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where both "sight" and "touch" became one. CĂ©zanne believed his paintings could capture a moment in time, that once passed it was gone, that art and nature are the same. CĂ©zanne claimed: "Art is a personal apperception, which I embody in sensations and which I ask the understanding to organize into a painting." The true meaning of painting grew closer as the distance from tradition increased. Just as the
Cubists he would inspire, CĂ©zanne had little interest in the rational naturalistic painting and classical geometrical perspective inherited from the Renaissance. "Nor was he satisfied," writes Merleau-Ponty, "with the attempts of the Impressionists to dissolve this objective order into its original elements of light and atmosphere".
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922:"Never had a crowd been seen thrown into such a turmoil by works of the spirit, and especially over esemplastic works, paintings, whose nature it is to be silent", writes Albert Gleizes, "Never had the critics been so violent as they were at that time. From which it became clear that these paintings—and I specify the names of the painters who were, alone, the reluctant causes of all this frenzy: Jean Metzinger, Henri Le Fauconnier, Fernand Léger, Robert Delaunay and myself—appeared as a threat to an order that everyone thought had been established forever."
438:, he continues, "the presence of emblems of industrialization, not juxtaposed but integrated with the rhythms of the landscape, marked a definite, if tentative, departure from the concerns he had shared with Le Fauconnier." Gleizes made use of fragmentation of form, multiple perspective views (i.e., mobile and dynamic, rather than static and from one point-of-view) along with linear and planar structural qualities. Though highly sophisticated in theory, this aspect of simultaneity would actually become quite commonly employed within the practices of the
737:(the artist fixed in one position), or (2) the artist could inscribe (paint) the properties of one event represented over a succession of time intervals, observed from several frame of reference (or multiple points of view simultaneously expressed onto the canvas), meaning that the observational reference frame is tied to the state of motion of an observer. There are shared variables between the two concepts, involving the flow of time, i.e., temporal in nature, and involving motion (on the part of either the artist or subject), spatial in nature.
258:—juxtaposes sharply contrasting elements. On the one hand the artist includes elements from a society in the process of inexorable industrialization, and on the other, the sereneness of timeless classical nude figures (something rarely painted by Gleizes, as Brooke points out). Yet the relationships between the two are formally resolved. This aspect of simultaneity—the optimistic reconciliation of classical tradition and contemporary life—was of particular interest to Gleizes, as it was to the
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231:. The Gleizes family moved to Avenue Gambetta in 1887. Towards the end of the 19th century and extending through the early 20th century, Courbevoie witnessed a rapid growth in population, and a surge in the development of crafts, industry and transport (including rail). Such a scene of naked bathers actually occurring would have been highly unlikely in Courbevoie, or anywhere else near the Parisian capital.
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Every season it appeared renewed, growing like a living body. Its enemies could, eventually, have forgiven it if only it had passed away, like a fashion; but they became even more violent when they realised that it was destined to live a life that would be longer than that of those painters who had been the first to assume the responsibility for it.
749:, resulted from the fact that the artist was no longer restricted to the representation of the subject (or the world) as seen in a photograph. No longer restricted to the imitative description of nature, and despite the complexification of visual stimuli (many views instead of one), the technique of painting became simple and direct.
1474:, Guerre et statistiques, L'art de la mesure, Le Salon d'Automne (1903-1914), l'avant-garde, ses étranger et la nation française (The Art of Measure: The Salon d'Automne Exhibition (1903-1914), the Avant-Garde, its Foreigners and the French Nation), electronic distribution Caim for Éditions de l'EHESS (in French)
577:"The diversity of the relations of line to line must be indefinite;" write Gleizes and Metzinger, "on this condition it incorporates quality, the incommensurable sum of the affinities perceived between that which we discern and that which pre-exists within us: on this condition a work of art is able to move us".
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was not yet a household word in 1912, there has been a rapprochement of the concept of multiplicity described above and the concept of relativity in the
Einsteinian sense. While, as Einstein writes, the physicist can generally limit herself to one system of coordinates for the description of physical
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involved a series or succession of different images, originally created and used for the scientific study of movement. These chronophotographs included a series of dancers and women washing. Though
Gleizes may not have seen these specific photographs he was likely interested in the same idea, as were
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In contrast, Picasso and Braque remained unknown to the general public and made no recorded statements during the crucial pre-War period. Braque's first brief aphoristic statement regarding Cubism was written in 1917 during his gradual return to health following a head-wound during the war. Picasso's
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is an oil painting on canvas with dimensions 105 x 171 cm (41.3 by 67.3 inches), signed Albert
Gleizes and dated 1912, lower left. This work, painted at the outset of 1912, represents a series of naked elegant women at various points in the landscape foreground, their reflections along with the
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The changes it had already undergone since the Indépendants of 1911 could leave people in no doubt as to its nature. Cubism was not a school, distinguished by some superficial variation on a generally accepted norm. It was a total regeneration, indicating the emergence of a wholly new cast of mind.
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The former was simply viewed as a special case contained within a more general concept. Reconciliation between the static classical and modern mobile approach was attainable since within the representation of successive states of an event could be found repeated images fixed for all time (as in the
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CĂ©zanne, progressively leading up to 1906, moved away from classic pictorial arrangements, single view perspectives, and outlines that enclosed color. His attempt was to arrive at a "lived perspective" by capturing all the complexities that could be observed with the eye and captured by the senses,
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The gestures of the bathers in the 'foreground' and the whirls of chimney-smoke in the 'background' are unified expressively through "a timeless and purportedly natural order." While the subject was "explicit in its reference to latinist classicism" writes
Cottington, "and implicit in its rejection
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The background forms a semi-urban landscape that possesses both rural and semi-industrial components, consistent with
Courbevoie of the 1910s (except perhaps for the rock-like outcrops), a village or town with delicate smokestacks or factory chimneys billowing smoke that blends into the cloudy sky.
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Paintings of the
Renaissance could not entirely convey these aspects of the world since their subjects were immobilized in a depiction based on one unique point of view; but the real world better corresponds to multiplicity of vision (we have two eyes). And here is precisely where an ambiguity or
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nomenclature offered to the spectator several views of an isolated event, of the same subject, or similarly, several different subjects, a series of events, observed from one point of view. No longer was the artist restricted to a principle (or set of principles). The liberation from academicism
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results from a succession of still shots, the
Cubists stance expounded by Gleizes and Metzinger on theoretical and plastic fronts, consisted of capturing the subject matter or object in a series of 'still shots' (static images) and suturing them together (i.e., several successive moments in time
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of 1908. The statuesque nudes themselves are highly stylized, divided into geometrized facets, planes and curves, yet they are graceful, balletic and elegant. The source of light, rather than beaming down from one particular direction, appears to emanate from within the canvas itself, with an
543:(from 1907), both he and Gleizes were largely responsible for the impression made by the Cubists on the general public during both the Salon des Indépendants and Salon d'Automne of 1910 and 1911 respectively. Intellectual and moral support for their endeavors came from members of the
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It was natural that
Gleizes and Metzinger, both articulate men, should come not just to theorize on the meaning of Cubism, but to defend the movement against attacks leveled in the wake of the 1911 public exhibitions. The two had exhibited regularly at the important salons
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sense, exemplifies the mobile, dynamic fragmentation of form and multiple perspective characteristic of Cubism at the outset of 1912. Highly sophisticated, both in theory and in practice, this aspect of simultaneity would soon become identified with the practices of the
402:, "Poussinesque in its organizing geometry and Claudian in its specificity of place, this is the landscape not of Arcadia but of France as Gleizes wished it to be." Gleizes' formal innovations seen in this work are more closely related to the Salon Cubists (
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properties in the sequence of events. According to
Gleizes, the artist would accommodate either several successive moments in time projected onto a single space, or multiple spaces projected onto the canvas at the same time. These
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uncertainty arises as regards interpretation. This period was in fact marked by the unification of disparate concepts. Classical perspective and non-Euclidean geometry were not, after all, incompatible with one another.
539:) since around 1903 and held divers official positions within them (e.g., hanging committee members). Both were well-versed in philosophy, mathematics and poetry. While Metzinger had participated in discussions at the
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reality, the Cubist (particularly Gleizes and Metzinger) attempted to show the simultaneity of several such views, or, at the very least, they were unwilling to commit themselves to a single coordinate system.
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The preoccupations of Gleizes, to considerable extent beyond those emancipated by CĂ©zanne, was to play with the mobile, dynamic, changing aspects of the same form relative to the position of the painter.
466:, Barcelona, 1912, Galerie La Boétie, Salon de La Section d'Or, 1912, stolen by Nazi occupiers from the home of collector Alphonse Kann during World War II, returned to its rightful owners in 1997
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Albert Gleizes 1881 – 1953, A Retrospective Exhibition, The Solomon R. Guggenheim Foundation, New York, Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund, 1964-1965 (no. 31).
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It was both as artists and theorists (in painting and writing) that Gleizes and Metzinger expressed their critical and ideological discourse about the possible meanings and significance of
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There is a subtle difference or distinction between these two types of simultaneity Gleizes describes that deserve closer attention: inscribed onto the canvas could be either (1) the
516:(Cubism's only manifesto), in an attempt "to put a little order into the chaos of everything that had been written in the papers and reviews since 1911", to use the words of Gleizes.
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788:), that artists themselves, art critics and art historians have not failed to notice. Some have attempted to refute such connections and others have embraced them. Though the name
1040:, Published by The Solomon R. Guggenheim Foundation, New York, in collaboration with Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund, 1964 (catalogue no. 31).
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blue of the sky echoing off the water at the lower edge of the canvas. Beyond the bathers can be observed protruding rock-like formations or boulders—with highlights of
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1514:, by Daniel Robbins. The Solomon R. Guggenheim Museum, New York, in collaboration with Musée national d'art moderne, Paris; Museum am Ostwall, Dortmund, published 1964
886:, are close to this real and magnificent result, this victory comes from several centuries: the creation of a school of painting, 'French' and absolutely independent.
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compositions that took into account both staticity and dynamism were not just a new description of the external world created by the artist, but also the inner world.
639:, along with other compositions by Gleizes and his fellow Salon Cubists from this period (1911-1912), tend to coordinate a variety of views of the same subject, or a
290:(or ĂŽle de la Grande Jatte) is an island over which Gleizes would have passed on his way to and from the center of Paris. The island is well known as the setting for
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group. Gleizes deploys these techniques in "a radical, personal and coherent manner". Purchased in 1937, the painting is exhibited in the permanent collection of the
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398:, depicts "a harmonious and balanced landscape in which industrial and urban elements are imbricated with the surrounding countryside;" writes Cottington in
1312:, Northwestern University Studies in Phenomenology and Existential Philosophy, Northwestern University Press, IL, 1964. Originally published in French as
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1144:, not after 1913. Walt Kuhn family papers, and Armory Show records, Archives of American Art, Smithsonian Institution. Document shows Gleizes' address
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projected onto a single space). Likewise, or alternatively, the artist could depict (multiple spaces projected onto the canvas simultaneously).
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The art critic Olivier-Hourcade writes of this exhibition in 1912 and its relation to the creation of a new French school: 'Metzinger with his
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Bonfante, E. and Ravenna, J. Arte Cubista con "les Meditations Esthetiques sur la Peinture" di Guillaume Apollinaire, Venice, 1945, no. LVIII.
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574:. "The three dimensions of sensorial volume", Gleizes would write in 1925, "left open the field for the introduction of the time factor".
1175:, The Solomon R. Guggenheim Foundation, New York, in collaboration with Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund.
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Gleizes' interest centered on many things in the years leading up to 1912, one of which was the dynamic qualities of modern urban life.
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1487:, Centre Pompidou, Musée National d'Art Moderne, Paris, 17 October 2018 – 25 February 2019. Kunstmuseum Basel, 31 March – 5 August 2019
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Hommage à Marcel Duchamp, Boîte-en-catalogue, 1912-2012, Salon des Indépendants, 1912, n. 1001 of the catalogue, Marcel Duchamp,
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462:, oil on canvas, 146.4 x 114.4 cm. Exhibited at Salon des Indépendants, Paris, 1911, Salon des Indépendants, Brussels, 1911,
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Exhibit catalog for Salon de "La Section d'Or", 1912. Walter Pach papers, Archives of American Art, Smithsonian Institution
219:, the Poplar, with its fastigiate branches tapered towards the top, is especially iconic of the western suburbs of Paris (
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was much more than an unorthodox or anti-academic explanation of the avant-gardist innovations seen in Cubist paintings.
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1419:, Introduction by Rudolf Arnheim. Leonardo, Vol 21, No. 3 (1988), pp. 313-315, published by The MIT Press.
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Gleizes, on the other hand, would write the following year (1913) of the movements continual evolution:
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1357:, interview broadcast on the BBC program 'Monitor', 29 March 1961, published in Katherine Kuh (ed.),
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Salon des Indépendants, Trente Ans d'Art Indépendants, 1884–1914, Grand Palais, Paris, 1926, no. 1057
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sense) of different angles in one picture. This attempt clearly shows the importance of both the
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For Gleizes and those of his entourage 1912 signified a climax in the debates centering around
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510:. It was precisely during 1912 that Gleizes and Metzinger would write the seminal treatise
1278:, 1925, in Bulletin de l'Effort Moderne, 22–32, February 1926–Feb 1927. Also published in
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Herschel Browning Chipp, with contributions by Peter Howard Selz and Joshua C. Taylor,
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340:, Crayon, ink and gouache on paper, 23 x 32.5 cm, Fondation Albert Gleizes (Paris)
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777:. The motion picture with its cinematic techniques was developing too at the time.
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Evidence that factories were already located on the Seine can be seen in Gleizes'
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State of the Modern Art World, The Essence of Cubism and its Evolution in Time
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Les Maitres de I'Art Indépendants 1895-1937, Petit Palais, Paris, 1937, no. 6.
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Cubism in the Shadow of War: The Avant-Garde and Politics in Paris, 1905-1914
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of the same year, is derived from an unsentimental observation of the world.
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124:) is a large oil painting created at the outset of 1912 by the French artist
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105 cm Ă— 171 cm (48.3 in Ă— 67.3 in)
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many times since 1901 and on at least five occasions between 1907 and 1912:
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Salon de la Section d'Or, Galerie La Boétie in Paris, October 1912, no. 40.
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Exposition de Cubistes Français, Musée Rath, Geneva, 3–15 June 1913, no. 8
306:, in the background of which smoke emanating from industrial factories of
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La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris. Gleizes'
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L'île de la Grande Jatte ou Bord de parc avec rivière animée de canots
286:, postcard ca.1912, Les Bord de Seine, L'Ile de la Jatte (right). The
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was listed in the catalogue (n. 1001) but was supposedly withdrawn —
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and Albert Gleizes. A predecessor to cinematography and moving film,
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group of Cubists (also known as the Passy group, or Puteaux group).
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Les créateurs du cubisme: Galerie Wildenstein, Paris, 1935, no. 31.
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Réunion des Musées Nationaux, Grand Palais, Agence photographique
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BĂ©atrice Joyeux-Prunel, Histoire & Mesure, no. XXII -1 (2007)
1276:"Cubisme", Vers une conscience plastique, Essai de généralisation
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overlapping of several static images). Just as the dynamism of a
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first recorded statement on Cubism is dated 1923, at a time when
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to avoid the pictorial representation of the nude as inescapably
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704:. Plate 413, Woman washing, Collotypes; Motion study photographs
377:, fusain and chalk on paper, 30 x 38 cm, art market (Paris)
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1051:, Paris, Somogy Ă©ditions d'art/Fondation Albert Gleizes, 1998,
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La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris
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1523:, A.C. McClurg & Co., Chicago, 1914, second edition 1919
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The Culture of Time and Space, 1880-1918: With a New Preface
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Theories of Modern Art: A Source Book by Artists and Critics
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1021:, March 20, 1912 (cf. Chroniques d'Art, 1960, p. 230).
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940:(left), André Lhote, two works (center), Albert Gleizes,
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By 1912 art had become much more than a dialogue between
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Eadweard Muybridge, The Man Who Invented Moving Pictures
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Cubism and Relativity with a Letter of Albert Einstein
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Albert Gleizes 1881 - 1953, A Retrospective Exhibition
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Albert Gleizes 1881 – 1953, A Retrospective Exhibition
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Albert Gleizes: For and Against the Twentieth Century
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Albert Gleizes 1881–1953, a retrospective exhibition
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Armory Show entry form for Albert Gleizes' painting
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Le Chemin, Paysage Ă Meudon, Paysage avec personnage
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in Paris during the spring of 1912; the Salon de la
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A Sunday Afternoon on the Island of La Grande Jatte
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689:, Plate 187, Dancing, fancy, no. 12, Miss Larrigan
1282:, May 1925 (written as part of the Bauhaus book,
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1159:Albert Gleizes, Chronology of his life, 1881-1953
990:, 17 October 2018 – 25 February 2019, Galerie 1,
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271:intensification in the vicinity of the bathers.
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329:, pastel pierre noire and ink on bistre paper,
150:the same year: the first and only manifesto on
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953:Salon des Indépendants, Paris, 1912, no. 1347.
596:, 1894–1905, oil on canvas, 127.2 × 196.1 cm.
140:, autumn 1912. The painting was reproduced in
2802:Paintings in the Musée d'Art Moderne de Paris
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1361:, Harper & Row, New York 1962, pp. 81-93"
1217:, published in German, 1928, under the title
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1049:Albert Gleizes – Catalogue Raisonné, Volume 1
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442:group. Gleizes deployed these techniques in
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1214:The Epic, From immobile form to mobile form
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784:nomenclature offered to the spectator (the
752:In 1912 the photographic motion studies of
227:) where Gleizes lived, 24 Avenue Gambetta,
2617:The Cubist Painters, Aesthetic Meditations
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1458:Salon des Indépendants, 1912, kubisme.info
1127:, Musée d'Art Moderne de la Ville de Paris
136:, Rouen, summer 1912; and the Salon de la
1359:The Artist's Voice. Talks with Seventeen
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444:"a radical, personal and coherent manner"
1390:, Harvard University Press, Nov 30, 2003
1028:Musee d'Art Moderne de la Ville de Paris
946:Musée d'Art Moderne de la Ville de Paris
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173:Musée d'Art Moderne de la Ville de Paris
104:Musée d'Art Moderne de la Ville de Paris
994:, Musée National d'Art Moderne, Paris.
840:La Femme au Cheval (Woman with a horse)
760:particularly interested artists of the
193:La Revue de France et des pays français
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1248:, University of California Press, 1968
1221:, the French version was published as
430:of the avant-gardist challenge of the
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523:and contemporary aesthetics. Indeed,
310:can be observed; just as in Gleizes'
215:. Though native to many areas of the
745:offered by Cubism, as instigated by
347:, fusain and gouache on rose paper,
134:Société Normande de Peinture Moderne
2212:Portrait of Daniel-Henry Kahnweiler
1339:Internet Encyclopedia of Philosophy
1335:"Maurice Merleau-Ponty (1908—1961)"
1229:, 1929. Translation by Peter Brooke
1008:Albert Gleizes and Jean Metzinger,
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2348:Still Life with Checked Tablecloth
2316:Nude Descending a Staircase, No. 2
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1404:, Little, Brown, and Company, 1972
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1190:, Fondation Albert Gleizes, Paris
385:, much as that of his monumental
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594:Bathers (Les Grandes Baigneuses)
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1188:Péniches et fumées à Courbevoie
1070:List of works by Albert Gleizes
1030:, Catalogue-Guide, Paris, 1961.
338:Péniches et fumées à Courbevoie
268:Péniches et fumées à Courbevoie
2723:Douglas Cooper (art historian)
2689:Daniel Robbins (art historian)
1521:Cubists and Post-Impressionism
1280:La Vie des Lettres et des Arts
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1675:The Publisher Eugène Figuière
1112:, Yale University Press, 1998
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2204:Portrait of Ambroise Vollard
797:Salon des Indépendants, 1912
764:, including Jean Metzinger,
353:Musée national d'art moderne
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2772:Paintings by Albert Gleizes
2684:Paul Rosenberg (art dealer)
2340:Still Life with Candlestick
2031:Georges Ribemont-Dessaignes
1619:Le Chemin, Paysage Ă Meudon
1063:
909:are seen towards the center
896:Portrait de Eugène Figuière
400:Cubism in the Shadow of War
360:La Seine près de Courbevoie
280:Les Baigneuses, The Bathers
10:
2818:
2284:Portrait of Jacques Nayral
1822:
1699:Portrait of an Army Doctor
1611:Portrait of Jacques Nayral
998:, 31 March – 5 August 2019
861:Le Chasseur (The Huntsman)
786:relativity of simultaneity
626:Metropolitan Museum of Art
580:
211:woody plants of the genus
189:Dessin pour les Baigneuses
128:. It was exhibited at the
29:
27:Painting by Albert Gleizes
2634:
2600:
2482:
2401:
2366:
2324:The Cathedral (Katedrála)
2228:Le pigeon aux petits pois
2196:Les Demoiselles d'Avignon
2187:
2086:
1886:
1830:
1769:
1742:
1731:
1565:
1286:). See too Peter Brooke,
1129:, Online collection entry
805:Albert Gleizes exhibited
235:Optimistic reconciliation
99:
91:
83:
75:
65:
56:
48:
43:
2129:Stanton Macdonald-Wright
1501:Fondation Albert Gleizes
1446:Nu descendant l’escalier
815:Nu descendant l'escalier
563:had become fashionable.
345:L'île de la Grande Jatte
30:Not to be confused with
18:Les Baigneuses (Gleizes)
2751:Fourth dimension in art
2672:Daniel-Henry Kahnweiler
2308:Les Joueurs de football
1651:Passy, Bridges of Paris
1307:Maurice Merleau-Ponty,
966:, Prague, 1914, no. 36.
449:
195:, February - March 1912
2712:John Quinn (collector)
1936:Raymond Duchamp-Villon
1723:Woman with Black Glove
1707:Composition for "Jazz"
1579:The Banks of the Marne
1212:Albert Gleizes, 1925,
1186:Albert Gleizes, 1908,
1171:Daniel Robbins, 1964,
949:
920:
910:
829:showed his monumental
803:Salon des Indépendants
729:happening at the same
705:
690:
675:
671:Albert Gleizes, 1912,
629:
609:Staticity and dynamism
601:
537:Salon des Indépendants
508:four-dimensional space
467:
458:Albert Gleizes, 1911,
381:The subject matter of
314:
278:Albert Gleizes, 1912,
196:
187:Albert Gleizes, 1911,
130:Salon des Indépendants
36:Les Grandes Baigneuses
2648:Guillaume Apollinaire
1777:Juliette Roche (wife)
1759:Painting and its Laws
933:
915:
892:
696:
681:
670:
616:
588:
547:(Groupe de Puteaux).
457:
277:
250:, and to some extent
186:
1951:Roger de La Fresnaye
1896:Alexander Archipenko
1519:Arthur Jerome Eddy,
902:La Chasse (The Hunt)
819:Roger de La Fresnaye
446:(Cottington, 1998).
333:, private collection
2787:Landscape paintings
2164:Alexander Rodchenko
2104:Patrick Henry Bruce
2036:Jeanne Rij-Rousseau
1946:Henri Le Fauconnier
1906:Constantin Brâncuși
1878:Henri Le Fauconnier
1367:on 25 February 2019
1309:Sense and Non-sense
1227:Le Rouge et le Noir
1223:L'Epopée (The Epic)
882:, Gleizes with his
869:Portrait of Picasso
863:— and the newcomer
857:Henri Le Fauconnier
758:Étienne-Jules Marey
727:physical occurrence
412:Henri Le Fauconnier
375:Barque Ă Courbevoie
303:Bathers at Asnières
217:Northern Hemisphere
2728:Arthur Jerome Eddy
2276:La Femme aux Phlox
2252:La Femme au Cheval
2169:Nadezhda Udaltsova
1981:Jean Lambert-Rucki
1961:Natalia Goncharova
1691:Woman with Animals
1141:La Femme aux Phlox
1108:David Cottington,
950:
911:
754:Eadweard Muybridge
735:frame of reference
706:
698:Eadweard Muybridge
691:
683:Eadweard Muybridge
676:
630:
602:
468:
368:Musée Roybet Fould
315:
197:
2759:
2758:
2625:La Maison Cubiste
2474:Chronophotography
2444:Neo-impressionism
1790:
1789:
1643:Harvest Threshing
1429:Alex Mittelmann,
1414:Paul M. Laporte,
1225:, in the journal
996:Kunstmuseum Basel
770:chronophotography
702:Animal locomotion
687:Animal Locomotion
388:Harvest Threshing
362:, oil on canvas,
319:L'île de la Jatte
113:
112:
16:(Redirected from
2809:
2777:Cubist paintings
2678:LĂ©once Rosenberg
2642:Louis Vauxcelles
2582:Russian Futurism
2500:Cubist sculpture
2459:Symbolism (arts)
2375:Groupe de femmes
2292:Man on a Balcony
2260:Dancer in a café
2220:The Accordionist
2174:Marie Vassilieff
2139:Kazimir Malevich
2119:Lyonel Feininger
2069:
2016:Louis Marcoussis
2001:Jacques Lipchitz
1817:
1810:
1803:
1794:
1793:
1737:
1683:Cubist Landscape
1667:Man in a Hammock
1659:Football Players
1627:Man on a Balcony
1595:Woman with Phlox
1552:
1545:
1538:
1529:
1528:
1489:
1481:
1475:
1469:
1460:
1455:
1449:
1441:
1435:
1426:
1420:
1411:
1405:
1398:
1392:
1383:
1377:
1376:
1374:
1372:
1363:. Archived from
1353:"Katherine Kuh,
1349:
1343:
1342:
1331:
1325:
1314:Sens et non-sens
1304:
1298:
1274:Albert Gleizes,
1272:
1257:
1241:
1230:
1209:
1198:
1192:
1183:
1177:
1168:
1162:
1154:
1145:
1136:
1130:
1123:Albert Gleizes,
1120:
1114:
1105:
1090:
1085:
1043:Varichon, Anne,
1017:Apollinaire, g.
934:Jean Metzinger,
878:, Delaunay with
780:There is also a
651:element and the
598:National Gallery
365:
350:
332:
317:Gleizes painted
300:(1884), and his
256:Meudon Landscape
164:representational
61:
41:
40:
21:
2817:
2816:
2812:
2811:
2810:
2808:
2807:
2806:
2762:
2761:
2760:
2755:
2740:Blaise Cendrars
2730:(art collector)
2719:(art collector)
2708:(art collector)
2696:(art collector)
2630:
2596:
2478:
2439:Esprit Jouffret
2434:Maurice Princet
2419:Gustave Courbet
2397:
2362:
2356:Three Musicians
2183:
2179:Marie Vorobieff
2082:
2073:Georges Valmier
2063:
2051:LĂ©opold Survage
2026:Francis Picabia
1986:Marie Laurencin
1976:František Kupka
1941:Alexandra Exter
1916:Robert Delaunay
1901:MarĂa Blanchard
1882:
1858:Robert Delaunay
1826:
1821:
1791:
1786:
1765:
1738:
1729:
1715:Brooklyn Bridge
1561:
1556:
1497:
1492:
1482:
1478:
1470:
1463:
1456:
1452:
1442:
1438:
1427:
1423:
1412:
1408:
1399:
1395:
1384:
1380:
1370:
1368:
1351:
1350:
1346:
1333:
1332:
1328:
1305:
1301:
1273:
1260:
1242:
1233:
1210:
1201:
1195:
1184:
1180:
1169:
1165:
1155:
1148:
1137:
1133:
1121:
1117:
1106:
1093:
1086:
1082:
1078:
1066:
1034:Robbins, Daniel
1005:
992:Centre Pompidou
962:Moderni Umeni,
928:
827:Robert Delaunay
799:
721:of two or more
628:, New York City
611:
583:
533:Salon d'Automne
464:Galeries Dalmau
452:
408:Robert Delaunay
363:
348:
330:
288:ĂŽle de la Jatte
244:Robert Delaunay
237:
191:, published in
181:
39:
28:
23:
22:
15:
12:
11:
5:
2815:
2805:
2804:
2799:
2797:Bathing in art
2794:
2789:
2784:
2782:1912 paintings
2779:
2774:
2757:
2756:
2754:
2753:
2748:
2743:
2737:
2734:Pierre Reverdy
2731:
2725:
2720:
2717:Leonard Lauder
2714:
2709:
2703:
2697:
2694:Gertrude Stein
2691:
2686:
2681:
2675:
2669:
2668:(poet, critic)
2666:Maurice Raynal
2663:
2657:
2651:
2650:(poet, critic)
2645:
2638:
2636:
2632:
2631:
2629:
2628:
2621:
2613:
2604:
2602:
2598:
2597:
2595:
2594:
2589:
2584:
2579:
2574:
2569:
2567:Constructivism
2564:
2559:
2554:
2549:
2547:Crystal Cubism
2544:
2539:
2534:
2529:
2524:
2519:
2514:
2513:
2512:
2502:
2497:
2492:
2486:
2484:
2480:
2479:
2477:
2476:
2471:
2466:
2461:
2456:
2451:
2446:
2441:
2436:
2431:
2426:
2424:Georges Seurat
2421:
2416:
2411:
2405:
2403:
2399:
2398:
2396:
2395:
2387:
2379:
2370:
2368:
2364:
2363:
2361:
2360:
2352:
2344:
2336:
2328:
2320:
2312:
2304:
2300:Les Baigneuses
2296:
2288:
2280:
2272:
2264:
2256:
2248:
2240:
2232:
2224:
2216:
2208:
2200:
2191:
2189:
2185:
2184:
2182:
2181:
2176:
2171:
2166:
2161:
2159:Morgan Russell
2156:
2151:
2146:
2141:
2136:
2131:
2126:
2121:
2116:
2111:
2106:
2101:
2096:
2090:
2088:
2084:
2083:
2081:
2080:
2078:Jacques Villon
2075:
2070:
2058:
2053:
2048:
2043:
2038:
2033:
2028:
2023:
2021:Jean Metzinger
2018:
2013:
2008:
2003:
1998:
1993:
1988:
1983:
1978:
1973:
1971:Auguste Herbin
1968:
1963:
1958:
1956:Albert Gleizes
1953:
1948:
1943:
1938:
1933:
1928:
1926:Marcel Duchamp
1923:
1921:Sonia Delaunay
1918:
1913:
1908:
1903:
1898:
1892:
1890:
1884:
1883:
1881:
1880:
1875:
1873:Marcel Duchamp
1870:
1865:
1860:
1855:
1853:Albert Gleizes
1850:
1848:Jean Metzinger
1845:
1843:Georges Braque
1840:
1834:
1832:
1828:
1827:
1820:
1819:
1812:
1805:
1797:
1788:
1787:
1785:
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1779:
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1755:
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1711:
1703:
1695:
1687:
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1671:
1663:
1655:
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1639:
1631:
1623:
1615:
1607:
1599:
1591:
1583:
1575:
1569:
1567:
1563:
1562:
1559:Albert Gleizes
1555:
1554:
1547:
1540:
1532:
1526:
1525:
1516:
1508:
1503:
1496:
1495:External links
1493:
1491:
1490:
1476:
1461:
1450:
1436:
1421:
1406:
1393:
1386:Stephen Kern,
1378:
1355:Marcel Duchamp
1344:
1341:. Iep.utm.edu.
1326:
1299:
1258:
1231:
1199:
1193:
1178:
1163:
1157:Peter Brooke,
1146:
1131:
1125:Les Baigneuses
1115:
1091:
1079:
1077:
1074:
1073:
1072:
1065:
1062:
1061:
1060:
1045:Daniel Robbins
1041:
1031:
1025:
1022:
1015:
1004:
1001:
1000:
999:
985:
982:
979:
976:
970:
967:
960:
957:
954:
927:
924:
907:Les Baigneuses
867:exhibited his
835:Jean Metzinger
831:Ville de Paris
811:Marcel Duchamp
807:Les Baigneuses
798:
795:
766:Marcel Duchamp
723:instantiations
711:motion picture
673:Les Baigneuses
637:Les Baigneuses
610:
607:
582:
579:
451:
448:
424:Georges Braque
404:Jean Metzinger
396:Les Baigneuses
383:Les Baigneuses
379:
378:
371:
356:
341:
334:
292:Georges Seurat
252:Jean Metzinger
240:Les Baigneuses
236:
233:
200:Les Baigneuses
180:
177:
156:Les Baigneuses
148:Jean Metzinger
126:Albert Gleizes
122:Les Baigneuses
111:
110:
101:
97:
96:
93:
89:
88:
85:
81:
80:
77:
73:
72:
70:Albert Gleizes
67:
63:
62:
54:
53:
51:Les Baigneuses
46:
45:
26:
9:
6:
4:
3:
2:
2814:
2803:
2800:
2798:
2795:
2793:
2790:
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2548:
2545:
2543:
2540:
2538:
2535:
2533:
2530:
2528:
2525:
2523:
2522:Orphism (art)
2520:
2518:
2515:
2511:
2508:
2507:
2506:
2503:
2501:
2498:
2496:
2495:Cubo-Futurism
2493:
2491:
2488:
2487:
2485:
2481:
2475:
2472:
2470:
2467:
2465:
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2329:
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2305:
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2301:
2297:
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2289:
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2285:
2281:
2278:
2277:
2273:
2270:
2269:
2268:L'Oiseau bleu
2265:
2262:
2261:
2257:
2254:
2253:
2249:
2246:
2245:
2241:
2238:
2237:
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2186:
2180:
2177:
2175:
2172:
2170:
2167:
2165:
2162:
2160:
2157:
2155:
2152:
2150:
2149:Lyubov Popova
2147:
2145:
2142:
2140:
2137:
2135:
2132:
2130:
2127:
2125:
2122:
2120:
2117:
2115:
2112:
2110:
2107:
2105:
2102:
2100:
2097:
2095:
2094:Giacomo Balla
2092:
2091:
2089:
2085:
2079:
2076:
2074:
2071:
2067:
2062:
2061:Henry Valensi
2059:
2057:
2054:
2052:
2049:
2047:
2046:Gino Severini
2044:
2042:
2039:
2037:
2034:
2032:
2029:
2027:
2024:
2022:
2019:
2017:
2014:
2012:
2011:Jean Marchand
2009:
2007:
2004:
2002:
1999:
1997:
1996:Fernand LĂ©ger
1994:
1992:
1991:Henri Laurens
1989:
1987:
1984:
1982:
1979:
1977:
1974:
1972:
1969:
1967:
1964:
1962:
1959:
1957:
1954:
1952:
1949:
1947:
1944:
1942:
1939:
1937:
1934:
1932:
1931:Pierre Dumont
1929:
1927:
1924:
1922:
1919:
1917:
1914:
1912:
1909:
1907:
1904:
1902:
1899:
1897:
1894:
1893:
1891:
1889:
1885:
1879:
1876:
1874:
1871:
1869:
1868:Fernand LĂ©ger
1866:
1864:
1861:
1859:
1856:
1854:
1851:
1849:
1846:
1844:
1841:
1839:
1838:Pablo Picasso
1836:
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1600:
1597:
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1580:
1576:
1574:
1573:List of works
1571:
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1323:
1322:0-8101-0166-1
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1297:
1296:0-300-08964-3
1293:
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1128:
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1057:2-85056-286-6
1054:
1050:
1046:
1042:
1039:
1035:
1032:
1029:
1026:
1023:
1020:
1019:Le Petit Bleu
1016:
1013:
1012:
1007:
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986:
983:
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977:
974:
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937:L'Oiseau Bleu
932:
923:
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881:
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862:
858:
854:
850:
849:Fernand LĂ©ger
846:
842:
841:
836:
832:
828:
825:(no. 1235) —
824:
820:
816:
812:
809:(no. 1347) —
808:
804:
794:
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623:
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541:Bateau Lavoir
538:
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433:
427:
425:
421:
420:Pablo Picasso
417:
416:Fernand LĂ©ger
413:
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282:, (left) vs.
281:
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248:City of Paris
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232:
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87:Oil on canvas
86:
82:
78:
74:
71:
68:
64:
60:
55:
52:
47:
42:
37:
33:
19:
2706:Wilhelm Uhde
2702:(art dealer)
2700:Berthe Weill
2680:(art dealer)
2674:(art dealer)
2654:André Salmon
2623:
2615:
2609:Du "Cubisme"
2607:
2587:Ego-Futurism
2527:Abstract art
2505:Czech Cubism
2490:Section d'Or
2469:Proto-Cubism
2414:Paul Gauguin
2409:Paul CĂ©zanne
2389:
2381:
2373:
2354:
2346:
2338:
2330:
2322:
2314:
2306:
2298:
2290:
2282:
2274:
2266:
2258:
2250:
2242:
2236:La Coiffeuse
2234:
2226:
2218:
2210:
2202:
2194:
2154:Diego Rivera
2134:August Macke
2124:El Lissitzky
2099:Alice Bailly
2041:Diego Rivera
1966:Henri Hayden
1911:Joseph Csaky
1888:Section d'Or
1757:
1751:Du "Cubisme"
1749:
1721:
1713:
1705:
1697:
1689:
1681:
1673:
1665:
1657:
1649:
1641:
1634:
1633:
1625:
1617:
1609:
1601:
1593:
1585:
1577:
1520:
1511:
1484:
1479:
1453:
1445:
1439:
1430:
1424:
1415:
1409:
1401:
1396:
1387:
1381:
1369:. Retrieved
1365:the original
1358:
1354:
1347:
1338:
1329:
1313:
1308:
1302:
1287:
1283:
1279:
1275:
1245:
1226:
1222:
1218:
1213:
1196:
1187:
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1172:
1166:
1158:
1140:
1134:
1124:
1118:
1109:
1083:
1048:
1037:
1027:
1018:
1011:Du "Cubisme"
1009:
987:
964:S.V.U. Mánes
948:, March 2014
941:
935:
921:
916:
912:
906:
900:
894:
883:
879:
875:
873:
868:
860:
852:
844:
838:
833:(no. 868) —
830:
822:
814:
806:
801:At the 1912
800:
782:scientifique
781:
779:
762:Section d'Or
751:
741:
739:
716:
710:
707:
701:
686:
672:
662:
652:
648:
641:multiplicity
636:
635:
631:
621:
618:Paul CĂ©zanne
603:
593:
590:Paul CĂ©zanne
576:
571:
567:
565:
561:Abstract art
549:
545:Section d'Or
529:
525:Du "Cubisme"
524:
518:
513:Du "Cubisme"
511:
469:
459:
443:
440:Section d'Or
435:
428:
399:
395:
393:
386:
382:
380:
374:
370:(Courbevoie)
359:
349:25 Ă— 41.5 cm
344:
337:
331:25 Ă— 41.5 cm
326:
316:
311:
301:
295:
279:
267:
264:
260:Section d'Or
255:
247:
239:
238:
220:
199:
198:
192:
188:
169:Section d'Or
155:
143:Du "Cubisme"
141:
138:Section d'Or
121:
116:
115:
114:
50:
2746:Armory Show
2620:(1913 book)
2612:(1912 book)
2557:Suprematism
2532:Synchromism
2510:Rondocubism
2454:Divisionism
2449:Pointillism
2429:Paul Signac
2271:(Metzinger)
2263:(Metzinger)
2255:(Metzinger)
2247:(Metzinger)
2109:Carlo CarrĂ
2064: [
2006:André Lhote
1635:The Bathers
1400:Jay, Bill,
1371:12 February
926:Exhibitions
742:cinématique
500:regionalism
496:nationalism
325:1907–1909,
179:Description
117:The Bathers
44:The Bathers
2766:Categories
2517:Die BrĂĽcke
2483:Influenced
2402:Influences
2367:Sculptures
2144:Franz Marc
1485:Le cubisme
1076:References
1003:Literature
988:Le cubisme
942:Baigneuses
884:Baigneuses
837:exhibited
823:Artillerie
821:exhibited
719:properties
645:Bergsonian
557:Surrealism
476:classicism
364:54 Ă— 65 cm
312:Baigneuses
284:Courbevoie
229:Courbevoie
160:figurative
92:Dimensions
32:Baigneuses
2660:Max Jacob
2592:Vorticism
2359:(Picasso)
2319:(Duchamp)
2311:(Gleizes)
2303:(Gleizes)
2295:(Gleizes)
2287:(Gleizes)
2279:(Gleizes)
2244:Le goûter
2239:(Picasso)
2231:(Picasso)
2223:(Picasso)
2215:(Picasso)
2207:(Picasso)
2199:(Picasso)
2188:Paintings
2114:Paul Klee
1863:Juan Gris
1702:(1914–15)
1662:(1912–13)
1566:Paintings
944:(right),
865:Juan Gris
775:Futurists
658:kinematic
484:Nietzsche
472:modernism
432:futurists
209:deciduous
120:(French:
2792:Nude art
2656:(critic)
2644:(critic)
2577:Art Deco
2572:De Stijl
2542:Futurism
2383:Danseuse
2332:The City
1603:The Hunt
1587:The Tree
1316:, 1948,
1290:, 2001,
1284:Kubismus
1219:Kubismus
1064:See also
790:Einstein
700:, 1887,
685:, 1887,
643:(in the
600:, London
504:Poincaré
254:'s 1913
246:'s 1912
223:banlieue
100:Location
49:French:
2635:Related
2601:Related
2464:Fauvism
2394:(Csaky)
2386:(Csaky)
2378:(Csaky)
2343:(LĂ©ger)
2335:(LĂ©ger)
2327:(Kupka)
1831:Leaders
1770:Related
853:La Noce
851:showed
845:Le Port
747:CĂ©zanne
622:Bathers
581:CĂ©zanne
492:Riemann
480:Bergson
355:(Paris)
213:Populus
2742:(poet)
2736:(poet)
2662:(poet)
2552:Purism
2537:Tubism
2351:(Gris)
2087:Others
2056:Tobeen
1824:Cubism
1782:Cubism
1762:(1924)
1754:(1912)
1726:(1920)
1718:(1915)
1710:(1915)
1694:(1914)
1686:(1914)
1678:(1913)
1670:(1913)
1654:(1912)
1646:(1912)
1638:(1912)
1630:(1912)
1622:(1911)
1614:(1911)
1606:(1911)
1598:(1910)
1590:(1910)
1582:(1909)
1433:, 2011
1320:
1294:
1253:
1055:
905:, and
653:mobile
572:nature
568:artist
521:Cubism
488:Euclid
436:passé"
373:1908,
358:1908,
343:1908,
336:1908,
308:Clichy
152:Cubism
84:Medium
66:Artist
2068:]
1743:Books
880:Paris
740:This
225:ouest
108:Paris
2562:Dada
2391:Head
1373:2013
1318:ISBN
1292:ISBN
1251:ISBN
1053:ISBN
876:Port
843:and
773:the
756:and
731:time
649:time
570:and
559:and
553:Dada
535:and
506:and
498:and
490:and
482:and
474:and
450:1912
422:and
414:and
242:—as
79:1912
76:Year
813:'s
725:or
426:).
294:'s
221:la
162:or
34:or
2768::
2066:fr
1464:^
1337:.
1261:^
1234:^
1202:^
1149:^
1094:^
1047:,
1036:,
899:,
871:.
859:,
855:—
847:—
620:,
592:,
555:,
502:–
494:–
486:–
478:–
410:,
406:,
366:,
351:,
175:.
154:.
106:,
1816:e
1809:t
1802:v
1551:e
1544:t
1537:v
1375:.
1324:.
1059:.
975:.
531:(
38:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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