATRE).
Pencil. 10}

1923.

indulged in an exuberant display of lively pattern.

for this

1920 drawing

work

is

reproduced

in J. Chevalier's Albert Gleizes et le

is

x8i" (27x21 cm.).

l.r.

Cubisme, Basel, 1961; a related gouache, entitled Three Themes,

in the collection of
large oil (present

Signed and dated

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

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

inscribed to Hilla Rebay, 1938.

Lent by The Solomon R. Guggenheim Museum,

New

York.

Gleizes exhibition,

Der Sturm, 1921.

Provenance: from the

artist,

1938.

130.

VILLAGE ON THE RHONE. SERRIERES. (PAYSAGE PROVENCAL, SERRIERES).

Oil on canvas, 41!

Circa 1923.

136.

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

Oil

x29+" (105 x75 cm.).

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

l.r.

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

Lent by Germaine Henry, Paris.
Exhibitions:

Signed and dated

"Alb Gleizes 24".

Lent by

tt

adsworth Atheneum, Hartford, Connecticut, The Ella

Rene Gimpel

Galerie,

New

York, 1937, no. 21.

Gallup Sumner and Mary Catlin Sumner Collection.

Exhibitions:

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

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

no. 24.

The

Gleizes' spent

much

time in Serrieres, south of Lyon, where

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

Gleizes established a second artist's

community, Moly-Sabata,

in

New

York, 1949, no. 14.

1927.

Literature:

gray,

c.

"Gleizes",

Magazine of Art, October, 1950,

p. 209.

131.

THE SCHOOLBOY
Oil on canvas, 34i

(L'ECOLIER). Circa 1924.

(87,5 x67,5 cm.).

By

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

x26+"

his conceptual hierarchy of values

still life

was almost wholly formed and

insignificant for

Signed

l.r.

"Albert Gleizes".
Illinois.

as

a subject in itself

was

he

felt

that

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

Provenance: Galerie de Yarenne, Paris.
J.

every day objects precluded largeness of conception.

An

"imagi-

nary"

still life,

however, was another matter:

it

could reflect ideal

W.

Faulkner, Chicago.

relations,

pure and non-imitative forms.

132.

THE SCHOOLBOY

(L'ECOLIER). 1924.
(92

137.

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

Lent by Musee Cantini, Marseilles.
Exhibition:

x73

cm.).

IMAGINARY STILL LIFE. GREEN, second version. (NATURE MORTE IMAGINAIRE, VERDATRE).
on canvas, 39i x28i" (100 x73 cm.). Not signed or dated.
Oil

1924-36.

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

Lent by

Madame

Albert Gleizes, Paris.

Galerie,

Exhibitions:

Rene Gimpel

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,
Signed and dated
l.r.

BLEUE").

1923.

138.

SERRIERES.
Pencil, lOi

1923.
(27

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

x8i"

x21 cm.).
"Alb Gleizes, Serrieres 23"; on reverse

"Alb Gleizes 23"; on reverse "No.

5) "Pein-

Signed and dated

l.r.

ture familiere' Dessin

mine de plomb 1923 pour Peinture

Huile

"Dessin mine de plomb "Sur Serrieres 1923' pour un peinture qui

appartient a Alb Gleizes No. 10".

app. a Alb Gleizes".

Lent by The Solomon R. Guggenheim Museum,

Provenance: from the
artist.

New Y ork.

Lent by The Solomon R. Guggenheim Museum,

New

\ork.

1938.

Provenance: from the

artist.

1938.

79

92

80

81

82

102

83

84

100

104

85

86

114

115

87

89

90

125

91

123

124

131

92

126

128

93

-iTwnwr-

"
136
137

139

94

139.

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

Oil on canvas, 40i

1924.

144.

COMPOSITION.
Oil

1930-31.

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

1.1.

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

"A. Gleizes 24".

Signed and dated

"Alb. Gleizes 1930-31".

Signed and dated

Lent by

l.r.

Lent by Germaine Henry, Paris.

Madame

Albert Gleizes, Paris.

Galerie,

Provenance: Leonce Rosenberg, Paris.

no. 20.
12.

Exhibitions:

Rene Gimpel

Passedoit Gallery,

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

Exhibition:

Exposition d'Art Francais,

National

Museum

of

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

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

Musee

Calvet, Avignon, 1962, no. 24.

30.

Musee de Grenoble, 1963, no.

145.

This painting, the drawing which precedes

later

it

(no.

138) and the

real vista of

STUDY FOR TRIPTYCH. 1930. A. STUDY FOR LEFT PART OF TRIPTYCH. (ETUDE POUR TRIPTIQUE, PARTIE GAUCHE).
Gouache on board, 13i x5}" (34 xl5 Signed and dated "Alb Gleizes 30".
B.
cm.).

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

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

church steeple

to its bridge across the

Rhone and

the fields, trees

and

hills

of Isere on the far shore.

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

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.

"Alb Gleizes 27".

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

Lent by The Solomon R. Guggenheim Museum,

New

York.

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

Signed and dated "Alb Gleizes 30".

Provenance: Hilla Rebay, Greens Farms, Connecticut.

Solomon R. Guggenheim, New York, 1938.

Gift,

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

New

York.

Solomon R. Guggenheim, 1941.

Provenance: Galerie

7, Paris.

Margit Chanin,

New

York.

141.

FORMS, ADORATION.
Oil

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

1930.

1930-31 in which different color

tonalities

were explored, but this

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

seems
itself

to

be the only surviving study for the central portion which

all

Not signed or dated.

Lent by Leonard Hutton Galleries,

has been

but destroyed by moisture.

New

York.

Echoing an old Thomist axiom, Gleizes had always

to paint the inner principles rather

told his students

than the appearance of nature.

146.

By

the early thirties he was convinced that these principles were,

A.

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

x26" (160 x66 cm.).
1.1.

in fact,

God and

that

He was

discernable in any aspect of nature.

Oil on canvas, 63

Thus

in this

work

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

Signed and dated

"Alb Gleizes 30-31".

reveals an essential identity between flowers

B.

RIGHT WING (TRIPTIQUE, PARTIE DROITE).

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

Oil

Signed and dated

142.

"Alb Gleizes 1930-31".

GOUACHE.
Gouache,

1932.
(30 x25,5 cm.).

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

Provenance: C. Renault, Puteaux.
Margit Chanin,

New

York.

Hi x 10"

Signed and dated

l.r.

"Alb Gleizes 32"

New

York.

Lent by Germaine Henry, Paris.

During the

late 20's, Gleizes

became increasingly absorbed with

religious themes. His continuing studies of

Romanesque

architec-

143.

SYMPHONY

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

ture, sculpture
et L'Histoire)

and frescoes

(in

preparation for his book. La

Forme

already had given rise to a

number

of compositions

which are influenced by Autun and

St. Savin.

"Albert Gleizes 1930-31".

Lent by Rudolf Indlekofer, Basel.

Exhibition:
Literature:

Rene Gimpel
chevalier,
1962, p. 51.
j.

Galerie,

New

York, 1937, no. 29.

147.

Albert Gleizes et le Cubisme, Basel,

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

Oil

Signed
Gleizes wished to infuse his large compositions of
(typified

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

many elements
lyrical

Lent by

Madame
made
to

Albert Gleizes, Paris.

by

earlier

works such as nos. 150, 151) with

moveGleizes
his first paintings for "meditation" or "contempla-

ment. By applying curvilinear greys, which picked up surrounding

color tonalities, he

made

color an active compositional force, turnto create

tion" in 1932-33
(the

and
is

in his personal hierarchy of valid subjects

ing the forms and causing them

rhythmic thrusts and

key

which

found in his

illustrations to the

Pensees of

depth in the picture plane.

Pascal) he attached the greatest significance to these works.

95

drawing for

this painting is

reproduced in

J.

Chevalier

s
is

Albert
in the

This painting
no. 122.

is

a variation of the 1920

Woman

with Black Glove,

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

Pensees of Pascal, p. 68.

153.

YELLOW LIGHT (LUMIERE

Oil

JAUNE).

1933.

148.

LIGHT (LUMIERE).
Oil

1932-33.

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

l.r.

on canvas, 33i x44$" (84,5 x 114 cm.). Signed and dated l.r. "Alb Gleizes 1933".
Lent by
no. 50.
Literature:

Signed and dated

"Alh Gleizes 32-33".

Madame

Albert Gleizes, Paris.

Galerie,

Lent by Leonard Hutton-Hutschnecker,

Exhibitions:

Rene Gimpel

Galerie,

New York. New York 1937,

Exhibitions:

Rene Gimpel
GRAY,
c.

Passedoit Gallery,
"Gleizes",

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

51.

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

Magazine of Art, October,

1950,

pp. 209-210.

"The problem of

light", wrote Gleizes, "is a

it is

problem of

faith.

For

light is not concrete,

perfectly metaphysical, being ineffable".

felt

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

154.

PAINTING,
Oil

MOVEMENT (PEINTURE
l.r.

MOBILE). 1932-33.

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

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

"Albert Gleizes 32-33".

bow's spectrum, he could approach the absolute.

Signed and dated

Lent by
149.

Madame

Albert Gleizes, Paris.

Galerie,

Exhibitions:

Rene Gimpel

GREEN-BROWN SPIRAL (SPIRALE VERT-BRUN).

Oil on canvas, 66i

New

York, 1937, no. 39.

1932-33.

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

x30j" (168 x78 cm.).

"Albert Gleizes 32-33".

Signed and dated

l.r.

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

Lent by

Madame

Albert Gleizes, Paris.

Calvet, Avignon, 1962, no. 26.

Pensees of Pascal.

Exhibitions:

Musee

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

155.

CRUCIFIXION.
Oil

1935.

150.

COMPOSITION WITH SEVEN ELEMENTS, (LES SEPT ELEMENTS) 1924-25.

Oil on canvas, 56i

first

version.

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

l.r.

Signed and dated

"Alb Gleizes 1935".

Signed and dated

l.r.

x40l" (143,5 "1925 Alb

x 103,5 cm.).

Lent by Musee de Dijon.

Exhibitions:

Gleizes".

Carnegie International, Pittsburgh, 1936, no. 190,

Galerie Drouant-David, Paris, 1943, no. 28.

Lent by

Exhibitions:

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

1925, no. 66.

Marlborough Gallery, London, 1956, no.

34.

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

A larger version of this crucifixion, from

Madame
Gleizes.

1936,

is

in the collection of

This

first

version of Seven Elements

is

one in a

series of large

compositions intended as studies for huge wall murals.

156.
151.

VIRGIN
Oil

AND CHILD
dated.

(LA VIERGE

A L'ENFANT).

1935.

PAINTING WITH SEVEN ELEMENTS. (LES SEPT ELEMENTS).

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

1924-34.

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

Not signed or
Lent by
Exhibition:

Madame

Albert Gleizes, Paris.

Calvet, Avignon, 1962, no. 30.

Musee

Lent by Musee National d'Art Moderne, Paris.

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

This composition exists in several versions, one reversed, and was

also

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

adapted in ceramic

tile

by Anne Dangar. Although more

literal
it

Musee de Grenoble, 1963, no.

Literature:

31.

and

specifically iconographic than

many works

of this period,

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

(illustrated before final changes).

nevertheless shows a loosening of painting technique.

This

is

a close reworking of the

first

version, with the addition of

157.

MATERNITY (MATERNITE).
Ink, 10}

1936.

circular

rhythmic greys. The central element (derived from a 1924

is

x7i"

(27,5 xl8,5 cm.).

l.r.

painting)

identified as

"Grandeur of Man" in the

Still
is

illustration for

Signed and dated

"Alb Gleizes 36".

Chapter 3 of the Pensees of Pascal.

1943, in which the center element
rotating spirals.

a third version exists,

from

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

totally replaced

by a

series of

158.

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

152.

SEATED WOMAN.
Oil

1934.

PARIS). 1937.

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

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

Hi

x25i"

(28,5

x64

cm.).

l.r.

"Albert Gleizes 37".

Signed and dated

"Alb Gleizes 34".

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

Provenance: Galerie
7, Paris.

New

York.

Lent by

Madame

Albert Gleizes, Paris.

Exhibitions:

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

Margit Chanin,

New

^ ork.

Musee

Calvet, Avignon, 1962, no. 31.

96

Gleizes was

commissioned

to

make two enormous murals

for the

at the

Lent by Germaine Henry, Paris.

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

other, with Survage

and the

and Leger,

Union des

Artistes.

The
de
163.

mural
Paris.

itself is in

storage in the

Musee d'Art Moderne de

to

la Ville

COMPOSITION.
Oil

1939.

The
as

central motif derives

from a 1920 painting, informally

which Gleizes returned in 1924
also executed in mosaic

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

l.r.

known

The Two Americans,

in 1945.

Signed and dated

"Albert Gleizes 39".

and again

The theme was

by

Lent by

Madame

Albert Gleizes, Paris.

Frank Perse.

Exhibitions:

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

Musee

Calvet, Avignon, 1962, no. 29.

Musee de Grenoble, 1963,

159.

no. 40.

STUDY FOR "THE TRANSFIGURATION". (ETUDE POUR "TRANSFIGURATION").

Gouache, 22+ xl5i" (57 x39,5 cm.).
Signed and dated
l.r.

1939-41.

164.
Gleizes".

"39^0-41 Albert

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

Ink, 13|

Lent by Germaine Henry, Paris.

x9+" (34 x24

l.r.

cm.).

Signed and dated

This
is

"Alb Gleizes 43".

a study for the central panel of an

immense

triptych in the

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

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

Ink,

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

14ixll" (36x28
l.r.

cm.).

and inclusion of

its

Signed and dated

"Alb Gleizes 43".

but obscure, symbols only further alienated the

artist

Lent by

V\ alter

Firpo, Marseilles.

from popular appreciation.

160.

SKETCH FOR ALADDIN (ETUDE POUR ALADIN).

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

1938.

166.

PAINTING FOR CONTEMPLATION, DOMINANT ROSE AND GREEN (COMPOSITION, DOMINANTES ROSES ET VERTES).
1942.
Oil

"Alb Gleizes 1938, Aladin".

Lent by Marlborough-Gerson Gallery,

New

York.

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

l.r.

Signed and dated

"Albert Gleizes 42".

Lent by The Solomon R. Guggenheim Museum,

161.

New

York.

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

Provenance:
Literature:

Gift,

Madame

Albert Gleizes, Paris, 1963.

Gleizes",

"Presence
1952,

d'Albert

Zodiaque,

January,

on canvas:

pi. 16, p. 42.

A. LEONARDO DA VINCI, 118i x50" (300 xl27 cm.).

B. aladdin, 122 C. sinbad, 121}

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

During the war, which made materials impossible

to obtain, Gleizes

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

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

He had used
it

burlap in some of his earliest paintings and

it

now

Not signed or dated.

Lent by

found

congenial to his again vigorous touch, for

took the most

Madame

Albert Gleizes, Paris.

powerful strokes even while preserving the matte surface he so

valued.

Exhibition:

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

56, 57.

Literature:

labastie, a. "Albert Gleizes", Arts

1946, pp. 77-85.

de

France,

9,

167.
Gleizes",

"Presence
1952, p. 37.

d'Albert

Zodiaque,

January,

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

"Alb Gleizes 43".

While working on murals for the 1937 Paris Exposition, Gleizes and
Jacques Villon conceived the idea of executing a mural for the

Lent by Walter Firpo, Marseilles.

auditorium of the Ecole des Arts et Metiers, Paris. Their plan was
to integrate

four Villon panels dealing with the physical conquest

168.

of space with four Gleizes panels reflecting man's

dream of

space.

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

Oil

Although the mural was never executed, many studies for

it

were

on canvas,

45+.

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

"Albert Gleizes 43".

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

Illustrations for the

Signed and dated Lent by

l.r.

Pensees of Pascal show that the Leonardo

Madame

Gleizes, Paris.

figure developed into the

theme "Grandeur of Man" while the Icarus

fall

Exhibitions:

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

panel was related to "the hateful ego" and suggests the

In 1963,

of man.
to

Musee

Calvet, Avignon, 1962, no. 32.

(pi. XIII).

The Gobelins

studios of the French

Government began

Musee de Grenoble, 1963, no. 43

translate the

work of the two friends into a

tapestry.

169. 162.

COMPOSITION.
Signed and dated

1943.

COMPOSITION.
Signed and dated

1937.

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

l.r.

Gouache, 11 x8" (28 x20 cm.).

l.r.

"Alb Gleizes 43".

"Alb Gleizes 37"

Lent by Germaine Henry, Paris.

97

170.

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

1944.

Provenance: Hans Kleinschmidt,

New

York.

"Alb Gleizes 44".

The drawing
(Chapter

is

preparatory to an etching in the Pensees of Pascal

In a general

Madame

Albert Gleizes, Paris.

III) (see no. 161).

way

it

relates to the Pascal

Exhibition:

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

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

171.

IMAGE.

1944.

178.

Oil on canvas, 284

x234" (73 x60 cm.). Signed and dated l.r. "Alb Gleizes 44".
et dTndustrie, St. Etienne.

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

Oil

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

l.r.

Lent by Musee dArt

Signed and dated

"Alb Gleizes 52".

Lent by

Madame

Albert Gleizes, Paris.

Exhibitions:
172.

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

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

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

1944.

Musee

Calvet, Avignon, 1962, no. 39.

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

"Albert Gleizes 1944"; inscribed "pour

ma
179.

Anne Dangar

Saint Remy-de-Provence Avril 1945 Les

Mejades Albert Gleizes".

Lent by

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

Oil

1951-52.

Madame

Albert Gleizes, Paris.

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

Not signed or dated.

Lent by
173.

Madame

Albert Gleizes, Paris.

THE SCHOOLBOY
Oil

(L'ECOLIER), third
"Alb Gleizes 44".

version. 1944.

Exhibition:

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

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

l.r.

Signed and dated Lent by Madame

After completing the etchings for Pascal, Gleizes' painting style

Albert Gleizes, Paris.

achieved a lightness and liquidity of touch approached only by the

New York and Bermuda

This
is

series, (nos.

77 to 117).

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

180. 174.

COMPOSITION ROSE.
Oil on board, 29i

1952.

FOR MEDITATION, WHITE.

Oil

1944.

x20i" (74 x51 cm.).

Albert Gleizes, Paris.

(POUR MEDITATION, BLANC).

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

Not signed or dated.

Lent by

Madame

Signed and dated

"Alb Gleizes 44".

Exhibitions:

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

Lent by

Madame

Albert Gleizes, Paris.

Musee

Calvet, Avignon, 1962, no. 38.

175.

THE MISTRAL (VENT DU NORD).

Oil on canvas, 39i

1945.

181.

GRAY-BROWN FIGURE (FIGURE

Oil

GRIS-BRUN).

1952.

x3H"

(100

x80

cm.).

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

Signed and dated

l.r.

"Albert Gleizes 1945".

Not signed or dated.

Lent by
les destinees
(ill.

Lent by Rene Deroudille, Lyon.

Literature:

Madame

Albert Gleizes, Paris.

deroudille,
Cubisme",
Ornement).
i

r.

"Albert Gleizes et
2,

du
as

Exhibitions:

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

4 Soli, no.

1955, pp. 6-7.

Musee

Calvet, Avignon, 1962, no. 40.

(pi.

Musee de Grenoble, 1963, no. 49

and
circular motions, since the late 30's
called "the cadence",

XVI).

To

his typical tilting planes

The

austere effect of his lucid construction even within the flowing

is

Gleizes

had increasingly added what he

dark

ease of the late style,

always dominant, especially in a work of

emphasis to regulate the movement of

his forms.

somber

colors.

176.

COMPOSITION.
Oil

1948.

182.

ARABESQUES.
Oil

1953.

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

l.r.

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

dated.

Signed and dated

"Albert Gleizes 48".

Not signed or
Lent by
before Gleizes' two year
Exhibitions:

Lent by

Madame
among

Albert Gleizes, Paris.

Madame

Albert Gleizes, Paris.

Galerie Lucien Blanc, Aix-en-Provence, 1960, no. 55.

This

is

the last paintings

made

Musee
Literature:

Calvet, Avignon, 1962, no. 42.

project, the illustrations of the Pensees of Pascal.

Musee de Grenoble, 1963,

Albert Gleizes:

no. 51.

Hommage, Lyon,

1954.

pi. 8.

177.

GRANDEUR OF MAN (GRANDEUR DE L'HOMME).

Ink,

1950.

Most of the
tentative.

titles

of the late paintings, and this

is

is

his last,
it

were

124x9+"
l.r.

(32

x24

cm.).
1.1.

But Arabesques

a term he often used and

has refer-

Signed

"A. G."; inscribed

"No

18. Ill

Grandeur d'Homme".
York,
Gift,

Lent by The Solomon R.

Mrs.

Guggenheim Museum, New

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

Kay Hillman,

1964.

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

98

141

148

99

100

144

147

154

102

146

103

146 B

104

150

105

106

156

107

108

161

161

109

161

161

110

Ill

'!"*>

112

113

176

114

181

115

116

117

182

D(imiE.\T.vrio.\

120

om:

11

a\ Minti 'io\s
i
i

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

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

Tempete dans

les

Salons, 1910-1914. Preface by Gabrielle

galerie dalmau, Barcelona, 1916

Bulletin de

(Fall),

Albert Gleizes.

Kueny.

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

l' Effort

Moderne,

Paris, no. 1, 1924.

der sturm,
of

Berlin,

November, 1920, Albert

to Stuttgart,

Gleizes. 91st exhibition

der sturm. Travelled

Rome and New

York. See

Der Sturm, Baden-Baden

chez la cible (povolozky),

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

Gleizes.

GROUP

MilOtl

l\>

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.

15,

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

Retrospective Exhibition.

galerie drouant-david, Paris,

Preface by Jean Chevalier.

May 20-June

5,

1943, Albert Gleizes.

Salon d'Automne, Paris, 1903.

Salon d'Automne, Paris, 1904.
Societe Nationale des Beaux-Arts, Paris, 1906.

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

by Dom. Angelico Surchamp,

Albert Gleizes, 50
extracts

o.s.B.

Societe Nationale des Beaux-Arts, Paris, 1907.

14, 1947,

chapelle du lycee ampere, Lyon, November 15-December

LA FRANgAlSE,
"I'Abbaye".

Paris,

January-February,

1908,

Les

Peintres

de

Ans de by Surchamp and

et

Peinture. Preface
Gleizes

by Marcel Michaud,
14.

from Temoignages, 12 and

1948,

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

galerie DES
Dessins

garets, Paris, April,

Ceramiques.

Gleizes: 30 Gouaches,

Mercereau for the Toison d'Or, Moscow.

Salon des Independants,

York, October 10-November
5,

Paris, 1910.
1st exhibition,

passedoit gallery,

New

1949,

Jack of Diamonds (Valet de Carreau), Moscow,

1910;

Albert Gleizes Retrospective Exhibition.

2nd

exhibition, 1912.

galerie berry, Avignon, July 22-August 20, 1950, Albert Gleizes,

Peintures 1915^18.

Salon d'Automne, Paris, 1910. Salon des Independants, Paris, 1911.

Brussels Independants: Delauny,
Gleizes,

galerie moullot, Marseilles, September, 1950, Albert Gleizes.

Leger,

Le Fauconnier,

chapelle de l'oratoire, Avignon, July 22-August

de Pascal sur I Homme
Gleizes. Preface
et

31, 1950, Pensees

Segonzac, Brussels, June 10-July

Apollinaire.

3, 1911.

Catalogue preface by

Dieu: 57 Eaux Fortes par Albert

by Albert

Gleizes.

galerie d'art ancien et d'art contemporain,

Paris,

November 20-

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

December

16, 1911, Exposition d' Art

Contemporain. Catalogue

preface by Rene Blum.

by Maurice Allemand.
Dieu: 57 Eaux-Fortes par Albert

Salon d'Automne, Paris, 1911. Salon des Independants, Paris, 1912.

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

de Pascal sur I'Homme

Gleizes. Introduction

et

Salon d'Automne,
Societe

Paris, 1912.

by

Gleizes.

musee des beaux-arts de lyon, December 2-31, 1950, Pensees de Pascal sur I'Homme et Dieu, Illustrees de 57 Eaux-Fortes
Originales par Albert Gleizes. Preface by Rene Jullian.

Normande de Peinture Moderne, Rouen, opened May 6, 1912. 2eme Exposition. musee municipal suasso, Amsterdam, October 6-November 7, 1912, Moderne Kunst Kring. Catalogue preface, "La Sensibility Moderne
et le

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

Tableau", by Henri Le Fauconnier.

galerie de la boetie, Paris, October 10-30, 1912, Salon de la

Section d'Or. Catalogue preface by

Andre

Schoeller.

Rene Blum.
1,

galerie mathias fels, Paris, 1956, Albert Gleizes.

galerie berthe Weill, Paris, January 17-February

Metzinger, Leger. Catalogue introduction by
J.

1913, Gleizes,

Marlborough fine
Albert
Juliette

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

Granie.

Gleizes: Paintings,

Gouaches, Drawings.

Preface by

Salon des Independants, Paris, 1913.

International Exhibition of

Roche

Gleizes.

Modern Art (The Armory Show), New

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

Gleizes.

York, Chicago, Boston, 1913.

der sturm,

Berlin,

November, 1913, Expressionisten, Kubisten,

galerie lucien blanc, Aix-en-Provence, July- August, 1960, Albert

Gleizes, 1881-1953.

Futuristen.

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

2.

Gesamt

121

Ausstellung Neue Kunst. Catalogue texts by Hausenstein and

Andre Salmon.
Salon d'Automne,
Paris, 1913. Catalogue preface

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

by Marcel Sembat.

der sturm,

Berlin,

September 20-October, 1913, Erster Deutscher

Salon des Independants, Paris, 1923.

Herbstsalon.

Salon des Independants, Paris, 1914.

Exposition Universelle, Lyon, 1914.
s.

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

galerie
briant-robert,
Paris,

1924,

Gleizes,

Valmier,

Lurcat,

v.

u.

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

Art). 45th exhibition, catalogue preface

Marcoussis.

(Modern

by Alexandre

2eme Salon des

Tuileries, Paris, 1924. Paris, 1924.

Mercereau.

Salon d'Automne,
3,

galerie andre groult, Paris, April 6-May

Sculptures de R.

1914, Exposition de

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

Catalogue preface by Guillaume Dalbert.

Duchamp- Villon; Dessins, Aquarelles d Albert

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

L'Art d'Aujourd'hui

(L'Art Plastique Non-Imitatif),

Paris,

No-

Catalogue preface by Andre Salmon.

vember 30-December, 1925.

der sturm,
Villon.

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

DuchampExhibition

3eme Salon des

Tuileries, Paris, 1925. Paris, 1925.

Salon d'Automne,
to

Carroll galleries, New York,

January

2, 1915, First

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

International
Societe

of Contemporary French Art. Preface by Frederick James Gregg. CARROLL galleries, New York, to February 13, 1915, Second Exhibition of Works by Contemporary French Artists. Catalogue
preface unsigned.

Exhibition

of Modern Art, arranged by

the

Anonyme.

grand

palais, Paris, 1926, Salon des Independants, Trente

Ans

d'Art

Independant.
3,

Carroll galleries, New York, March 8-April

hibition of Contemporary French Art.

1915, Third Ex-

4-eme Salon des Tuileries, Paris, 1926.

Salon d'Automne, Paris, 1926.

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

5eme Salon des

6eme Salon des
7eme Salon des de hauke &
Co.,

Tuileries, Paris, 1927.

Tuileries, Paris, 1928.

Paris, 1928.

New

York.
Crotti,

Salon d'Automne,

montross gallery, New York, April 422, 1916, Pictures by Duchamp, Gleizes, Metzinger. Den Franske Utstilling, Oslo, November-December, 1916.
bourgeois galleries, New York, February 10-March
10,

Tuileries, Paris, 1929.

New York, April,

1930, Cubism (period 1910-1913).

14, 1930. Catalogue

Le Salon de Printemps, Nice, March 29-April

1917,
preface

by Albert

Gleizes, organized

by Walter
25,

Firpo.

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

Seme Salon des

Tuileries, Paris, 1930. Paris,

American

Artists in

New

York.
6,

leonce Rosenberg,
1917,

April

25-May

1932,

Exposition

grand central palace, New York, April 10-May

New

York

d'Oeuvres Cubistes, Surrealistes et Abstraites.

Independents (Society of Independent Artists).

galerie bonjean,
11, 1917,

Paris,

May-June, 1932, L'Epoque Heroique du

Stuttgart, 1932.

bourgeois galleries, New York, November 11-December

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

Cubisme.

STUTTGART KUNSTGEBAUDE,
to

March

31, 1919,

L'Art Rhodanien, Serrieres, September, 1932.

Lithographs by Fantin-Latour and Recent Paintings by Albert

Gleizes. Catalogue preface

12eme Salon des

Tuileries, Paris, 1934.

by Hamilton Easter

Field.

grand

palais, Paris, January

20-March

4, 1934, Societe

des Artistes

bourgeois galleries, New York, May, 1919, Annual Exhibition of Modern Art. Catalogue preface by Albert Gleizes.
Salon d'Automne, Paris, 1919. Salon des Independants, Paris, 1920.
galerie de la boetie, Paris, March, 1920, 2eme Salon de la Section
d'Or. Travelled to Brussels

Independants, (50th Anniversary).

les expositions de "beaux-arts", Paris, March-April, 1935, Les
Createurs du Cubisme. Catalogue by

Raymond

Cogniat, preface

by Maurice Raynal.
Premier Salon de
I'

Art Mural, Paris,

May 31-June

30, 1935.
6,

and Amsterdam.

Carnegie institute, Pittsburgh, October 15-December

International Exhibition of Paintings.

1936,

Salon d'Automne,

Paris, 1920.

Pennsylvania academy of fine ARTS, Philadelphia, 1920, Loan

Exhibition of Paintings and Drawings by Artists of the

MUSEUM OF LIVING ART

University,

(a.

E.

GALLATIN COLLECTION),

New York

Modern

New
Paris,

York,

December, 1936. Catalogue by Jean

Les Maitres de Art

French School.

Helion.

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

petit

palais,

June-October,

1937,

I'

Independant, 1895-1937.

der sturm,

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

carnegie institute, Pittsburgh, October 14-December

International Exhibition of Paintings.

5,

1937,

Jacques Villon, Louis Marcoussis.

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

Exposition Internationale des Arts

l' association

et

Techniques, Paris, 1937.

I'

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

d'art mural, Paris, Troisieme Salon de

Art Mural,

June, 1938.

george wildenstein and

Salon d'Automne.

Co.,

London, January, 1939, From the

der sturm,

Berlin, September, 1921, Hundertste Ausstellung.

Salon d'Automne, Paris, 1921.

musee galliera,

Paris, March-April, 1939,

De Vldee a

la Forme.

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

(Exhibition porza).

122

berner KDNSTMDSEDM, Bern. May 6-June

Gris,' Leger,' Gleizes, Bores,

4, 1939, Picasso,

Braque,

Detroit institute of arts, September 27-November

Virginia

3,

1957:

Beaudin, Vines, Laurens.

30, 1945,

galerie de France, Paris,

May 25-Jime

Le Cubisme 1911-

1918. Catalogue preface by Bernard Dorival.

musee municipal d'art moderne,

Nouvelles.

Paris, July, 1945, Salon des Re'alites

museum of art, December 13-January 15, 1958; san francisco museum of art, January 23-March 13, 1958; Milwaukee art institute, April 11-May 12, 1958; The Collection of Mr. and Mrs. Harry Lewis Winston.
11, 1957, Albert Gleizes et les Peintres Vivarois

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

Spirit in its

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

Time.

27-November
et

Rhodaniens. Introduction by Louis Cros.

galerie des garets, Paris, April 20-May 11, 1948, Gouaches par
Albert Gleizes; Ceramiques d'apres Gleizes par

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

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

Anne Dangar.

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

d'Art Sacre.

columbus gallery of fine arts, Columbus,

Ohio: Carnegie institute, Pittsburgh, Pennsylvania; walker

15,

galerie colette allendy", Paris, February 27-March

Robert Delaunay, Sonia Delaunay, Albert Gleizes.

1951,

art center, Minneapolis, Minnesota.

stedelijk van abbe museum, Eindhoven, March, 1951, De Europese

Kunst.
Palais

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

1957,

du kursaal, Menton, August 3-October

1,

1951, ler Biennale

the Brooklyn museum, New York, April 28-July

Brooklyn Bridge.

27, 1958,

The

de Peinture de France.

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,

galerie fricker, Paris, March 13-April

9,

1959,

Rythmes

et

Danses.

musee national d'art moderne,

dans
les Collections

Paris, July, 1959, L'Ecole

de Paris

1951,

/.

Bienal.
Paris,

Beiges.
1960,

musee national dart moderne,

May-June, 1952, L'Oeuvre du

XXe
1952,

siecle.

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

AVA"

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

New Haven,

Connecticut,

May -June,

3eme Salon, Peinture et Sculpture. Salon de Cavaillon, Cavaillon, November, 1952. galerie pab. Ales, December 20-28, 1952, Gleizes, Picabia, Survage. musee national d'art moderne, Paris, January 30-April 9, 1953, Le Cubisme 1907-1914, Preface by Jean Cassou.

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

Paris,

November

4,

1960-January

du

XXe

siecle",

Les Arts en Europe de

hotel de

ville, Avignon, February-March, 1953,

Paris,

Avignon Salon.
d' Albert Gleizes".

1884 a 1914.

ecole des beaux-arts,

cimaise de parts, Paris,
Gleizes.

March-April, 1953, Exposition du

musee national d'art moderne,

Paris,

July-September.

1961,

Cubisme aux Arts Traditionnels, "la lecon

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

Von
1961,

May

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

Bonnard Bis Heute.

international galleries, Chicago, September 15-October
7,

Salon des Independants, Paris, 1953.

Modern Masters.
Brazil,

museu DE arte moderna DE sao paulo, Sao Paulo,

1953, II Bienal.

December,

nationalgalerie, Berlin, September 24-November

Sturm.

19,

1961, Der

moderna museets vanner, Stockholm,

stuttgarter kunstkabinet,
Kunst- Auktion,
Stuttgart,

1954, Cezanne Till Picasso.

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

November 24-26,

1954, 20

Sammlung Nell Walden.

Paris, 1954,

national museum

of western art, Tokyo, November,

1961-

musee national d'art moderne,

Le Dessin, de Toulouse-

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

Lautrec aux Cubistes. Catalogue by Bernard Dorival.

hotel estrine,
Disciples.

St.

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

et

Marlborough
Collection.

gallery', London, 1955, Twentieth Century Masters.

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

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

museum des
1962,

20.

jahrhunderts, Vienna, September 21-November

4,

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

9,

W aldemar

George.

Kunst 1912.

musee d'antibes, Antibes, Summer, 1955,

la

Tapisseries, Atelier J. de

NEW YORK public

Theatre:

library',

New

York, 1963, Stravinsky and the

Baume-Durrbach. Tapestries,

after Albert Gleizes.

catalogue of Decor and Costume designs for stage

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

30 Works by 17 Modern Masters.
galerie de l'institut, Paris, March 16-April
5,

26, 1955,

productions of his works 1910-1962.

universite de Paris, palais de la decouverte, Paris, January 201956, Six Disciples

February 17, 1963, Formes mathematiques, Peintres, Sculpteurs

Contemporains.

de Gleizes. Including Rene Barlerin, Jean Chevalier, Albert

Coste, Henriette Gremeret, Maurice Gremeret

and Rene Pascal.

31,

kunsthalle Recklinghausen, Recklinghausen, June 16-July

1957, Verkannte Kunst: Ausstellung der Ruhrfestspiele.

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.

musee d'art et d'industrie, Saint Etienne, 1957, Art

Premieres

Abstrait, Les

kaplan gallery', London, October-November

Painters.

11, 1963,

The Cubist
et

Generations

(1910-1939).

Catalogue

by Maurice

Allemand.

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

Dessins de Renoir a Picasso.

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

Autour de Moly-Sabata.

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

Autres.

les

123

BIBLIOGRAPHY

The bibliography
by Albert

divides into two groups

first,

a complete

list

of works

Gleizes, including articles, books,

unpublished manuscripts
list

and

illustrated

books and second, a selected

;

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
chronologically.
D.R.

\ltlllll>

BY GLEIZES

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

Paris,

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

5,

nos. 4

and

September, 1911, pp. 161-172.

et

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

art at the

"Le Fauconnier
"Les Beaux Arts.

son ceuvre", Revue Independante, Paris, October,

an exhibition of modern
in 1919.

Bourgeois Galleries,

New \ ork,

1911. Unlocated article listed in Le Fauconnier bibbographies.

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

1911-1912, pp. 42-51.
les Artistes",

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

series 1,

series 4, no. 13,

October-November

(?),

1919.

"Cubisme devant
Paris,

Les Annates politiques

et litteraires,

[Letter to

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

December, 1912, pp. 473-475.

et la Tradition", et

response to an inquiry.
p. 4.

Nationalgalerie, September, 1961, p. 46.

"Le Cubisme

Montjoie, Paris, February 10, 1913,

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

Reprinted in Tradition
[Extracts

Cubisme, Paris, 1927.

St. Peters-

printed in
Poets,

Engbsh

in Motherwell, Robert, ed.

Dada

Painters

and
ft*.

from

O
3,

Kubisme], Soyuz Molodezhi, Sbornik,

1913.

New

York, 1951, pp. 298-302.

Lettres, Paris, October, 1920, p.

burg, no.

With commentary. Reference from gray,

"Dieu Nouveau", La Vie des

178

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

New

"RehabiHtation des Arts Plastiques",

La

Vie des Lettres et des Arts,

York, Abrams, 1962,

p. 308.

Paris, series 2, no. 4, April, 1921, pp. 411122. Reprinted in

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

Tradition et Cubisme, Paris, 1927.

December, 1913,

p. 14.
la

"L'Etat du Cubisme aujourd'hui",

La

Vie des Lettres et des Arts,

"C'est en allant se jeter a

mer que

le

fleuve reste fidele a sa source",

1,

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

Le Mot,

Paris, vol. 1, no. 17,

May

1915.

"Ein Neuer Naturalismus? Eine Rundfrage des Kunstblatts", Das York Herald, October
Kunstblatt, vol. 6, no.
"Perle",
9,

"French Artists Spur on American Art",

24, 1915, part
ir,

New

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

pp. 2-3.

An

interview.

La Bataille

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

February 25,

[Interview with Gleizes (and

Literary Digest,

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

1922, pp. 35-36.

A poem, New York,

1916.
vol. 6, no. 1. 1922. pp.

"Tradition und Freiheit",

Das Kunstblatt,
devait sortir

"La Peinture Moderne", 391,

New

York, no.

5,

June 1917.
Edited by Carl

26-32.

"The Abbey of
Zigrosser.

Creteil,

Communistic Experiment", The Modern

Jersey,

"La Peinture

et ses Lois

Ce qui

du Cubisme", La

J ie

des

School, Stelton,

New

October,

1918.

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

"Jean Lurcat", Das Kunstblatt, vol.

7,

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

124

"L'Art Moderne
Socialiste,

et la Societe

Nouvelle", Moniteur de V Academic

in Tradition et

"Le Retour a

la

Terre", Beaux-Arts, Paris,

December

14, 1934, p. 2.

Moscow, 1923. Reprinted

Cubisme,

"Peinture et Peinture",
1935, Offprint.

Sud Magazine,

Marseilles, no. 8,

August

(?)

Paris, 1927, pp. 149-161.

"Oil va la peinture moderne?", Bulletin de TEffort Moderne, Paris, no.

5,

"Retour a l'Homme. Mais a Quel Homme?", December, 1935. Offprint,

probably from Slid Magazine, Marseilles.
"Arabesques", Cahiers du Sud, (special number), "LTsIam et l'Occident", vol. 22, no. 175, August-September, 1935, pp. 101-106.

May, 1924,

p. 14.

Response

to

an inquiry.
5,

"La Peinture

et ses Lois",

Bulletin de VEffort Moderne, Paris, no.

"A propos
no.
1,

May, 1924, pp. 4-9; no. 13, March, 1925, pp. 1-4. de la Section d'Or de 1912", Les Arts Plastiques,
January, 1925, pp. 57.

Paris,

Article dated Serrieres d'Ardeche,

November, 1934.

[Statement], Abstraction-Creation, Art Non-Figuratif, Paris, no. 5,

"Chez

les

Cubistes: une enquete", Bulletin de la Vie Artistique,

1936, pp. 7-8.

Paris, vol. 6, no. 1, January, 1925, pp. 15-19.

Response

to

an

"La Question de Metier", Beaux-Arts,

"Art Regional", Tous
les

Paris,

October

9,

1936, p.

1.

inquiry.

Arts a Paris, Paris, December 15, 1936.

vol. 24, no. 192,

"LTnquietude, Crise Plastique", La Vie dcs Lettres

series 2, no. 20,

et

des Arts, Paris,

"Le Probleme de

la

Lumiere", Cahiers du Sud,

March,

May, 1925, pp. 38-52.

vol. 6, no. 11,

1937, pp. 190-207.

"A

l'Exposition,

que pensez-vous du... Pavilion de Russie", Bulletin

June
1,

"Cubisme
de

de la Vie Artistique,

1925, pp. 235-237.

et Surrealisme: Deux Tentatives Pour Redecouvrir l'Homme", 2eme Congres International d'Esthetique et de Science
I'Art, Paris, 1937.

Response

to

an inquiry.
et

"Cubisme", La Vie des Lettres

pp. 51-65.

des Arts, Paris, series

2, no. 21, 1926,

La

Signification

Humaine du Cubisme,

Sablons, Moly-Sabata, 1938.

Announced

as

French

text of

Kubismus, Bauhausat Serrieres.

Lecture delivered
"Signification

at Petit Palais, Paris, July 18,

1938.
Paris, July 22,

bucher 13, 1928, written in September, 1925,

Humaine du Cubisme", Beaux-Arts,

6.

"Cubisme (Vers une conscience plastique)". Bulletin de VEffort Moderne, Paris, no. 22, February, 1926, pp. 6-7; no. 23, March,
1926, pp. 4-6; no. 24, April, 1926, pp. 4-5; no. 25, May, 1926,

1938, p.

"Tradition et Modernisme", Art et Artist, Paris, no. 37, January, 1939,

pp. 109-115.
"Artistes et Artisans", L'Opinion, Cannes,
"Spirituality,

pp. 1-3; no. 26, June, 1926, pp. 1-3; no. 27, July, 1926, pp.
no. 28, October, 1926, pp. 1-3; no. 29,

1^;

May

31, 1941.

November, 1926, pp. 1-3;

announced
as partial

Rythme, Forme", Confluences: Les Problemes de la

1945,
section
6.

no. 30, December, 1926, pp. 1-2; no. 31, January, 1927, pp. 1-3; no. 32, February, 1927, pp. 1-5. Extracts,

Peinture, Lyon,

Special

number, edited by

Gaston Diehl.
"Apollinaire, la Justice et Moi",

contents of Kubismus, Bauhausbiicher 13.

Guillaume Apollinaire, Souvenirs

de
la

et

"L'Epopee.
le

De

la

Forme Immobile

Noir, Paris, October, 1929,

Forme Mobile", Le Rouge et pp. 57-99. The final French text of

a
la

Temoignages,

Paris, Editions

Tete Noir, 1946, pp. 53-65.

Edited by Marcel Adema.

"L'Arc-en-Ciel, Cle de FArt Chretien Medieval", Les Etudes Philoso-

Kubismus, Bauhausbiicher
"Charles Henry et
le

13, 1928.

Vitalisme", Cahiers de I'Etoile, Paris, no. 13,

phiques,

new

series, no. 2,

April-June, 1946.
1,

January-February, 1930, pp. 112-128.

[Preface to

[Statement], Realites Nouvelles, Paris, no.

Universelle, Paris,

1947, pp. 34-35.

La Forme

et I'Histoire],

V Alliance

"PreRminaires a une Etude sur

Croix", Temoignages,

les

Variations Iconographiques de la

April 30, 1930.

Cahiers de la Pierre-qui-vire, October,

"Les Attitudes Fondamentales de l'Esprit Moderne", Bulletin de la

1947.
"Y-a-t-il

VII Congres de la Federation Internationale des Unions

lectuelles,

Intel-

un Art Traditionnel Chretien?", Temoignages, Cahiers de

est
9,

la

Cracow, October, 1930.

Pierre-qui-vire, July, 1948.

[Preface to an Exhibition of Paintings by Gottfried Graf, Berlin, 1931].

"L'Art Sacre

Theologique

et

Symbolique", Arts, Paris, no. 148,

Quoted in Chevalier, "Le Denouement traditionnel du Cubisme,

2", Confluences, Lyon, no. 8, February, 1942, p. 193.
"Civilization et Propositions",

January

1948, p. 8. Reprint of unlocated article by Gleizes,

"Autorite Spirituelle et Pouvoir Temporel" (1939^10).

La Semaine Egyptienne,

Alexandria,

"Active Tradition of the East and West", Art

October 31, 1932,

"Moly-Sabata ou
le

p. 5.

February, 1948, pp. 244-251.

tribute to

and Thought, London, Ananda K. Coomara-

Retour des Artistes au Village", Sud Magazine,

swamy.
"Les Pensees de Pascal", Chapelle de VOratoire, Avignon, July 22-

Marseilles, no. 1021,

June

1,

1932.
1,

[Statement}, Abstraction-Creation, Art Non-Figuratif, Paris, no.

August

31, 1950. Introduction

et

by

Gleizes.

1932, pp. 15-16.

"Peinture d'Opinion

Peinture de Metier",

V Atelier

de la Rose,

"La Grande
"Vers
la

Ville et Ses Signes",

La

Liberte, Paris,

May

7,

1933, p.

2.

Lyon, June, 1951.

"Reflexions sur l'Art Dit Abstrait et

Regeneration Individuelle", Regeneration, Paris, new

series,

du Caractere de l'lmage dans

la

no. 46, July-August, 1933, pp. 117-119. [Statement], Abstraction-Creation, Art Non-Figuratif, Paris, no. 2,

Non-Figuration, I", L' Atelier de la Rose, Lyon, October, 1951.

"Reflexions sur l'Art Dit Abstrait et du Caractere de l'lmage dans
la

1933, p. 18.

Non-Figuration, II",
la

Atelier de la Rose, Lyon, January, 1952.

"Le Retour de l'Homme a

March, 1934, pp. 7-12.

Vie", Regeneration, Paris, no. 49,

"L'Esprit Fondamental de l'Art

Roman",

U Atelier de la Rose, Lyon,

September, 1952.
"Mentalite Renouvelee, I",
1952.

"Jeunesse", Regeneration, Paris, no. 51, May, 1934, pp. 4-7.

[Statement], Abstraction-Creation, Art Non-Figuratif, Paris, no. 3,

V Atelier

de la Rose, Lyon, December,

1934, p. 18.

"L'Esprit de

Ma Fresque

'L'Eucharistie'",

U Atelier de la Rose, Lyon,

"Agriculture et Machinisme", Regeneration, Paris, no. 53, August-

March, 1953.
"Mentalite Renouvelee, II",

September, 1934, pp. 11-14. Enlarged version of article originally

published in Lyon Republicain, January
1,

Atelier de la Rose, Lyon, June, 1953.

1932.

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

January, 1952. Extracts from his written works.

"Le Groupe de l'Abbaye. La Nouvelle Abbaye de Moly-Sabata",

Cahiers Americains, Paris,

New

York, no.

6,

Winter, 1934, pp.

"Conformisme, Reforme,
2,

et

Revolution", Correspondances, Tunis, no.

253-259.

1954, pp. 39^16. Preceded by a biographical note by Jean

Cathelin.

125

"'Anne Dangar, a

Potter',

(a

funeral elegy). La Belle Journee est

Art

et
\\

Production, Sablons, Moly-Sabata, 1933. Lecture delivered at

arsaw, French Embassy, for the

Passee", Zodiaque, Saint-Leger-Vauban, no. 25, April, 1955.

Pobsh LInion

Intellectuelle,

"Caracteres de l'Art Celtique", extracts from Gleizes',

La Forme

et

April 24, 1932.

VHistoire, 1932. Reprinted in Actualite de l'Art Celtique, Cahiers d'Histoire et de Folklore, Lyon, 1956, pp. 55-97.

Art

et Science, Sablons,

Moly-Sabata, 1933; second edition, Aix, 1961.

Lecture delivered at Lodz, Poland, April 28, 1932, and Stuttgart,

[Introduction

to]

jellett, mainie, The Artists' Vision, Dundalk,

in 1948.

May

6,

1932.
le

Dundalgan Press, 1958, pp. 25^5. Written

Homocentrisme ;

Retour de V Homme Chretien;

le

Rythme dans

les

Arts Plastiques, Sablons, Moly-Sabata, 1937.

Souvenirs,
le

Cubisme 1908-1914, Lyon, Cahiers Albert Gleizes

1,

l'Association des

Amis

d'Albert Gleizes, 1957. Fragment from a

larger manuscript.

BOOKS BY GLEIZES
MANUSCRIPTS BY

\ll

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Du

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

York, Abrams, 1962,
p. 308.

Contorsions, 1916. Manuscript of a novel, impressions of

New York

E. Niesen. Reference from gray, Camilla. The Great Experiment:

and Montreal, written on shipboard, en route

to Spain.

Russian Art, 1893-1922,

New

L'Art a Travers VEvolution Generale (En Attendant la Victoire),

Kubisme, Moscow, 1913. With Jean Metzinger. Translated by M.

Voloshm. Reference from gray, Camilla. The Great Experiment:

New
lona,

York, 1917.
Barce-

La Tortue Emballee (Poems) 1915-1918. Poems, New York,

Bermuda.

Russian Art, 1893-1922,

New

York, Abrams, 1962,

p. 308.

Du Du

Cubisme, Paris, Compagnie Francaise des Arts Graphiques, 1947.

Le Cavalier du Dimanche (Cinema- Proses), 1915-1918. New York,

Barcelona, Bermuda.
Souvenirs.

With Jean Metzinger. Foreword by

Gleizes.
listed in Gleizes

Cubisme, Geneva, 1918. Book unlocated, often

An

account of 1915 arrival in

New

\ork. Undated frag-

bibliographies as Cubisme: recorded in hintze,

Modern Konst

ment.
Souvenirs (Puissances du Cubisme), dated February, 1944.

1900-Totet, Helsinki, 1930, p. 353 as "newly revised edition by

Gleizes" [of -Du Cubisme].

thirty

page fragment.

Du Cubisme
lozky,

et

des

1920.

Moyens de le Comprendre, Paris, La Cible, PovoGerman edition: Vom Kubismus; die Mittel zu
Berlin,

Robert Delaunay, 1933. Revised in 1937 and 1945. Announced for

publication

by Abstraction-Creation. Complete manuscript of a

Seinem Verstandnis,

Der Sturm, 1922.

le

critical study.

La Mission La Peinture

Creatrice de

V Homme dans

Domaine

Plastique, Paris,

Povolozky, 1921.
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.

Vers une Conscience Plastique. Articles et

Tradition et Cubisme:

Conferences 1912-1924, Paris, Povolozky, 1927.

fifteen articles

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,

Union
allard, Roger. Le Bocage ou
et le divertissement

March
13,

22, 1927.

des amants citadins

Kubismus, Bauhausbiicher
Vie et

Munich, Albert Langen Verlag, 1928.

champetres, Paris, "ceuvres et jours" Figuiere, 1911. Illustrated

Mort de VOccident

Chretien, Sablons, Moly-Sabata, 1930. First

with woodcuts by Gleizes, dating from 1910.

Suite des Bois d'Albert Gleizes pour
ard-Joseph, 1920.

published in the periodical, Cahiers de VEtoile, 1928, 1929.

Life

Au Pays du
Paris,

Mufte, Paris, Edou-

and Death of the

sinesi.

Christian West, London, Dennis

J.

Dobson

Ltd.,

1947. Foreword by H.

Massingham; translated by Aristide Mes-

tailhade, laurent.
11 woodcuts

Au Pays

du Mufle,

Edouard- Joseph, 1920.

Paris, Povolozky,

by Albert

Gleizes. dating

from 1919.

Vers une Conscience Plastique:

lozky, 1932.

La Forme

et

VHistoire, Paris, Povo-

mercereau, Alexandre. La Conque Miraculeuse,

1922. 28 compositions by Albert Gleizes, dating from 1910, cut

Art

et

Religion, Sablons, Moly-Sabata, 1933. Lecture delivered at

by
de

P. A. Gallien.

Paris,

Foyer de l'Association des Etudiants Chretiennes, March

pascal, blaise. Pensees sur

la

I'Homme

et

Dieu, Casablanca, Editions

21, 1931

and

at

Dresden, Galerie Neue Kunst Fides, April 13,

Cigogne, 1950. Choix et classement de Genevieve Lewis.

1932.

57 etchings by Albert Gleizes.

126

AltTH'LKN OX GLK1ZKS IM)

1(11 tllll

Mil IK

'1 \

III VI

reiser. "Salon Nationale des Beaux-Arts, 1902", Nouvelle

Revue

granie,

j.

"Au

Salon d'Automne", Revue d'Europe et d'Amerique,

15, 1911.
et

Moderne,

Paris, June, 1902.

Paris,

November

"Salon d'Automne, 1903", Alliance Republicaine, October 13, 1903.

metzinger, jean. "Alexandre Mercereau", Vers

Prose, Paris, no. 27,

Unsigned review.
raynal. "Salon d'Automne, 1904", La Vie, Paris, October, 1904.
lesigne, ERNEST. "Fraternite Laique,

October-December, 1911, pp. 122

IT.

allard, ROGER. "Le Salon des Independants, 1912", La Revue de

La Societe Ernest-Renan",

France

et

des Pays Francais, March, 1912. Also printed in Cote,

Radical, December 16, 1905.

"L' Association Ernest-Renan, Fraternite laique", Avenir Mutalite,

March 19-20, 1912.

moussey,
G.

"Le Salon des Independants, 1912", Journal,

Paris,

Bordeaux, Saturday, December 23, 1905. Address of Edouard

Petit in the hall of the Theatre Pigalle, Montmartre.

March
1912.

22, 1912.

tabarant, adolphe. "Les Independants", Section, Paris, March 19,

guillemot, "Societe Nationale des Beaux-Arts",

Paris, June, 1906.

L 'Art

et les Artistes,

KAHN, OLIVIER. "La Section d'Or", Mercure de France,

Paris, vol. 100.

mercereau, ALEXANDRE. "Une Cite d'Art en France", Toison d'Or,

Moscow, no.
d'auray. "Images

10, 1906.
et

November-December, 1912, pp. 181-182. riviere, jacques. "Cubisme", Revue d'Europe

et

d'Amerique,

Mirages", Europe Politique, Paris, January, 1908.

March

1,

1912.

Review of Vildrac's poems.

kahn, gustave. "Preface
to

salmon, andre. Gil Bias, June 22, 1912. Announces exhibition of

Terrestre Tragedie

La

by Henri Martin"
3,

Section d'Or.

(Barzun), L'Art Social,

Paris,

2nd

year,

series

February,

werth, LEON. "Le Cubisme

Paris, vol. 5,

et le

Salon d'Automne",

La Grande Revue,
Tableau",

1907, p.

1.

October 25, 1912, pp. 833-836.

et le

amaudru, NOEL. "Voyages en Icarie-Les Poetes du Socialisme, du Reve a

la

le fauconnier, Henri. "La Sensibilite Moderne

Mo-

Realite,

L'Abbaye de

Creteil",

XIX

Siecle,

Paris,

derne Kunst Kring, musee municipal suasso, Amsterdam, October

November
Paris,

23, 1907.
Creteil", Petite

6-November

7,

1912, pp. 17-27. Reprinted in Le Faucon-

normandy, Georges. "Les Peintres de

January 24, 1908. Review.

Republique,

nier,

stedelijk museum, Amsterdam, March 7-April 13, 1959,

additional text

by Conrad Kickert.
"Salon

caubert, Ernest. "L'Exposition de 'PAbbaye'", Ulntransigeant,

Paris,

hourcade, Olivier.
October
8,

d'Automne",

Paris-Journal,

Paris,

January 28, 1908.

1912. Review.
Paris,

moine, LEON. "Les Peintres de PAbbaye", Critique Independante,

Paris,

hourcade, Olivier. "Section d'Or", Paris-Journal,

1912. Review.

October 15,

February

13, 1908.

"Exposition de l'Art Francais", (organized by Alexandre Mercereau),

Chambre des Deputes,

Paris,

December

3,

1912. Debate between

Moscow, nos. 7-9, 1908, p. 15. Unsigned review. apollinaire, guillaume, "Salon des Independants", Ulntransigeant,
Toison, d'Or,
Paris,

Marcel Sembat and Jules Louis Breton.

raynal, Maurice. "Essai de Definition de

la

Peinture Cubiste",
9,

March

22, 1910.
10,

Bulletin de la Section d'Or, Paris, October

1912.

metzinger, jean. "Note Sur La Peinture", Pan, 3rd year, no.

allard, ROGER. "Die Kennzeichen der Erneuerung in der Malerei",

October-November, 1910, pp. 649-652.

allard, Roger. "Au Salon d'Automne de Paris", L'Art Libre, Lyon,

Der Blaue Reiter, Munich, Piper, 1912, pp. 35^1. 2nd

1914.

edition,

November, 1910, pp. 441-443.

apollinaire, guillaume. "Salon des Independants, 1912", Le Petit

Paris,

mourey, Gabriel, "xxvn Salon des Independants", Le Journal,

April 20, 1911.

Bleu,

March

20, 1912.
et la Peinture",

arcos, rene. "La Perception Originale

Les Bandeaux

fort, PAUL. "Le Clair de Lune et

mon Ame",

Vers et Prose, Paris,

d'Or, no. 21, July-August, 1912, pp.

402^06.
une Ecole Fran-

no. 25, April-June, 1911, p. 94.

Gleizes.

A poem

dedicated to Albert

hourcade, Olivier. "Le Movement

chise

Pictural: Vers

salmon, andre. "Salon des Independants", Paris-Journal,

April 21, 1911.

Paris,

de Peinture", Paris-Journal, Paris, June, 1912. Also in Revue de France et des Pays Francais, June, 1912, pp. 254-258.
vauxcelles, louis. "Section d'Or
et Salle

XI Salon d'Automne", Gil

les

allard, roger. "Sux Quelques Peintres", Les Marches du Sud-Ouest,

no. 2, June, 1911.

Bias, Paris, October 14, 1912.

Rosenthal, LEON. "Salon des Independants,

et

Salons de 1912",

PUY, Michel. "Les Independants", Les Marges, Paris, July, 1911.

Gazette des Beaux-Arts, Paris, May, 1912 ; June, 1912 ; July, 1912.

metzinger, jean. "Cubisme

Tradition",
15, 1911.

Paris-Journal, Paris,
issues.

nayral, Jacques. Preface to Exposicio d'Art Cubista, Galerie

J.

Dal-

August

16, 1911,

September

Divided into two

mau, Barcelona,
E. A.

April, 1912.

mercereau, Alexandre. "Exposition de l'Art Contemporain, Rue

Tronchet",
Vers et Prose, Paris, no. 27, October-December,

"Cubisme

in de Fransche Schilderkunst", Iskusstvo,

title

Moscow,

1912. Text and

in Russian.

1911, p. 139.

"Les Independants", Le

Monde

Illustre, Paris, no. 2879,

March

30,

nayral, jacques, and mercereau, Alexandre. "Les Artistes de

Passy", Paris-Journal, Paris, October 17-30, 1911.

1912, pp. 202-203. Unsigned.

"A

Travers
Paris,

les

Expositions, les Independants 1912", Art Decoratif,

5,

arnyvelde, andre. Gil Bias,

L'Fpopee du Cubisme,

Paris, Fall, 1911. Interview with Albert

May

1912.
ojjiciel

Gleizes (interview with two journalists). Reprinted in Cabanne,

Paris, 1963, pp. 158-161.

nayral, jacques, ed. Le Figuier, (Bulletin

des publications

Eugene Figuiere),

Paris, no. 1, October, 1912.

Announces

Du

127

Cubisme.
granie.
J.

nis",
officiel

Kunstchronik und Kunstmarkt, Leipzig, year 55; Neue

"'Du Cubisme", Le Figuier, (Bulletin

des publica-

Folge, vol. 31, no. 45,

Gleizes' book.

August

6, 1920, pp.

868-869. Review of

tions

Eugene Figuiere),

Paris,

nos.

31,

December,

1912-

January, 1913, p. 29.

"Opinions sur

le

Cubisme", Selection, Brussels,

series 1, no. 2, Sep-

mercereau, Alexandre. "L'Esprit du Salon d'Automne", Montjoie,

Paris, nos. 11-12,

tember
zes'

15, 1902, pp. 6, 8. Several

et les

paragraphs quoted from Gleile

November-December, 1913, pp. 9-10.

Du Cubisme

Moyens de

Comprendre, Paris, 1920.

allard, Roger. "Le Salon d'Automne", Les Ecrits Francois, avantpremier no., November 14, 1913, pp. 1-14.
apollinaire, guillaume. "Die Moderne Malerei", Der Sturm, Berlin,
vol. 3, nos.

ROSENBERG, leonce. "Un apercu historique du Cubisme", Selection,

Brussels, series 1, no. 2,

September

15, 1920.

fels, florent. "La Peinture au Salon d'Automne", Action, Paris,

no. 5, October, 1920.

148-149, February, 1913, p. 272.

apollinaire, guillaume. "Le Salon des Independants, 1913", Montjoie,

vauvrecy. "Le Salon d'Automne", L'Esprit Nouveau, Paris, no.

2,

Paris, vol.

1,

nos. 34, special numbers,

March 18 and

November, 1920.
FELS,

March

29, 1913.

florent. "Pariser Kunstchronik", Das Kunstblatt, Berlin,

APOLLINAIRE, GUILLAUME. "Salle 48, Independants, 1913", L'lntransigeant, Paris, March, 1913.

vol. 4, no. 10, 1920.

tzara, Tristan, "Interview de Jean Metzinger sur

la

le

Cubisme

(a

propos

la fresnaye, ROGER DE. "De Limitation de

Peinture et Sculpture",

d'Albert)", 391, Barcelona, no. 14,

November, 1920.

La Grande Revue,
hausenstein.

July 25. 1913.

vol. 4, nos.

basler, adolphe. "Franzosische Kunstliteratur", Cicerone, Leipzig,

"Vom

Kubismus", Der Sturm, Berlin,

170-

vol. 12, no. 24,

December, 1920,

p. 900.
2,

171, July, 1913, pp. 67-70.

picard, jean. "Der Pariser Herbstsalon", Der Ararat, Munich, vol.

et

fort, PAUL. "Le Dit du Braconnier", Vers

April-June, 1913.

Prose, Paris, no. 33,

no.

1,

January, 1921.
A.

Poem

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la pittura francese",

SCHNEEBERGER,
361-363.
Paris, nos.

"Fauves, Cubistes et Post-Cubistes",

La

Vie des

boccioni, umberto. "II dinamismo futurista e

Lacerba, vol.
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Lettres et des Arts, Paris, series 2, no. 3, January, 1921, pp.

no. 15, August

1,

1913, p. 170.

salmon, ANDRE. "Le Salon d'Automne, 1913", Montjoie,

11-12, November-December, 1913.

vauvrecy. "Le Salon d'Automne", L'Esprit Nouveau, Paris, no.

February, 1921.

5,

salmon, ANDRE, "xxxe Salon des Independants", Montjoie,

2,

Paris, vol.

george, waldemar.

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allard, ROGER. "Les Arts Plastiques", Les Ecrits Francois, Paris,

April
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ridder, andre de. "Notes sur

la

Peinture Francaise Nouvelle", Selec-

1914.
Paris, July

tion, Brussels, series 1, no. 8,

March

15, 1921.

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20, 1914, p. 20.

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at

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La

Cible, L'Esprit

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Nouveau,

Paris, no. 8,

l'Effort

Modeme,
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W.

L.

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et

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La Vie

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no. 2, March, 1920.

des Lettres et des Arts, Paris, no. 16, 1922, pp. 7-9. Review of

Lhote's book.

"Andre Salmon

iiber der Pariser Herbstsalon",

Der Ararat, Munich,

vol. 1, nos. 5-6,

March, 1920. Unsigned commentary on Andre

Salmon's review of the Salon d' Automne.

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,

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Munich,
vol. 1, no. 7, April, 1920.

March

25, 1923. Unsigned.

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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.

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m.

"Vom Kubismus und dem Weg

zu seinem \erstand-

128

OZENFANT and JEANNERET. "Le Cubisme: Deuxieme epoque", L Esprit Nouveau,

Paris, no. 24, 1924, p. 2676. Illustration:

Accounts of a lecture given May

2,

1939

at I'Ecole Pratique

de

Army

Doctor.

Commerce

et d'Industrie

de Vienne.

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I'Effort

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Moderne, nos.

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January

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leclere, tristan. "Cubisme", Larousse Mensuel, Paris, no. 217,

BOISSY, GABRIEL.

"Wlaminck

entre Gleizes et Picasso", Le Journal,

March, 1925, pp. 723-724.

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Lyon, June 30, 1942.

der Neuer Kunst",

am Anfang

Das Kunstblatt, La Vie des

torre, guillermo de la. "Recapitulacion del Cubismo", Cuadernos

Americanos, Mexico,
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vol. 4, no. 2,

Berlin, vol. 9. no. 4, 1925, pp. 115-117.

March-April, 1945, pp. 216-237.

perrine, ANDRE DE la.

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le Literature",

"A

la

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Lyon, 1945, pp. 55-58. Gaston Diehl, ed.

labastie, albert. "Albert Gleizes", Arts de France, Paris, no. 9,
1946, pp. 77-85.

Ray, London, no.

2,

1927, p.

9. Illustrations.

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1924, pp. 1193-1195.

Rouge

et le Noir, Paris, no. 8,

March,

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surchamp, dom. angelico. "LTtineraire pictural

Gleizes",

et spirituel

d'Albert

Roger
G. D.

Brielle.

Temoignages, Cahiers de

la

Pierre-qui-vire, no. 12,

(Georges Duthuit). [Review of Kubismus by Gleizes], Cahiers

March, 1947, pp. 62-78. Reprinted in Lyon exhibition catalogue,

1947.

d'Art, Paris, 4th year, nos. 2-3, March-April, 1929, p. 16.

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E.

"Doeumentaire sur

la

Jeune Peinture: L'Avenement Clas-

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"L'Enseignement
la Pierre-qui-vire,

d'Albert

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sique du Cubisme", Cahiers d'Art, Paris, 4th year, no. 10, De-

Temoignages, Cahiers de

no. 14, October, 1947,

cember, 1929, pp. 448

January, 1930, pp. 17

ff.:

Cahiers d'Art, Paris, 5th year, no.

1,

pp. 390-405. Reprinted in Lyon exhibition catalogue, 1947.

ff.

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et

Deux

Peintres", IS'ouvelles

"Notices sur les Peintres Exposants", Montparnasse, Paris,

16, no. 58, January, 1930.

Litteraires,

Paris,

May

22,

1947. Review of an exhibition at

Anonymous review

of an exhibition of
c. v.

Galerie des Garets, 1947.

modem
bazin,

art organized

by Montparnasse
Cubistes,
6,

in major Brazilian cities:

"Albert Gleizes", Emporium, Bergamo, vol. 107, no. 639, March,

1948, p. 132. Review of Lycee

Pernambuco, Rio de Janeiro and Sao Paulo.

Germain.

Ampere

exhibition.

"Oeuvres

Surrealistes,

et

Abstraites",

read, Herbert. "Constructivism: the art of

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Naum Gabo

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June, 1932, p. 217.

Gabo and Pevsner by Ruth Olson and Abraham

York,

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Chanin,

New

Museum

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8.

preston, stuart.

New York, vol. 30, no. 4, December, 1948, pp. 270-278 New York Times, New York, October 16, 1949.
Gleizes' exhibition at Passedoit Gallery,

V Art Contemporain, chapter

Review of
15, 1933, p. 3. Gleizes
c. B.

Pologne

Litteraire, Lodz, Poland,

May 15-June

New

York Herald Tribune,

New York,

October 16, 1949. Review

illustration.

of Gleizes' exhibition at Passedoit Gallery.

et les Architectes",

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Oliver Baker,

New York:

no. 40

Henri Benezit, Paris: no. 73

J.

Camponogara, Lyon: no. 42

nos. 79, 175

Rene Deroudille, Lyon:

J.

W.

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

Robert L. Ross,
Aimer;-

New York:
:

nos. 170, 173

Somogy, Paris no. 23

Studio Raissac Sete, Lunel: no. 100

Strickland Studios, London: no. 41

Taylor and Dull,

New \ork:
Ltd.,

no. 82

Marlborough Fine Art,

London: nos.

4, 7, 148, 150, 155,

179

Marlborough-Gerson Gallery,
Gallery

New

York: no. 21

Andre Romanet,

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

Gallery,

London

no. 123

Musee des Beaux- Arts,

Yille de Marseille: no. 132

Rijksmuseum Kroller-Muller, Otterloo: no. 47

Musee d'Art Moderne de
la \ille

de Paris: no. 31

Musees Nationaux, Paris: nos.

Philadelphia

71, 161

Museum

of Art no. 62
:

The Art

Gallery of Toronto: no. 37

Portrait of Albert Gleizes

by Marcel Coen, Marseilles

Albert Gleizes in his library by Photo Lido

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
OF

KRANNERT ART MUSEUM, UNIVERSITY

ILLINOIS

THE COLUMBUS GALLERY OF FINE ARTS THE NATIONAL GALLERY OF CANADA, OTTAWA

ALBRIGHT-KNOX GALLERY, BUFFALO

THE ARTS CLUB OF CHICAGO