Portrait of Jacques Nayral

231: 40: 571:—Gleizes published a major article about Metzinger, within which he argued that 'representation' was fundamental, but that Metzinger's intention was 'to inscribe the total image'. This total image 'combined the evidence of perception with 'a new truth, born from what his intelligence permits him to know'. Such 'intelligent' knowledge, writes the art historian Christopher Green, "was the accumulation of an all-round study of things, and so it was conveyed by the combination of multiple viewpoints in a single image." He continues, "This accumulation of fragmented aspects would be given 'equilibrium' by a geometric, a 'cubic' structure. Metzinger's Tea-time, a work that attracted much attention at the Salon d'Automne of 1911, is like a pictorial demonstration of Gleizes's text. Multiple perspectives and a firm overall geometric structure (almost a grid) take control of a near pornographic subject: 'intelligence' subdues the senses." 281: 530:

effect, volumes and the relations of the formal elements between themselves. Finally, I reduced the colour to a harmony of blacks and greys supported by some flashes of light red which set up a contrast, at once breaking with and supporting the interplay of harmonious colour relations. Nayral came regularly to the studio, I worked directly on him, naturally, but more often than not the work consisted in friendly conversation, in walks in the garden, during which I studied him, watching what was his natural way of walking and what were his usual gestures, above all arming my memory with essential characteristics, trying to isolate his true likeness from the accumulation of details and picturesque superfluities which always interfere with the permanent reality of a being. The portrait was executed without turning to the model, it was finished some weeks before the

1736: 539: 518:. He was to become my brother-in-law, and was one of the most sympathetic men I have ever met. A strange lad, a little surprising on first encounter - both disturbing because of his sharp use of irony and also attractive because of a generosity that left him as vulnerable as a child. The first time I met him was at President Bonjean's house at Villepreux-les-Clayes, near Versailles, during a dinner which brought together the committee of that 'Villa Medicis Libre' which, as I said before, had been founded by Alexandre Mercereau. From that time onwards, we saw each other often and became friends. 834:

was clearly the starting point of a new movement in painting, perhaps the most remarkable in modern times, It revealed not only that artists are beginning to recognise the unity of art and life, but that some of them have discovered life is based on rhythmic vitality, and underlying all things is the perfect rhythm that continues and unites them. Consciously, or unconsciously, many are seeking for the perfect rhythm, and in so doing are attaining a liberty or wideness of expression unattained through several centuries of painting. (Huntly Carter, 1911)

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lovely canvas entitled Le Goûter; Léger his sombre Nus dans un Paysage; Le Fauconnier, landscapes done in the Savoie; myself La Chasse and the Portrait de Jacques Nayral. How distant it all seems now! But I can still see the crowd gathering together in the doors of the room, pushing at those who were already pressed into it, wanting to get in to see for themselves the monsters that we were.

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facets, his hair in dark masses projecting lightly in waves over his temples, his solidly constructed body - straightaway suggested to me equivalences, echoes , interpenetrations, rhythmic correspondences with the surrounding elements, fields, trees, houses. So I suggested painting him in my garden, where I found easily to hand an environment that was highly suitable for my model.

785:, there is good resemblance, but there is not one form or color in this impressive painting that has not been invented by the artist. The portrait has a grandiose appearance that should not escape the notice of connoisseurs. This portrait covers a grandiose appearance that should not elude connoisseurs... It is time that young painters turn towards the sublime in their art. 433:. "Between sculpturally bold reliefs", wrote Gleizes and Metzinger, "let us throw slender shafts which do not define, but which suggest. Certain forms must remain implicit, so that the mind of the spectator is the chosen place of their concrete birth. Let us also contrive to cut by large restful surfaces any area where activity exaggerated by excessive contiguities. 814:

essay published in another shortlived Abbaye dominated literary magazine, La Revue Indépendante. He considers that Picasso and Braque, despite the great value of their work, are engaged in an 'Impressionism of Form', which is to say that they give an appearance of formal construction which does not rest on any clearly comprehensible principle.

555:'a thinking human in harmony with the surroundings, in accordance with them', one must 'reveal the concert of all these forms of life that are the thought of this man, the perfume of this flower, the brilliance of this plant, the vibration of this light, this is the task of the artist'. In essence, write Antliff and Leighten in 488:(1911), Gleizes simplifies, interpenetrates volumes, fuses the landscape with the model, to form a homogeneous picture. While volumes point is different directions and the subject is seen from several different angles ('multiple perspective') the observer still sees the entire surface of the canvas, preserving unity. 310:

the imagery; arousing the viewer's own creative intuition to decipher the 'total image.' This meant too, inversely, that the creative intuition of the artist would be aroused. No longer did the artist have to define or reproduce, painstakingly, the subject matter of a painting. The artist became to a

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It was at the Salon d'Automne, amid the Rhythmists, I found the desired sensation. The exuberant eagerness and vitality of their region, consisting of two room remotely situated, was a complete contrast to the morgue I was compelled to pass through in order to reach it. Though marked by extremes, it

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Through the Salon d'Automne, Gleizes also enters into relations with the Duchamp brothers, Jacques Villon (1875-1963), Raymond Duchamp-Villon (1876-1918) and Marcel Duchamp (1887 1968). The studios of Jacques Villon and Raymond Duchamp-Villon at 7, rue Lemaître, become, together with Gleizes' studio

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The imagination of Metzinger gave us this year two elegant canvases of tones and drawing that attest, at the very least, to a great culture... His art belongs to him now. He has vacated influences and his palette is of a refined richness. Gleizes shows us the two sides of his great talent: invention

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His concerns deepened in 1909 as the work of Le Fauconier, Delaunay, Gleizes and Metzinger emerged as a unifying force. He condemned 'the frigid extravagances of a number of mystificators' and queried: 'Do they take us for dupes? Indeed are they fooled themselves? It;s a puzzle hardly worth solving.

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The Cubists had become by 1911 a legitimate target for critical disdain and satirical wit. "The cubists play a role in art today analogous to that sustained so effectively in the political and social arena by the apostles of anti-militarism and organized sabotage" wrote the critic Gabriel Mourney in

1034:: "Le peintre Albert Gleizes, qui fut et demeure le champion déterminé du cubisme, est caporal instructeur à Toul. Son beau-frère, le puissant et original prosateur Jacques Nayral, dont le périrait cubiste fit sensation, il y a deux ou trois ans, au Salon d'automne, vient d'être tué sur le front..." 752:

With the Salon d'Automne of that same year, 1911, the fury broke out again, just as violent as it had been at the Indépendants. I remember this Room 8 in the Grand Palais on the opening day. People were crushed together, shouting, laughing, calling for our heads. And what had we hung? Metzinger his

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in Barcelona, April - May 1912 (the second Cubist manifestation held outside of Paris): 'You see a portrait in a landscape' wrote Nayral, 'is it simply the reproduction of some lines that permit our eye to recognize a head, clothes, trees? Photography would be sufficient'. Nayral answers the query:

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Vauxcelles, perhaps more so than his fellow critics, indulged in witty mockery of the salon Cubists: 'But in truth, what honor we do to these bipeds of the parallelepiped, to their lucubrations, cubes, succubi and incubi'. Vauxcelles was more than just skeptical. His comfort level had already been

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I made a whole series of studies to prepare this portrait. Drawings and washes in china ink. I analysed the architecture of the head in monumentally sized enlargements, two or three times the natural size, I made a certain number of drawings of the hands, I studied the organisation and the overall

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In this portrait, Gleizes was interested in 'equivalences, echoes, interpenetrations , rhythmic correspondences with the surrounding elements—terrain, trees, houses'. He was delighted to paint a portrait of Nayral because his face corresponded well to the solid, faceted, architectural qualities he

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is an oil painting on canvas with dimensions 162 x 114 cm (63.8 by 44.9 inches), inscribed ‘Albert Gleizes 1911' (lower right). Studies for this work began in 1910 while the full portrait was completed during the late summer or early fall of 1911. The work represents an old friend of Gleizes,

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Gleizes first learned of the death of his brother-in-law and friend when a postcard on which he had written "Patience, a little more patience, it is impossible that this war can endure much longer... then we will put ourselves back to work..." came back marked "disparu". Gleizes painted two works

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Apollinaire took Picasso to the opening of the exhibition in 1911 to see the cubist works in Room 7 and 8. At about the time of this exhibition, Gleizes, through the intermediary of Apollinaire, meets Picasso and sees the work of Picasso and Braque for the first time. He gives his reaction in an

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The winter season in Paris profited from all this to add a little spice to its pleasures. While the newspapers sounded the alarm to alert people to the danger, and while appeals were made to the public authorities to do something about it, song-writers, satirists and other men of wit and spirit,

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and owned by the poet Jacques Nayral—is structured according to these principles. The interplay of volumes, lines and planes has been 'abstracted' from the subject matter and spread throughout the composition. These complex geometric forms serve to 'suggest' the underlying imagery rather than to

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remarked that the general public viewing the works Metzinger, Gleizes and Le Fauconnier at the Salon d'Automne of 1910 found the "deformation of lines" less humorous than the "deformation of color", except with regards to the human face. Christopher Green writes that the "deformations of lines"

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One day he asked me to do his portrait. I agreed with joy, all the more so because his head and his whole personality seemed to me to be perfect models for emphasising the plastic elements I was trying to develop. His face with clearly demarcated surfaces that made up a passionate interplay of

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and Gleizes's Jacques Nayral "have seemed tentative to historians of Cubism. In 1911, as the key area of likeness and unlikeness, they more than anything released the laughter." Green continues, "This was the wider context of Gris's decision at the Indépendants of 1912 to make his debut with a

160:. He was a friend of Gleizes and married his sister Mireille in 1912. Gleizes began work on his portrait in 1910. The interfusion and interrelation between the sitter and the background of the painting reflect Bergson’s concepts about the simultaneity of experience. It was 757:

provoked great pleasure among the leisured classes by playing with the word 'cube', discovering that it was a very suitable means of inducing laughter which, as we all know, is the principle characteristic that distinguishes man from the animals.(Albert Gleizes, 1925)

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described the paintings of Metzinger, Léger and others as 'grotesque, ridiculous, intended to bewilder – it would appear – the bourgeoisie', paintings 'whose cubes, cones and pyramids pile up, collapse and...make you laugh.'

582:‘It is a very good likeness, yet in this impressive canvas, there is not one form or color that was not invented by the artist. This portrait has a grandiose appearance that should not escape the notice of connoisseurs.’ 164:

works such as this widely exhibited portrait that fed the public outcry against Cubism. "Its scale echoes the large-scale paintings of the official exhibitions, while its style subverts that tradition". (Tate Modern)

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response to the expressive acts and physiognomic traits he deemed indicative of the poet's character. Both form and content in the work were the result of Gleizes's mental associations while working from memory.

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by Jean Metzinger, juxtaposed with images of unidentified models, the man with his knees crossed and a book on his lap, the woman (clothed) holding a spoon and a tea cup, as if the sitters. The commentary by

450:, 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 611:, "so doubtless the excesses of the anarchists and saboteurs of French painting will contribute to reviving, in artists and amateurs worthy of the name, the taste for true art and true beauty." 594:

in 1914 and 1917 as an homage to the writer. These are private portraits that signify an intensely personal memorial to his closest friend and key figure who shared the hopes of the pre-war

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Nayral asked Gleizes to paint his portrait in 1910, a task the artist completed over the course of several months, coming to an end in 1911. For Gleizes, this portrait, much as Metzinger's

370:. More so than an 'objective' view of the real-world, Jacques Nayral valorized subjective experience and expression. He and other Symbolist writers embraced an antirationalist and 156:

Jacques Nayral (a pseudonym for Joseph Houot) was a young modernist poet, dramatist, publisher and occasional sports writer, who shared with Gleizes a passion for the theories of

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The Villa Médicis Libre was founded under the patronage of the 'Fondation Georges Bonjean' in Villepreux, in the West of Paris, providing low-cost accommodations for artists.

984:, 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). 378:, someone who would greatly inspire both Metzinger and Gleizes. Nayral's related interest in avant-garde art led him to purchase Metzinger's large 1912 oil on canvas entitled 737:. The result was a public scandal which brought Cubism to the attention of the general public for the second time. The first was the organized group showing by Cubists in 230: 654:, which he perceived as perilous, 'an uncertain schematization, proscribing relief and volumes in the name of I know not what principle of pictorial abstraction.' 658:

Let M. Metzinger dance along behind Picasso, or Derain, or Bracke ...let M. Herbin crudely defile a clean canvas – that's their mistakes. We'll not join them...'

1477: 1448:, The New Age, a weekly review of Politics, Literature, and Art, New series, Vol. 9. No. 26, London: The New Age Press, Ltd., Thursday October 26, 1911. p. 617 634:

condemned 'the snobbery of the gullible which applauds the most stupid nonsenses of the arts of painting presented to idiots as the audacities of genius."

17: 1154: 501:. In his autobiographical notes Gleizes suggests that the theory of intuition propounded in that text may have been pronounced as early as 1910 (during a 149:

at the outset of 1911. Highly sophisticated in theory and in practice, this aspect of simultaneity would soon become identified with the practices of the

39: 1097:, Published by The Solomon R. Guggenheim Foundation, New York, in collaboration with Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund 987:

Joan A. Speers (ed.), Art at Auction: The Year at Sotheby Parke Bernet 1979–80, 1980, p. 114 in color; Tate Gallery 1978–80, p. 50 in color

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Jean Metzinger, Note sur la peinture (Note on painting), Pan, Paris, October–November 1910, 649–51, reprinted in Edward Frym Cubism, London, 1966.

2061: 1388:, preface by Peter Brooke. A first version of this text was written in response to an invitation from the Bauhaus in 1925. Again published in 971:

Bonfante, E. and Ravenna, J. Arte Cubista con "les Méditations esthétiques sur la Peinture" di Guillaume Apollinaire, Venice, 1945, no. LVIII.

280: 1341:, Cahiers Albert Gleizes, Association des Amis d'Albert Gleizes, Lyon, 1957. Reprinted, Association des Amis d'Albert Gleizes, Ampuis, 1997 829:

writes that "art is not an accessory to life; it is life itself carried to the greatest heights of personal expression." Carter continues:

806:, which was a portrait, and to do so with a portrait that responded to Picasso's portraits of 1910 through the intermediary of Metzinger's 1523: 1169: 2617: 1481:, Centre Pompidou, Musée National d'Art Moderne, Paris, 17 October 2018 – 25 February 2019. Kunstmuseum Basel, 31 March – 5 August 2019 411: 203: 1160:. Walt Kuhn family papers, and Armory Show records, Archives of American Art, Smithsonian Institution. Document shows Gleizes' address 374:

world-view, consistent with concepts that underscored Cubist philosophies. Nayral's interest in philosophy led him to correspond with

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In Room 7 and 8 of the 1911 Salon d'Automne, held 1 October through November 8, at the Grand Palais in Paris, hung works by Gleizes,

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of Paris. Stylistically this painting fulfills the direction established in the unfinished portrait of Mme. Barzun", spring of 1911.(

388:(Statens Museum for Kunst, Copenhagen). Nayral's association with Gleizes led him to write the Preface for the Cubist exhibition at 354:

According to Gleizes, both the content and form in this painting were the result of mind associations as he completed the work from

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In his review of the 1911 Salon d'Automne published in L'Intransigeant, written more as a counter attack in defense of Cubism,

446:, oil on canvas, 146.4 × 114.4 cm. Exhibited at Salon des Indépendants, Paris, 1911, Salon des Indépendants, Brussels, 1911, 2772: 1072: 335:, painted the same year, exemplifies ideas and opinions formulated between 1910 and 1911 that would soon be codified in 2348: 2316: 1675: 2212: 1143: 1002: 586:

Nayral was killed in action in December 1914, at the age of thirty-five, in an attack on a German trench near Arras.

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and I decided to show it... if the jury would be willing to accept it, as I was not yet a member. (Albert Gleizes)

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A similar concept lies behind Albert Gleizes' portrait of his friend, neo-Symbolist writer Joseph Houot, pen name

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Fantasio, 15 October 1911, Albert Gleizes, Portrait of Jacques Nayral, Jean Metzinger, Le Gouter, Tea Time, 1911

471:'define' the subject, allowing the unity of the picture to be established by the viewer's 'creative intuition'. 2723: 2689: 977: 666: 224: 1619: 1707: 1194: 315:, to place lines, shapes, forms and colors onto the canvas in accord with his or her own creative intuition. 2268: 2196: 1543: 818:

at Courbevoie, a regular meeting place for the Cubist group, soon to become known as the Puteaux Group, or

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Reviewing the Cubist room at the Salon d'Automne of 1911 in L'Intransigeant, Apollinaire wrote of Gleizes'

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Jacques Barzun (ca. 2000). Behind Mr. Barzun is a portrait of Madame H. M. Barzun by Albert Gleizes (1911)

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Nayral himself celebrated this collaborative process in his preface to the Cubist exhibition held at the

1699: 1274:, Paris, Figuière, 1912 (published in English and Russian in 1913, a new edition was published in 1947) 291: 195:, editor-in-chief for the publishing house of Figuière and directly responsible for the publication of 1513: 2792: 2777: 2356: 2228: 1715: 1336: 1092: 2300: 2129: 1906: 567:

Just before the 1911 Salon d'Automne—Metzinger had already placed the last brushstroke of paint of

2782: 2751: 2672: 2308: 2011: 1931: 1651: 1536: 479: 940:, Galeries J. Dalmau, Barcelona, 20 April - 10 May 1912, p. 1-7, illustrated in the preface 884:

Les Maîtres de l'Art Indépendant 1895–1937, Petit Palais, Paris, June–October 1937 (Room 28, 17)

690: 493: 429:, in the Bergsonian sense, was used by the Cubists to stimulate a presentiment, an awareness of 286: 260: 2712: 1936: 1723: 741:

of the 1911 Salon des Indépendants (Paris), with Metzinger, Delaunay, le Fauconnier and Léger.

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valorized expression and subjective experience over an objective view of the physical world.

327:, who in 1912 married Mireille Gleizes, the sister of Albert Gleizes. Along with Metzinger's 188:

Jacques Nayral; the young author-dramatist who would marry Mireille Gleizes two years later.

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Jacques Barzun sitting in front of Albert Gleizes portrait of his mother Madame H. M. Barzun

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Les peintres et sculpteurs qui servent aux armées, Les soldats-peintre, Sur la ligne de feu

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Sold by Mme Georges Houot at Sotheby's, London, 5 December 1979, lot 92 reproduced in color

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Albert Gleizes 1881–1953, Guggenheim Museum, New York, September–November 1964 (11, repr.)

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later wrote of the exhibition that followed the infamous 1911 Salon des Indépendants:

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the underlying imagery (e.g., a nude, a horse, a dancer, a café-concert), rather than

266: 153:. Here, Gleizes deploys these techniques in a radical, personal and coherent manner. 2625: 2474: 2444: 1941: 1643: 1383: 1180: 1139: 998: 913: 887:

Le Cubisme (1907–1914), Musée National d'Art Moderne, Paris, January–April 1953 (64)

107:) is a large oil painting created in 1911 by the French artist, theorist and writer 2642: 2582: 2500: 2459: 2383: 2375: 2292: 2220: 2174: 2139: 2119: 2066: 2016: 2001: 1683: 1667: 1659: 1627: 1595: 727: 1996: 1868: 699: 462:

to the quantitative and qualitative properties of the Cubist artwork. Metzinger's

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in poetry. In his capacity as Figuière's editorial assistant Nayral had selected

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Purchased in 1979, the painting is exhibited in the permanent collection of the

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sense, exemplifies the mobile, dynamic fragmentation of form characteristic of

138: 126: 108: 50: 2109: 2006: 1320: 707: 339:; written in 1912 by Metzinger and Gleizes in preparation for the Salon de la 2766: 2522: 2495: 2149: 2094: 2046: 1991: 1838: 1075:

Cubism in the Shadow of War: The Avant-Garde and Politics in Paris, 1905-1914

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162 cm × 114 cm (63.8 in × 44.9 in)

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The Tate Gallery 1978-80: Illustrated Catalogue of Acquisitions, London 1981

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The complex forms that defined Metzinger's paintings of the period serve to

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Georges Bonjean (1848-1918). Magistrate and penal reformer. His father was

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Musée National d'Art Moderne, Paris, December 1964–January 1965 (11, repr.)

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Daniel Robbins, MoMA, From Grove Art Online, Oxford University Press, 2009

137:, one of Gleizes' first major Cubist works, while still 'readable' in the 2746: 2557: 2532: 2510: 2454: 2449: 2429: 997:, Volume 1, Paris, Somogy éditions d'art/Fondation Albert Gleizes, 1998, 169: 161: 84: 2144: 1324: 974:

Musee d'Art Moderne de la Ville de Paris, Catalogue-Guide, Paris, 1961.

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Salon de ‘La Section d'Or’, Galerie La Boëtie, Paris, October 1912 (38)

216: 133:. Metzinger in 1911 described Gleizes' painting as 'a great portrait'. 2660: 2592: 2114: 1863: 1428: 1212: 902:

Cubisti Cubismo, Complesso del Vittoriano, Rome, 8 March–23 June 2013

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Museum am Ostwall, Dortmund, March–April 1965 (11, repr.) Tate Modern

400: 1287:, Edited by Charles Harrison and Paul Wood, Blackwell Publishers Inc 2577: 2572: 2542: 454:

The dynamism of form resides in the unfolding response of both the

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as part of a projected series on the arts. These writers and other

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II Bienal, São Paulo, December 1953–February 1954 (Cubist room 16)

789:, by Gleizes, is well composed and of beautiful colors and sings . 2464: 1528: 1524:

Réunion des Musées Nationaux, Grand Palais, Agence photographique

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was painted here where Gleizes and his family lived from 1887.

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expressed his views on the entries of Metzinger and Gleizes:

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and Albert Gleizes in 1912, the first and only manifesto on

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

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allowed by mobile perspective in the head of Metzinger's

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Reviewing the Salon d'Automne of 1911, Huntly Carter in

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Art in Theory 1900-1990, An Anthology of Changing Ideas

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Tate Modern, purchased at Sotheby's (Grant-in-Aid) 1979

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Christopher Green, Christian Derouet, Karin Von Maur,

1372:, L'Intransigeant, Numéro 11409, 10 October 1911, p. 2 1095:

Albert Gleizes 1881 – 1953, A Retrospective Exhibition

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Albert Gleizes 1881 – 1953, A Retrospective Exhibition

559:, "this synthetic vision was the product of Gleizes's 1135:

Albert Gleizes: For and Against the Twentieth Century

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Henri Guilbeaux, reviewing the 1911 Indépendants for

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Courveboie, ca. 1900, Avenue Gambetta et la Caserne.

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Armory Show entry form for Albert Gleizes' painting

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Le Chemin, Paysage à Meudon, Paysage avec personnage

1137:, New Haven and London, Yale University Press, 2001 1081: 961:(The Cubist Painters) Edition Figuière, Paris, 1913 878:

Salon d'Automne, Paris, October–November 1911 (609)

497:, exemplified concepts that were later codified in 1068: 1066: 1064: 1062: 1060: 1058: 1494:Les peintres et sculpteurs qui servent aux armées 1231:Albert Gleizes, Chronology of his life, 1881-1953 908:, 17 October 2018 – 25 February 2019, Galerie 1, 215:depicts Gleizes' garden at 24 Avenue Gambetta in 2764: 1416:Juan Gris: [catalogue of the Exhibition] 1224: 1222: 1220: 1055: 598:for an innovative collective artistic program. 1363: 1361: 1213:Kubisme.info, Albert Gleizes en Jean Metzinger 959:Méditations esthétiques. Les peintres cubistes 607:his review of the Salon d'Automne of 1911 for 412:Les Peintres Cubistes, Méditations Esthétiques 298:dubbed this painting "The Mona Lisa of Cubism" 204:Les Peintres Cubistes, Méditations Esthétiques 111:(1881–1953). It was exhibited in Paris at the 1809: 1544: 1392:, 1928. The French version was published, as 1128: 1126: 1124: 1122: 395:The Neo-Symbolist writers Jacques Nayral and 269:is heavily ironic, with the headline reading 1446:Letters from Abroad, The Post-Expressionists 1217: 1386:The Epic, From immobile form to mobile form 1374:. Gallica, Bibliothèque nationale de France 1358: 2618:The Cubist Painters, Aesthetic Meditations 1816: 1802: 1551: 1537: 1353:L'Art et ses représentants. Jean Metzinger 1208: 1206: 1190: 1188: 1119: 661: 478:In a departure from the static nature of 294:. Exhibited at the 1911 Salon d'Automne. 1519:Tate Gallery, London, UK, Albert Gleizes 1500:, 4 May 2015, National Library of France 1409: 1407: 1027:, L'Art Vivant, 6th edition, Paris, 1920 760: 665: 537: 435: 279: 229: 1203: 1185: 912:, Musée National d'Art Moderne, Paris. 464:La Femme au Cheval (Woman with a Horse) 14: 2765: 1467:, New York, London: M. Kennerley, 1913 1106: 1104: 1797: 1532: 1404: 1257:Mark Antliff, Patricia Dee Leighten, 1008:Mark Antliff, Patricia Dee Leighten, 781:and observation. Take the example of 592:To Jacques Nayral (A Jacques Nayral) 508: 18:Portrait of Jacques Nayral (Gleizes) 2213:Portrait of Daniel-Henry Kahnweiler 1270:Albert Gleizes and Jean Metzinger, 1101: 995:Albert Gleizes – Catalogue Raisonné 943:Albert Gleizes and Jean Metzinger, 862:Commandant Georges Houot, La Flèche 514:I was on the verge of painting the 318: 119:, 1912 (no. 38), and reproduced in 115:of 1911 (no. 609), the Salon de la 24: 2349:Still Life with Checked Tablecloth 2317:Nude Descending a Staircase, No. 2 1558: 1418:, 1992, London and Otterlo, p. 160 1016: 25: 2804: 1507: 1461:The new spirit in drama & art 968:, October 1929, p. 64, repr. 646:surpassed with the 1907 works of 2788:Collection of the Tate galleries 1734: 1339:Souvenirs: le Cubisme, 1908-1914 1025:Artistes d'hier et d'aujourd'hui 482:, in his Nayral portrait, as in 38: 1485: 1471: 1452: 1437: 1422: 1377: 1345: 1330: 1313: 1300: 1291: 1277: 1264: 845:List of works by Albert Gleizes 630:of the cubists, and Tardieu in 2724:Douglas Cooper (art historian) 2690:Daniel Robbins (art historian) 1174: 1163: 1148: 1111:Tate, London, Albert Gleizes, 1044: 964:Albert Gleizes, ‘L'Epopée’ in 872: 392:in Barcelona (April–May 2012) 179: 13: 1: 1676:The Publisher Eugène Figuière 1199:, Yale University Press, 2000 1077:, Yale University Press, 1998 1038: 920: 856:Joseph Houot (Jacques Nayral) 850: 670:Catalogue cover for the 1911 618:accused the salon cubists of 258:by Albert Gleizes (1911) and 238:, 15 October 1911, featuring 201:as well as for Apollinaire's 2205:Portrait of Ambroise Vollard 601: 254:, 15 October 1911, features 7: 2773:Paintings by Albert Gleizes 2685:Paul Rosenberg (art dealer) 2341:Still Life with Candlestick 2032:Georges Ribemont-Dessaignes 1620:Le Chemin, Paysage à Meudon 1261:, Thames & Hudson, 2001 1012:, Thames & Hudson, 2001 838: 485:Le Chemin, Paysage à Meudon 250:A page from the periodical 10: 2809: 2285:Portrait of Jacques Nayral 1823: 1700:Portrait of an Army Doctor 1612:Portrait of Jacques Nayral 1465:The New Spirit in Painting 1113:Portrait de Jacques Nayral 936:Jacques Nayral , Préface, 916:, 31 March – 5 August 2019 783:Portrait de Jacques Nayral 746:Portrait of Jacques Nayral 680:Portrait de Jacques Nayral 576:Portrait of Jacques Nayral 544:Portrait of Jacques Nayral 516:Portrait of Jacques Nayral 333:Portrait of Jacques Nayral 292:Philadelphia Museum of Art 271:Ce que disent les cubes... 256:Portrait de Jacques Nayral 240:Portrait de Jacques Nayral 213:Portrait of Jacques Nayral 185:Portrait of Jacques Nayral 135:Portrait of Jacques Nayral 104:Portrait de Jacques Nayral 98:Portrait of Jacques Nayral 33:Portrait of Jacques Nayral 27:Painting by Albert Gleizes 2635: 2601: 2483: 2402: 2367: 2325:The Cathedral (Katedrála) 2229:Le pigeon aux petits pois 2197:Les Demoiselles d'Avignon 2188: 2087: 1887: 1831: 1770: 1743: 1732: 1566: 926:Guillaume Apollinaire in 466:(1911-12)—illustrated in 234:Page from the periodical 207:and the projected series 80: 72: 64: 56: 46: 37: 32: 2130:Stanton Macdonald-Wright 1514:Fondation Albert Gleizes 1197:Art in France: 1900-1940 480:single-point perspective 290:, 1911, 75.9 x 70.2 cm, 2752:Fourth dimension in art 2673:Daniel-Henry Kahnweiler 2309:Les Joueurs de football 1652:Passy, Bridges of Paris 1368:Guillaume Apollinaire, 957:Guillaume Apollinaire, 950:Guillaume Apollinaire, 938:Exposició d'art cubista 804:Homage to Pablo Picasso 662:Salon d'Automne of 1911 2713:John Quinn (collector) 1937:Raymond Duchamp-Villon 1724:Woman with Black Glove 1708:Composition for "Jazz" 1580:The Banks of the Marne 1093:Daniel Robbins, 1964, 836: 791: 769: 759: 688:. Metzinger exhibited 675: 547: 536: 451: 440:Albert Gleizes, 1911, 299: 247: 242:by Albert Gleizes and 2649:Guillaume Apollinaire 1778:Juliette Roche (wife) 1760:Painting and its Laws 1327:stayed there in 1910. 1308:Louis Bernard Bonjean 831: 778: 774:Guillaume Apollinaire 766:Guillaume Apollinaire 764: 750: 669: 541: 512: 439: 283: 275:What the cubes say... 233: 1952:Roger de La Fresnaye 1897:Alexander Archipenko 731:Alexander Archipenko 704:Roger de La Fresnaye 694:. Also present were 691:Le goûter (Tea Time) 494:Le goûter (Tea Time) 431:the dynamism of form 399:associated with the 287:Le goûter (Tea Time) 261:Le goûter (Tea Time) 244:Le goûter (Tea Time) 211:. The background of 2165:Alexander Rodchenko 2105:Patrick Henry Bruce 2037:Jeanne Rij-Rousseau 1947:Henri Le Fauconnier 1907:Constantin Brâncuși 1879:Henri Le Fauconnier 1498:Sur la ligne de feu 1492:Le Petit Parisien, 1398:Le Rouge et le Noir 1394:L'Epopée (The Epic) 1195:Christopher Green, 966:Le Rouge et le Noir 696:Henri Le Fauconnier 397:Henri-Martin Barzun 349:Alexandre Mercereau 343:, held in October. 311:large extent free, 2729:Arthur Jerome Eddy 2277:La Femme aux Phlox 2253:La Femme au Cheval 2170:Nadezhda Udaltsova 1982:Jean Lambert-Rucki 1962:Natalia Goncharova 1692:Woman with Animals 1370:Le Salon d'Automne 1259:Cubism and Culture 1157:La Femme aux Phlox 1073:David Cottington, 1010:Cubism and Culture 770: 676: 639:Les Hommes du jour 557:Cubism and Culture 548: 452: 401:Unanimist movement 386:Woman with a Horse 381:La Femme au Cheval 300: 248: 2760: 2759: 2626:La Maison Cubiste 2475:Chronophotography 2445:Neo-impressionism 1791: 1790: 1644:Harvest Threshing 1396:, in the journal 930:, 10 October 1911 914:Kunstmuseum Basel 616:Le Petit Parisien 509:Gleizes on Nayral 448:Galería J. Dalmau 246:by Jean Metzinger 94: 93: 16:(Redirected from 2800: 2793:Portraits of men 2778:Cubist paintings 2679:Léonce Rosenberg 2643:Louis Vauxcelles 2583:Russian Futurism 2501:Cubist sculpture 2460:Symbolism (arts) 2376:Groupe de femmes 2293:Man on a Balcony 2261:Dancer in a café 2221:The Accordionist 2175:Marie Vassilieff 2140:Kazimir Malevich 2120:Lyonel Feininger 2070: 2017:Louis Marcoussis 2002:Jacques Lipchitz 1818: 1811: 1804: 1795: 1794: 1738: 1684:Cubist Landscape 1668:Man in a Hammock 1660:Football Players 1628:Man on a Balcony 1596:Woman with Phlox 1553: 1546: 1539: 1530: 1529: 1502: 1489: 1483: 1475: 1469: 1456: 1450: 1444:Huntley Carter, 1441: 1435: 1426: 1420: 1411: 1402: 1384:Albert Gleizes, 1381: 1375: 1365: 1356: 1351:Albert Gleizes, 1349: 1343: 1337:Albert Gleizes, 1334: 1328: 1317: 1311: 1304: 1298: 1295: 1289: 1281: 1275: 1268: 1262: 1255: 1234: 1226: 1215: 1210: 1201: 1192: 1183: 1178: 1172: 1167: 1161: 1152: 1146: 1130: 1117: 1108: 1099: 1090: 1079: 1070: 1053: 1048: 993:Varichon, Anne, 859:Mme Joseph Houot 728:Cubist sculptors 425:'s technique of 384:, also known as 319:Content and form 284:Jean Metzinger, 143:representational 42: 30: 29: 21: 2808: 2807: 2803: 2802: 2801: 2799: 2798: 2797: 2763: 2762: 2761: 2756: 2741:Blaise Cendrars 2731:(art collector) 2720:(art collector) 2709:(art collector) 2697:(art collector) 2631: 2597: 2479: 2440:Esprit Jouffret 2435:Maurice Princet 2420:Gustave Courbet 2398: 2363: 2357:Three Musicians 2184: 2180:Marie Vorobieff 2083: 2074:Georges Valmier 2064: 2052:Léopold Survage 2027:Francis Picabia 1987:Marie Laurencin 1977:František Kupka 1942:Alexandra Exter 1917:Robert Delaunay 1902:María Blanchard 1883: 1859:Robert Delaunay 1827: 1822: 1792: 1787: 1766: 1739: 1730: 1716:Brooklyn Bridge 1562: 1557: 1510: 1505: 1490: 1486: 1476: 1472: 1459:Huntly Carter, 1457: 1453: 1442: 1438: 1431:Salon d'Automne 1427: 1423: 1412: 1405: 1382: 1378: 1366: 1359: 1350: 1346: 1335: 1331: 1318: 1314: 1305: 1301: 1296: 1292: 1282: 1278: 1269: 1265: 1256: 1237: 1227: 1218: 1211: 1204: 1193: 1186: 1179: 1175: 1168: 1164: 1153: 1149: 1131: 1120: 1109: 1102: 1091: 1082: 1071: 1056: 1049: 1045: 1041: 1019: 1017:Further reading 978:Robbins, Daniel 928:L'Intransigeant 923: 910:Centre Pompidou 875: 853: 841: 755: 754: 724:Francis Picabia 720:František Kupka 672:Salon d'Automne 664: 626:questioned the 604: 526: 525: 520: 519: 511: 390:Galeries Dalmau 368:Francis Picabia 364:Robert Delaunay 321: 267:Roland Dorgelès 182: 113:Salon d'Automne 101:(also known as 28: 23: 22: 15: 12: 11: 5: 2806: 2796: 2795: 2790: 2785: 2783:1911 paintings 2780: 2775: 2758: 2757: 2755: 2754: 2749: 2744: 2738: 2735:Pierre Reverdy 2732: 2726: 2721: 2718:Leonard Lauder 2715: 2710: 2704: 2698: 2695:Gertrude Stein 2692: 2687: 2682: 2676: 2670: 2669:(poet, critic) 2667:Maurice Raynal 2664: 2658: 2652: 2651:(poet, critic) 2646: 2639: 2637: 2633: 2632: 2630: 2629: 2622: 2614: 2605: 2603: 2599: 2598: 2596: 2595: 2590: 2585: 2580: 2575: 2570: 2568:Constructivism 2565: 2560: 2555: 2550: 2548:Crystal Cubism 2545: 2540: 2535: 2530: 2525: 2520: 2515: 2514: 2513: 2503: 2498: 2493: 2487: 2485: 2481: 2480: 2478: 2477: 2472: 2467: 2462: 2457: 2452: 2447: 2442: 2437: 2432: 2427: 2425:Georges Seurat 2422: 2417: 2412: 2406: 2404: 2400: 2399: 2397: 2396: 2388: 2380: 2371: 2369: 2365: 2364: 2362: 2361: 2353: 2345: 2337: 2329: 2321: 2313: 2305: 2301:Les Baigneuses 2297: 2289: 2281: 2273: 2265: 2257: 2249: 2241: 2233: 2225: 2217: 2209: 2201: 2192: 2190: 2186: 2185: 2183: 2182: 2177: 2172: 2167: 2162: 2160:Morgan Russell 2157: 2152: 2147: 2142: 2137: 2132: 2127: 2122: 2117: 2112: 2107: 2102: 2097: 2091: 2089: 2085: 2084: 2082: 2081: 2079:Jacques Villon 2076: 2071: 2059: 2054: 2049: 2044: 2039: 2034: 2029: 2024: 2022:Jean Metzinger 2019: 2014: 2009: 2004: 1999: 1994: 1989: 1984: 1979: 1974: 1972:Auguste Herbin 1969: 1964: 1959: 1957:Albert Gleizes 1954: 1949: 1944: 1939: 1934: 1929: 1927:Marcel Duchamp 1924: 1922:Sonia Delaunay 1919: 1914: 1909: 1904: 1899: 1893: 1891: 1885: 1884: 1882: 1881: 1876: 1874:Marcel Duchamp 1871: 1866: 1861: 1856: 1854:Albert Gleizes 1851: 1849:Jean Metzinger 1846: 1844:Georges Braque 1841: 1835: 1833: 1829: 1828: 1821: 1820: 1813: 1806: 1798: 1789: 1788: 1786: 1785: 1780: 1774: 1772: 1768: 1767: 1765: 1764: 1756: 1747: 1745: 1741: 1740: 1733: 1731: 1729: 1728: 1720: 1712: 1704: 1696: 1688: 1680: 1672: 1664: 1656: 1648: 1640: 1632: 1624: 1616: 1608: 1600: 1592: 1584: 1576: 1570: 1568: 1564: 1563: 1560:Albert Gleizes 1556: 1555: 1548: 1541: 1533: 1527: 1526: 1521: 1516: 1509: 1508:External links 1506: 1504: 1503: 1484: 1470: 1451: 1436: 1421: 1403: 1376: 1357: 1344: 1329: 1312: 1299: 1290: 1276: 1263: 1235: 1229:Peter Brooke, 1216: 1202: 1184: 1173: 1162: 1147: 1133:Peter Brooke, 1118: 1100: 1080: 1054: 1042: 1040: 1037: 1036: 1035: 1029: 1023:André Salmon, 1018: 1015: 1014: 1013: 1006: 991: 988: 985: 975: 972: 969: 962: 955: 948: 941: 934: 931: 922: 919: 918: 917: 903: 900: 897: 894: 891: 888: 885: 882: 879: 874: 871: 870: 869: 866: 863: 860: 857: 852: 849: 848: 847: 840: 837: 744:The author of 716:Marcel Duchamp 712:Jacques Villon 663: 660: 622:, Janneau for 603: 600: 584: 583: 552:Galerie Dalmau 510: 507: 372:antipositivist 325:Jacques Nayral 320: 317: 225:Daniel Robbins 219:, the western 181: 178: 127:Jean Metzinger 109:Albert Gleizes 92: 91: 82: 78: 77: 74: 70: 69: 66: 62: 61: 58: 54: 53: 51:Albert Gleizes 48: 44: 43: 35: 34: 26: 9: 6: 4: 3: 2: 2805: 2794: 2791: 2789: 2786: 2784: 2781: 2779: 2776: 2774: 2771: 2770: 2768: 2753: 2750: 2748: 2745: 2742: 2739: 2736: 2733: 2730: 2727: 2725: 2722: 2719: 2716: 2714: 2711: 2708: 2705: 2702: 2699: 2696: 2693: 2691: 2688: 2686: 2683: 2680: 2677: 2674: 2671: 2668: 2665: 2662: 2659: 2656: 2653: 2650: 2647: 2644: 2641: 2640: 2638: 2634: 2628: 2627: 2623: 2620: 2619: 2615: 2612: 2611: 2607: 2606: 2604: 2600: 2594: 2591: 2589: 2586: 2584: 2581: 2579: 2576: 2574: 2571: 2569: 2566: 2564: 2561: 2559: 2556: 2554: 2551: 2549: 2546: 2544: 2541: 2539: 2536: 2534: 2531: 2529: 2526: 2524: 2523:Orphism (art) 2521: 2519: 2516: 2512: 2509: 2508: 2507: 2504: 2502: 2499: 2497: 2496:Cubo-Futurism 2494: 2492: 2489: 2488: 2486: 2482: 2476: 2473: 2471: 2468: 2466: 2463: 2461: 2458: 2456: 2453: 2451: 2448: 2446: 2443: 2441: 2438: 2436: 2433: 2431: 2428: 2426: 2423: 2421: 2418: 2416: 2413: 2411: 2408: 2407: 2405: 2401: 2394: 2393: 2389: 2386: 2385: 2381: 2378: 2377: 2373: 2372: 2370: 2366: 2359: 2358: 2354: 2351: 2350: 2346: 2343: 2342: 2338: 2335: 2334: 2330: 2327: 2326: 2322: 2319: 2318: 2314: 2311: 2310: 2306: 2303: 2302: 2298: 2295: 2294: 2290: 2287: 2286: 2282: 2279: 2278: 2274: 2271: 2270: 2269:L'Oiseau bleu 2266: 2263: 2262: 2258: 2255: 2254: 2250: 2247: 2246: 2242: 2239: 2238: 2234: 2231: 2230: 2226: 2223: 2222: 2218: 2215: 2214: 2210: 2207: 2206: 2202: 2199: 2198: 2194: 2193: 2191: 2187: 2181: 2178: 2176: 2173: 2171: 2168: 2166: 2163: 2161: 2158: 2156: 2153: 2151: 2150:Lyubov Popova 2148: 2146: 2143: 2141: 2138: 2136: 2133: 2131: 2128: 2126: 2123: 2121: 2118: 2116: 2113: 2111: 2108: 2106: 2103: 2101: 2098: 2096: 2095:Giacomo Balla 2093: 2092: 2090: 2086: 2080: 2077: 2075: 2072: 2068: 2063: 2062:Henry Valensi 2060: 2058: 2055: 2053: 2050: 2048: 2047:Gino Severini 2045: 2043: 2040: 2038: 2035: 2033: 2030: 2028: 2025: 2023: 2020: 2018: 2015: 2013: 2012:Jean Marchand 2010: 2008: 2005: 2003: 2000: 1998: 1997:Fernand Léger 1995: 1993: 1992:Henri Laurens 1990: 1988: 1985: 1983: 1980: 1978: 1975: 1973: 1970: 1968: 1965: 1963: 1960: 1958: 1955: 1953: 1950: 1948: 1945: 1943: 1940: 1938: 1935: 1933: 1932:Pierre Dumont 1930: 1928: 1925: 1923: 1920: 1918: 1915: 1913: 1910: 1908: 1905: 1903: 1900: 1898: 1895: 1894: 1892: 1890: 1886: 1880: 1877: 1875: 1872: 1870: 1869:Fernand Léger 1867: 1865: 1862: 1860: 1857: 1855: 1852: 1850: 1847: 1845: 1842: 1840: 1839:Pablo Picasso 1837: 1836: 1834: 1830: 1826: 1819: 1814: 1812: 1807: 1805: 1800: 1799: 1796: 1784: 1781: 1779: 1776: 1775: 1773: 1769: 1762: 1761: 1757: 1754: 1753: 1749: 1748: 1746: 1742: 1737: 1726: 1725: 1721: 1718: 1717: 1713: 1710: 1709: 1705: 1702: 1701: 1697: 1694: 1693: 1689: 1686: 1685: 1681: 1678: 1677: 1673: 1670: 1669: 1665: 1662: 1661: 1657: 1654: 1653: 1649: 1646: 1645: 1641: 1638: 1637: 1633: 1630: 1629: 1625: 1622: 1621: 1617: 1614: 1613: 1609: 1606: 1605: 1601: 1598: 1597: 1593: 1590: 1589: 1585: 1582: 1581: 1577: 1575: 1574:List of works 1572: 1571: 1569: 1565: 1561: 1554: 1549: 1547: 1542: 1540: 1535: 1534: 1531: 1525: 1522: 1520: 1517: 1515: 1512: 1511: 1501: 1499: 1495: 1488: 1482: 1480: 1474: 1468: 1466: 1462: 1455: 1449: 1447: 1440: 1434: 1432: 1429:Kubisme.info 1425: 1419: 1417: 1410: 1408: 1401: 1399: 1395: 1391: 1387: 1380: 1373: 1371: 1364: 1362: 1354: 1348: 1342: 1340: 1333: 1326: 1322: 1316: 1309: 1303: 1294: 1288: 1286: 1280: 1273: 1267: 1260: 1254: 1252: 1250: 1248: 1246: 1244: 1242: 1240: 1233: 1232: 1225: 1223: 1221: 1214: 1209: 1207: 1200: 1198: 1191: 1189: 1182: 1177: 1171: 1166: 1159: 1158: 1151: 1145: 1144:0-300-08964-3 1141: 1138: 1136: 1129: 1127: 1125: 1123: 1116: 1114: 1107: 1105: 1098: 1096: 1089: 1087: 1085: 1078: 1076: 1069: 1067: 1065: 1063: 1061: 1059: 1052: 1047: 1043: 1033: 1030: 1028: 1026: 1021: 1020: 1011: 1007: 1004: 1003:2-85056-286-6 1000: 996: 992: 989: 986: 983: 979: 976: 973: 970: 967: 963: 960: 956: 953: 952:Le Petit Bleu 949: 946: 942: 939: 935: 932: 929: 925: 924: 915: 911: 907: 904: 901: 898: 895: 892: 889: 886: 883: 880: 877: 876: 867: 864: 861: 858: 855: 854: 846: 843: 842: 835: 830: 828: 823: 821: 815: 811: 809: 805: 800: 795: 790: 788: 784: 777: 775: 767: 763: 758: 749: 747: 742: 740: 736: 732: 729: 725: 721: 717: 713: 709: 705: 701: 700:Fernand Léger 697: 693: 692: 687: 686: 681: 673: 668: 659: 655: 653: 649: 643: 640: 635: 633: 632:Echo de Paris 629: 625: 621: 617: 612: 610: 599: 597: 593: 587: 581: 580: 579: 577: 572: 570: 565: 562: 558: 553: 545: 540: 535: 533: 527: 521: 517: 506: 504: 500: 496: 495: 489: 487: 486: 481: 476: 472: 469: 465: 461: 457: 449: 445: 444: 438: 434: 432: 428: 424: 420: 418: 414: 413: 408: 407: 402: 398: 393: 391: 387: 383: 382: 377: 376:Henri Bergson 373: 369: 365: 361: 360:Fernand Léger 357: 352: 350: 346: 342: 338: 334: 330: 326: 316: 314: 309: 305: 297: 293: 289: 288: 282: 278: 276: 272: 268: 263: 262: 257: 253: 245: 241: 237: 232: 228: 226: 222: 218: 214: 210: 209:Tous les Arts 206: 205: 200: 199: 194: 189: 186: 177: 175: 171: 166: 163: 159: 158:Henri Bergson 154: 152: 148: 144: 140: 136: 132: 128: 124: 123: 118: 114: 110: 106: 105: 100: 99: 90: 86: 83: 79: 75: 71: 68:Oil on canvas 67: 63: 59: 55: 52: 49: 45: 41: 36: 31: 19: 2707:Wilhelm Uhde 2703:(art dealer) 2701:Berthe Weill 2681:(art dealer) 2675:(art dealer) 2655:André Salmon 2624: 2616: 2610:Du "Cubisme" 2608: 2588:Ego-Futurism 2528:Abstract art 2506:Czech Cubism 2491:Section d'Or 2470:Proto-Cubism 2415:Paul Gauguin 2410:Paul Cézanne 2390: 2382: 2374: 2355: 2347: 2339: 2331: 2323: 2315: 2307: 2299: 2291: 2284: 2283: 2275: 2267: 2259: 2251: 2243: 2237:La Coiffeuse 2235: 2227: 2219: 2211: 2203: 2195: 2155:Diego Rivera 2135:August Macke 2125:El Lissitzky 2100:Alice Bailly 2042:Diego Rivera 1967:Henri Hayden 1912:Joseph Csaky 1889:Section d'Or 1758: 1752:Du "Cubisme" 1750: 1722: 1714: 1706: 1698: 1690: 1682: 1674: 1666: 1658: 1650: 1642: 1634: 1626: 1618: 1611: 1610: 1602: 1594: 1586: 1578: 1497: 1493: 1487: 1478: 1473: 1464: 1460: 1454: 1445: 1439: 1430: 1424: 1415: 1397: 1393: 1389: 1385: 1379: 1369: 1352: 1347: 1338: 1332: 1315: 1302: 1293: 1284: 1279: 1272:Du "Cubisme" 1271: 1266: 1258: 1230: 1196: 1176: 1165: 1156: 1150: 1134: 1112: 1094: 1074: 1046: 1031: 1024: 1009: 994: 981: 965: 958: 951: 945:Du "Cubisme" 944: 937: 927: 905: 832: 826: 824: 820:Section d'Or 816: 812: 807: 803: 798: 794:Roger Allard 792: 786: 782: 779: 771: 751: 745: 743: 738: 735:Joseph Csaky 689: 683: 679: 677: 656: 644: 638: 636: 631: 627: 623: 619: 615: 613: 608: 605: 591: 588: 585: 575: 573: 568: 566: 560: 556: 551: 549: 543: 531: 528: 522: 515: 513: 503:Proto-Cubist 499:Du "Cubisme" 498: 492: 490: 483: 477: 475:had sought. 473: 468:Du "Cubisme" 467: 459: 455: 453: 441: 430: 426: 423:Paul Cézanne 421: 410: 406:Du "Cubisme" 404: 394: 385: 379: 355: 353: 345:Du "Cubisme" 344: 341:Section d'Or 337:Du "Cubisme" 336: 332: 328: 324: 322: 312: 307: 303: 301: 296:André Salmon 285: 274: 270: 259: 255: 251: 249: 243: 239: 235: 212: 208: 202: 198:Du «Cubisme» 196: 190: 184: 183: 167: 155: 151:Section d'Or 134: 122:Du "Cubisme" 120: 117:Section d'Or 103: 102: 97: 96: 95: 2747:Armory Show 2621:(1913 book) 2613:(1912 book) 2558:Suprematism 2533:Synchromism 2511:Rondocubism 2455:Divisionism 2450:Pointillism 2430:Paul Signac 2272:(Metzinger) 2264:(Metzinger) 2256:(Metzinger) 2248:(Metzinger) 2110:Carlo Carrà 2065: [ 2007:André Lhote 1636:The Bathers 1321:André Lhote 873:Exhibitions 827:The New Age 708:André Lhote 596:Passy group 561:sympathetic 331:, Gleizes' 180:Description 170:Tate Modern 162:avant-garde 125:written by 85:Tate Modern 2767:Categories 2518:Die Brücke 2484:Influenced 2403:Influences 2368:Sculptures 2145:Franz Marc 1479:Le cubisme 1325:Raoul Dufy 1039:References 921:Literature 906:Le cubisme 851:Provenance 614:Claude of 609:Le Journal 417:Symbolists 217:Courbevoie 139:figurative 73:Dimensions 2661:Max Jacob 2593:Vorticism 2360:(Picasso) 2320:(Duchamp) 2312:(Gleizes) 2304:(Gleizes) 2296:(Gleizes) 2288:(Gleizes) 2280:(Gleizes) 2245:Le goûter 2240:(Picasso) 2232:(Picasso) 2224:(Picasso) 2216:(Picasso) 2208:(Picasso) 2200:(Picasso) 2189:Paintings 2115:Paul Klee 1864:Juan Gris 1703:(1914–15) 1663:(1912–13) 1567:Paintings 787:La Chasse 685:La Chasse 628:sincerity 620:arrivisme 602:Criticism 590:entitled 2657:(critic) 2645:(critic) 2578:Art Deco 2573:De Stijl 2543:Futurism 2384:Danseuse 2333:The City 1604:The Hunt 1588:The Tree 1390:Kubismus 839:See also 808:Tea-time 799:Tea-time 739:Salle 41 726:and the 624:Gil Blas 569:Tea Time 505:phase). 329:Tea Time 252:Fantasio 236:Fantasio 227:, 1964) 221:banlieue 81:Location 2636:Related 2602:Related 2465:Fauvism 2395:(Csaky) 2387:(Csaky) 2379:(Csaky) 2344:(Léger) 2336:(Léger) 2328:(Kupka) 1832:Leaders 1771:Related 768:in 1914 674:, Paris 648:Matisse 532:Automne 427:passage 304:suggest 2743:(poet) 2737:(poet) 2663:(poet) 2553:Purism 2538:Tubism 2352:(Gris) 2088:Others 2057:Tobeen 1825:Cubism 1783:Cubism 1763:(1924) 1755:(1912) 1727:(1920) 1719:(1915) 1711:(1915) 1695:(1914) 1687:(1914) 1679:(1913) 1671:(1913) 1655:(1912) 1647:(1912) 1639:(1912) 1631:(1912) 1623:(1911) 1615:(1911) 1607:(1911) 1599:(1910) 1591:(1910) 1583:(1909) 1400:, 1929 1142: 1115:, 1911 1001: 652:Derain 460:viewer 456:artist 356:memory 308:define 193:Abbaye 174:London 147:Cubism 131:Cubism 89:London 65:Medium 47:Artist 2069:] 1744:Books 313:libre 2563:Dada 2392:Head 1433:1911 1323:and 1140:ISBN 999:ISBN 682:and 650:and 458:and 409:and 366:and 60:1911 57:Year 277:). 172:in 141:or 2769:: 2067:fr 1496:, 1463:, 1406:^ 1360:^ 1238:^ 1219:^ 1205:^ 1187:^ 1121:^ 1103:^ 1083:^ 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Knowledge

Portrait of Jacques Nayral

Index