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269:, where there was nothing more for me to do. I sent to the Cours-la-Reine a full figure, a full sized portrait of the poet René Arcos, as well as two landscapes of the area round Paris, simple collections of masses in restrained colours. From that moment onwards, I can see it clearly now, my researches passed from the surface to the interior of the plastic problem. So 1910 brought another white stone to my life, as it would mark a stage which, if it was not conclusive, would at least be very positive. Above all in the second half of that year, when I painted the canvasses which would appear in the
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1910 was the year in which, in its last months, a more or less coherent group began to form from certain tendencies which were quite clearly present in our generation but had previously been scattered. Painters saw what they had in common, poets joined them, feelings of sympathy were established, a
235:
During his trip to Bagnères sur
Bigorre, Gascony, in 1909 Gleizes concentrated exclusively on landscapes, reducing natural forms to primary shapes. His effort to portray the complex rhythms of a panorama resulted in "a comprehensive geometry of intersecting and overlapping forms which created a new
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Gleizes' method was fundamentally synthetic. Although the landscape seems persuasively realistic (with its foreground, background and village in between), it is not an existing place somewhere between Paris and his studio at
Courbevoie, consistent with Gleizes' method of bringing together various
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The superposition of hills with a succession of brown, grey and white planes throughout this painting—providing a sense of temporal duration and spatial extension to the immense vista—along with the cubic architectural structures cutting through the center of the canvas, each with its own
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general atmosphere began to form which would soon produce an action whose effects were to be quickly felt in the surrounding world. Painters and writers would support each other, moved as they all were by a single faith. (Albert
Gleizes, Souvenirs)
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followed, in which "Man is reintroduced, but subordinated to the heroic concept of landscape which simultaneously comprehends the close and the distant, the earth's curve, the sun, even the force of wind against trees". (Robbins, 1964)
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In this work, one of
Gleizes' most important paintings of the crucial year 1910, we see the artist's volumetric approach to Cubism and his successful union of a broad field of vision with a flat picture plane. Earlier studies, such as
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perspective, are very typical of the core group of
Gleizes' landscapes. The divers elements are combined in such a way that avoids symmetry; a characteristic found in several of the artists landscapes, painted before and after
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After painting a series of pictures, some of which are still in existence today, I was still dissatisfied and yet better prepared for experiments that would go deeper. It was in 1910 that, for the first time, I showed in the
187:. Here, the receding landscape marked by protruding hills and steep cliff-like formations, is perhaps more naturalistic than the core group of Gleizes' subsequent 1911–12 landscapes (e.g.,
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that same year. Gleizes too had exhibited at the same salon. Most importantly, Gleizes had read an article which had struck him, written by Jean
Metzinger for the young literary review,
199:, 1912) yet does not replicate any other known painting (or specific location) in any of its parts. This fact strongly points towards it being an invention born out of Gleizes' studio.
530:, Cahiers Albert Gleizes, Association des Amis d'Albert Gleizes, Lyon, 1957. Reprinted, Association des Amis d'Albert Gleizes, Ampuis, 1997. Translation and notes by Peter Brooke
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Gleizes practically subjugates The Tree in the foreground—its thin trunk slightly off-center and foliage cropped at the top—to a secondary role within a meticulously geometric
123:, Galerie La Boétie, 1912 (no. 34), and Manes Moderni Umeni, S.V.U., Vystava, Prague, 1914 (no. 33). The painting was again shown at the Grand Palais, Salon des Indépendants,
510:, Daniel Robbins. The Solomon R. Guggenheim Museum, New York, in collaboration with Musée national d'art moderne, Paris; Museum am Ostwall, Dortmund, published 1964
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Société des artistes indépendants, 26, Catalogue de la 26e exposition, 1910, Albert
Gleizes, numbers 2159-2164
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concept of representing a subject from multiple points of view was a central idea of Jean
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and related works in the catalogue of the
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emerged as a group manifestation and spread across the globe, at times shocking the general public.
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of 1910 that
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of 1910 (both in the collection of Walter Firpo), clearly anticipate this development.
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92 cm Ă— 73.2 cm (36.25 in Ă— 28.6 in)
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elements from different locations anteriorly observed in nature.
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Albert Gleizes, 1881-1953, A Retrospective Exhibition
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341:Moderni Umeni, S.V.U. Manes, Prague, 1914, no. 33
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426:Albert Gleizes, naissance et avenir du cubisme
407:Albert Gleizes, 50 Ans, Lyon, 1947, p. 2.
375:, Musée National d'Art Moderne, Paris, 1960-61
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332:Salon des Indépendants, Paris, 1910, no. 2160
384:The Solomon R. Guggenheim Museum, New York,
569:, Gallica, bibliothèque numérique de France
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229:Road, Trees and Houses (Environs de Meudon)
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363:, Passedoit Gallery, New York, 1949, no. 2
350:Rene Gimpel Galerie, New York, 1937, no. 6
265:and completely abandoned the salon of the
353:Probably Lyon, Chapelle du Lycée Ampère,
236:and more dynamic quality of movement".
225:By the Seine (Bord de la Seine, Meudon)
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544:, Pan (Paris), October–November 1910
1289:Portrait of Daniel-Henry Kahnweiler
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1425:Still Life with Checked Tablecloth
1393:Nude Descending a Staircase, No. 2
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18:L'Arbre, The Tree (Gleizes)
557:, Edition Figuière, Paris, 1913
488:Anne Varichon, Daniel Robbins,
471:List of works by Albert Gleizes
460:, Manchester, 2004, p. 59.
440:, Manchester, 2004, p. 59.
305:article of 1910. It was at the
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1766:Daniel Robbins (art historian)
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1281:Portrait of Ambroise Vollard
361:Albert Gleizes Retrospective
345:Trente Ans d'Art Independant
196:Les Baigneuses (The Bathers)
190:Le Chemin (Paysage Ă Meudon)
125:Trente ans d'art indépendant
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1761:Paul Rosenberg (art dealer)
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696:Le Chemin, Paysage Ă Meudon
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347:, Grand Palais, Paris, 1926
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1385:Les Joueurs de football
728:Passy, Bridges of Paris
553:Guillaume Apollinaire,
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1789:John Quinn (collector)
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656:The Banks of the Marne
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854:Juliette Roche (wife)
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410:Gray, C. "Gleizes",
303:Note sur la Peinture
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1181:Patrick Henry Bruce
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311:The Cubist Painters
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1329:La Femme au Cheval
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768:Woman with Animals
216:The Tree (L'Arbre)
92:Private collection
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248:1910 in brief
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76:Oil on canvas
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19:
1783:Wilhelm Uhde
1779:(art dealer)
1777:Berthe Weill
1757:(art dealer)
1751:(art dealer)
1731:André Salmon
1700:
1692:
1686:Du "Cubisme"
1684:
1664:Ego-Futurism
1604:Abstract art
1582:Czech Cubism
1567:Section d'Or
1546:Proto-Cubism
1491:Paul Gauguin
1486:Paul CĂ©zanne
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1313:La Coiffeuse
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1231:Diego Rivera
1211:August Macke
1201:El Lissitzky
1176:Alice Bailly
1118:Diego Rivera
1043:Henri Hayden
988:Joseph Csaky
965:Section d'Or
834:
828:Du "Cubisme"
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580:Du "Cubisme"
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401:Du "Cubisme"
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277:Gleizes met
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193:, 1911, and
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121:Section d'Or
113:Proto-Cubist
104:
99:
98:
97:
39:
1823:Armory Show
1697:(1913 book)
1689:(1912 book)
1634:Suprematism
1609:Synchromism
1587:Rondocubism
1531:Divisionism
1526:Pointillism
1506:Paul Signac
1348:(Metzinger)
1340:(Metzinger)
1332:(Metzinger)
1324:(Metzinger)
1186:Carlo CarrĂ
1141: [
1083:André Lhote
712:The Bathers
327:Exhibitions
139:Description
127:, in 1926.
1843:Categories
1594:Die BrĂĽcke
1560:Influenced
1479:Influences
1444:Sculptures
1221:Franz Marc
477:References
393:Literature
367:Le Cubisme
81:Dimensions
1737:Max Jacob
1669:Vorticism
1436:(Picasso)
1396:(Duchamp)
1388:(Gleizes)
1380:(Gleizes)
1372:(Gleizes)
1364:(Gleizes)
1356:(Gleizes)
1321:Le goûter
1316:(Picasso)
1308:(Picasso)
1300:(Picasso)
1292:(Picasso)
1284:(Picasso)
1276:(Picasso)
1265:Paintings
1191:Paul Klee
940:Juan Gris
779:(1914–15)
739:(1912–13)
643:Paintings
315:Souvenirs
267:Nationale
254:Souvenirs
239:His 1911
103:(French:
1733:(critic)
1721:(critic)
1654:Art Deco
1649:De Stijl
1619:Futurism
1460:Danseuse
1409:The City
680:The Hunt
664:The Tree
465:See also
273:of 1911.
144:The Tree
100:The Tree
89:Location
38:French:
33:The Tree
1712:Related
1678:Related
1541:Fauvism
1471:(Csaky)
1463:(Csaky)
1455:(Csaky)
1420:(LĂ©ger)
1412:(LĂ©ger)
1404:(Kupka)
908:Leaders
847:Related
209:L'Arbre
169:⁄
155:⁄
129:L'Arbre
105:L'Arbre
40:L'Arbre
1819:(poet)
1813:(poet)
1739:(poet)
1629:Purism
1614:Tubism
1428:(Gris)
1164:Others
1133:Tobeen
901:Cubism
859:Cubism
839:(1924)
831:(1912)
803:(1920)
795:(1915)
787:(1915)
771:(1914)
763:(1914)
755:(1913)
747:(1913)
731:(1912)
723:(1912)
715:(1912)
707:(1912)
699:(1911)
691:(1911)
683:(1911)
675:(1910)
667:(1910)
659:(1909)
419:Cubism
133:Cubism
73:Medium
55:Artist
1145:]
820:Books
1639:Dada
1468:Head
281:and
68:1910
65:Year
295:Pan
160:by
1845::
1143:fr
516:^
497:^
317::
162:28
148:36
893:e
886:t
879:v
628:e
621:t
614:v
171:8
167:5
164:+
157:4
153:1
150:+
20:)
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