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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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911:"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."
427:, 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
726:(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.
247:—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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220:. 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.
738:, 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.
1463:, 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)
566:"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
532:(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
391:, "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.
528:) 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.
455:, 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
505:(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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777:), 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
1029:, 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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1503:, 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
875:, 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.
628:, 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
279:(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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387:, depicts "a harmonious and balanced landscape in which industrial and urban elements are imbricated with the surrounding countryside;" writes Cottington in
1301:, Northwestern University Studies in Phenomenology and Existential Philosophy, Northwestern University Press, IL, 1964. Originally published in French as
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1133:, 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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563:. "The three dimensions of sensorial volume", Gleizes would write in 1925, "left open the field for the introduction of the time factor".
1164:, 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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1476:, 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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451:, 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
208:, 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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1408:, 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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1346:, 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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499:. It was precisely during 1912 that Gleizes and Metzinger would write the seminal treatise
1267:, 1925, in Bulletin de l'Effort Moderne, 22–32, February 1926–Feb 1927. Also published in
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196:—that appear to espouse elements of the foreground. Above these cliffs are found several
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Herschel Browning Chipp, with contributions by Peter Howard Selz and Joshua C. Taylor,
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329:, Crayon, ink and gouache on paper, 23 x 32.5 cm, Fondation Albert Gleizes (Paris)
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1003:, published by Eugène Figuière, Paris, 1912, translated to English and Russian in 1913
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766:. 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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113:) 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
295:, 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
275:, 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)
1265:"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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693:. Plate 413, Woman washing, Collotypes; Motion study photographs
366:, fusain and chalk on paper, 30 x 38 cm, art market (Paris)
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1040:, 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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1512:, 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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1010:, March 20, 1912 (cf. Chroniques d'Art, 1960, p. 230).
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929:(left), André Lhote, two works (center), Albert Gleizes,
613:, 1874–1875, oil on canvas, 38.1 × 46 cm (15 × 18.1 in),
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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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678:, Plate 187, Dancing, fancy, no. 12, Miss Larrigan
1271:, May 1925 (written as part of the Bauhaus book,
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1148:Albert Gleizes, Chronology of his life, 1881-1953
979:, 17 October 2018 – 25 February 2019, Galerie 1,
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260:intensification in the vicinity of the bathers.
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318:, pastel pierre noire and ink on bistre paper,
139:the same year: the first and only manifesto on
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942:Salon des Indépendants, Paris, 1912, no. 1347.
585:, 1894–1905, oil on canvas, 127.2 × 196.1 cm.
129:, autumn 1912. The painting was reproduced in
2791:Paintings in the Musée d'Art Moderne de Paris
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1350:, Harper & Row, New York 1962, pp. 81-93"
1206:, published in German, 1928, under the title
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1038:Albert Gleizes – Catalogue Raisonné, Volume 1
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431:group. Gleizes deployed these techniques in
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1203:The Epic, From immobile form to mobile form
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773:nomenclature offered to the spectator (the
741:In 1912 the photographic motion studies of
216:) where Gleizes lived, 24 Avenue Gambetta,
2606:The Cubist Painters, Aesthetic Meditations
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1447:Salon des Indépendants, 1912, kubisme.info
1116:, Musée d'Art Moderne de la Ville de Paris
125:, Rouen, summer 1912; and the Salon de la
1348:The Artist's Voice. Talks with Seventeen
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433:"a radical, personal and coherent manner"
1379:, Harvard University Press, Nov 30, 2003
1017:Musee d'Art Moderne de la Ville de Paris
935:Musée d'Art Moderne de la Ville de Paris
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407:) than to those of the Gallery Cubists (
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162:Musée d'Art Moderne de la Ville de Paris
93:Musée d'Art Moderne de la Ville de Paris
983:, Musée National d'Art Moderne, Paris.
829:La Femme au Cheval (Woman with a horse)
749:particularly interested artists of the
182:La Revue de France et des pays français
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1237:, University of California Press, 1968
1210:, the French version was published as
419:of the avant-gardist challenge of the
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512:and contemporary aesthetics. Indeed,
299:can be observed; just as in Gleizes'
204:. Though native to many areas of the
734:offered by Cubism, as instigated by
336:, fusain and gouache on rose paper,
123:Société Normande de Peinture Moderne
2201:Portrait of Daniel-Henry Kahnweiler
1328:Internet Encyclopedia of Philosophy
1324:"Maurice Merleau-Ponty (1908—1961)"
1218:, 1929. Translation by Peter Brooke
997:Albert Gleizes and Jean Metzinger,
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2337:Still Life with Checked Tablecloth
2305:Nude Descending a Staircase, No. 2
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1393:, Little, Brown, and Company, 1972
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1179:, Fondation Albert Gleizes, Paris
374:, much as that of his monumental
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583:Bathers (Les Grandes Baigneuses)
147:, while still 'readable' in the
135:, written by Albert Gleizes and
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1177:Péniches et fumées à Courbevoie
1059:List of works by Albert Gleizes
1019:, Catalogue-Guide, Paris, 1961.
327:Péniches et fumées à Courbevoie
257:Péniches et fumées à Courbevoie
2712:Douglas Cooper (art historian)
2678:Daniel Robbins (art historian)
1510:Cubists and Post-Impressionism
1269:La Vie des Lettres et des Arts
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1664:The Publisher Eugène Figuière
1101:, Yale University Press, 1998
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2193:Portrait of Ambroise Vollard
786:Salon des Indépendants, 1912
753:, including Jean Metzinger,
342:Musée national d'art moderne
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2761:Paintings by Albert Gleizes
2673:Paul Rosenberg (art dealer)
2329:Still Life with Candlestick
2020:Georges Ribemont-Dessaignes
1608:Le Chemin, Paysage Ă Meudon
1052:
898:are seen towards the center
885:Portrait de Eugène Figuière
389:Cubism in the Shadow of War
349:La Seine près de Courbevoie
269:Les Baigneuses, The Bathers
10:
2807:
2273:Portrait of Jacques Nayral
1811:
1688:Portrait of an Army Doctor
1600:Portrait of Jacques Nayral
987:, 31 March – 5 August 2019
850:Le Chasseur (The Huntsman)
775:relativity of simultaneity
615:Metropolitan Museum of Art
569:
200:woody plants of the genus
178:Dessin pour les Baigneuses
117:. It was exhibited at the
18:
16:Painting by Albert Gleizes
2623:
2589:
2471:
2390:
2355:
2313:The Cathedral (Katedrála)
2217:Le pigeon aux petits pois
2185:Les Demoiselles d'Avignon
2176:
2075:
1875:
1819:
1758:
1731:
1720:
1554:
1275:). See too Peter Brooke,
1118:, Online collection entry
794:Albert Gleizes exhibited
224:Optimistic reconciliation
88:
80:
72:
64:
54:
45:
37:
32:
2118:Stanton Macdonald-Wright
1490:Fondation Albert Gleizes
1435:Nu descendant l’escalier
804:Nu descendant l'escalier
552:had become fashionable.
334:L'île de la Grande Jatte
19:Not to be confused with
2740:Fourth dimension in art
2661:Daniel-Henry Kahnweiler
2297:Les Joueurs de football
1640:Passy, Bridges of Paris
1296:Maurice Merleau-Ponty,
955:, Prague, 1914, no. 36.
438:
184:, February - March 1912
2701:John Quinn (collector)
1925:Raymond Duchamp-Villon
1712:Woman with Black Glove
1696:Composition for "Jazz"
1568:The Banks of the Marne
1201:Albert Gleizes, 1925,
1175:Albert Gleizes, 1908,
1160:Daniel Robbins, 1964,
938:
909:
899:
818:showed his monumental
792:Salon des Indépendants
718:happening at the same
694:
679:
664:
660:Albert Gleizes, 1912,
618:
598:Staticity and dynamism
590:
526:Salon des Indépendants
497:four-dimensional space
456:
447:Albert Gleizes, 1911,
370:The subject matter of
303:
267:Albert Gleizes, 1912,
185:
176:Albert Gleizes, 1911,
119:Salon des Indépendants
25:Les Grandes Baigneuses
2637:Guillaume Apollinaire
1766:Juliette Roche (wife)
1748:Painting and its Laws
922:
904:
881:
685:
670:
659:
605:
577:
536:(Groupe de Puteaux).
446:
266:
239:, and to some extent
175:
1940:Roger de La Fresnaye
1885:Alexander Archipenko
1508:Arthur Jerome Eddy,
891:La Chasse (The Hunt)
808:Roger de La Fresnaye
435:(Cottington, 1998).
322:, private collection
2776:Landscape paintings
2153:Alexander Rodchenko
2093:Patrick Henry Bruce
2025:Jeanne Rij-Rousseau
1935:Henri Le Fauconnier
1895:Constantin Brâncuși
1867:Henri Le Fauconnier
1356:on 25 February 2019
1298:Sense and Non-sense
1216:Le Rouge et le Noir
1212:L'Epopée (The Epic)
871:, Gleizes with his
858:Portrait of Picasso
852:— and the newcomer
846:Henri Le Fauconnier
747:Étienne-Jules Marey
716:physical occurrence
401:Henri Le Fauconnier
364:Barque Ă Courbevoie
292:Bathers at Asnières
206:Northern Hemisphere
2717:Arthur Jerome Eddy
2265:La Femme aux Phlox
2241:La Femme au Cheval
2158:Nadezhda Udaltsova
1970:Jean Lambert-Rucki
1950:Natalia Goncharova
1680:Woman with Animals
1130:La Femme aux Phlox
1097:David Cottington,
939:
900:
743:Eadweard Muybridge
724:frame of reference
695:
687:Eadweard Muybridge
680:
672:Eadweard Muybridge
665:
619:
591:
457:
357:Musée Roybet Fould
304:
186:
2748:
2747:
2614:La Maison Cubiste
2463:Chronophotography
2433:Neo-impressionism
1779:
1778:
1632:Harvest Threshing
1418:Alex Mittelmann,
1403:Paul M. Laporte,
1214:, in the journal
985:Kunstmuseum Basel
759:chronophotography
691:Animal locomotion
676:Animal Locomotion
377:Harvest Threshing
351:, oil on canvas,
308:L'île de la Jatte
102:
101:
2798:
2766:Cubist paintings
2667:LĂ©once Rosenberg
2631:Louis Vauxcelles
2571:Russian Futurism
2489:Cubist sculpture
2448:Symbolism (arts)
2364:Groupe de femmes
2281:Man on a Balcony
2249:Dancer in a café
2209:The Accordionist
2163:Marie Vassilieff
2128:Kazimir Malevich
2108:Lyonel Feininger
2058:
2005:Louis Marcoussis
1990:Jacques Lipchitz
1806:
1799:
1792:
1783:
1782:
1726:
1672:Cubist Landscape
1656:Man in a Hammock
1648:Football Players
1616:Man on a Balcony
1584:Woman with Phlox
1541:
1534:
1527:
1518:
1517:
1478:
1470:
1464:
1458:
1449:
1444:
1438:
1430:
1424:
1415:
1409:
1400:
1394:
1387:
1381:
1372:
1366:
1365:
1363:
1361:
1352:. Archived from
1342:"Katherine Kuh,
1338:
1332:
1331:
1320:
1314:
1303:Sens et non-sens
1293:
1287:
1263:Albert Gleizes,
1261:
1246:
1230:
1219:
1198:
1187:
1181:
1172:
1166:
1157:
1151:
1143:
1134:
1125:
1119:
1112:Albert Gleizes,
1109:
1103:
1094:
1079:
1074:
1032:Varichon, Anne,
1006:Apollinaire, g.
923:Jean Metzinger,
867:, Delaunay with
769:There is also a
640:element and the
587:National Gallery
354:
339:
321:
306:Gleizes painted
289:(1884), and his
245:Meudon Landscape
153:representational
50:
30:
29:
2806:
2805:
2801:
2800:
2799:
2797:
2796:
2795:
2751:
2750:
2749:
2744:
2729:Blaise Cendrars
2719:(art collector)
2708:(art collector)
2697:(art collector)
2685:(art collector)
2619:
2585:
2467:
2428:Esprit Jouffret
2423:Maurice Princet
2408:Gustave Courbet
2386:
2351:
2345:Three Musicians
2172:
2168:Marie Vorobieff
2071:
2062:Georges Valmier
2052:
2040:LĂ©opold Survage
2015:Francis Picabia
1975:Marie Laurencin
1965:František Kupka
1930:Alexandra Exter
1905:Robert Delaunay
1890:MarĂa Blanchard
1871:
1847:Robert Delaunay
1815:
1810:
1780:
1775:
1754:
1727:
1718:
1704:Brooklyn Bridge
1550:
1545:
1486:
1481:
1471:
1467:
1459:
1452:
1445:
1441:
1431:
1427:
1416:
1412:
1401:
1397:
1388:
1384:
1373:
1369:
1359:
1357:
1340:
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1335:
1322:
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1317:
1294:
1290:
1262:
1249:
1231:
1222:
1199:
1190:
1184:
1173:
1169:
1158:
1154:
1144:
1137:
1126:
1122:
1110:
1106:
1095:
1082:
1075:
1071:
1067:
1055:
1023:Robbins, Daniel
994:
981:Centre Pompidou
951:Moderni Umeni,
917:
816:Robert Delaunay
788:
710:of two or more
617:, New York City
600:
572:
522:Salon d'Automne
453:Galeries Dalmau
441:
397:Robert Delaunay
352:
337:
319:
277:ĂŽle de la Jatte
233:Robert Delaunay
226:
180:, published in
170:
28:
17:
12:
11:
5:
2804:
2794:
2793:
2788:
2786:Bathing in art
2783:
2778:
2773:
2771:1912 paintings
2768:
2763:
2746:
2745:
2743:
2742:
2737:
2732:
2726:
2723:Pierre Reverdy
2720:
2714:
2709:
2706:Leonard Lauder
2703:
2698:
2692:
2686:
2683:Gertrude Stein
2680:
2675:
2670:
2664:
2658:
2657:(poet, critic)
2655:Maurice Raynal
2652:
2646:
2640:
2639:(poet, critic)
2634:
2627:
2625:
2621:
2620:
2618:
2617:
2610:
2602:
2593:
2591:
2587:
2586:
2584:
2583:
2578:
2573:
2568:
2563:
2558:
2556:Constructivism
2553:
2548:
2543:
2538:
2536:Crystal Cubism
2533:
2528:
2523:
2518:
2513:
2508:
2503:
2502:
2501:
2491:
2486:
2481:
2475:
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2466:
2465:
2460:
2455:
2450:
2445:
2440:
2435:
2430:
2425:
2420:
2415:
2413:Georges Seurat
2410:
2405:
2400:
2394:
2392:
2388:
2387:
2385:
2384:
2376:
2368:
2359:
2357:
2353:
2352:
2350:
2349:
2341:
2333:
2325:
2317:
2309:
2301:
2293:
2289:Les Baigneuses
2285:
2277:
2269:
2261:
2253:
2245:
2237:
2229:
2221:
2213:
2205:
2197:
2189:
2180:
2178:
2174:
2173:
2171:
2170:
2165:
2160:
2155:
2150:
2148:Morgan Russell
2145:
2140:
2135:
2130:
2125:
2120:
2115:
2110:
2105:
2100:
2095:
2090:
2085:
2079:
2077:
2073:
2072:
2070:
2069:
2067:Jacques Villon
2064:
2059:
2047:
2042:
2037:
2032:
2027:
2022:
2017:
2012:
2010:Jean Metzinger
2007:
2002:
1997:
1992:
1987:
1982:
1977:
1972:
1967:
1962:
1960:Auguste Herbin
1957:
1952:
1947:
1945:Albert Gleizes
1942:
1937:
1932:
1927:
1922:
1917:
1915:Marcel Duchamp
1912:
1910:Sonia Delaunay
1907:
1902:
1897:
1892:
1887:
1881:
1879:
1873:
1872:
1870:
1869:
1864:
1862:Marcel Duchamp
1859:
1854:
1849:
1844:
1842:Albert Gleizes
1839:
1837:Jean Metzinger
1834:
1832:Georges Braque
1829:
1823:
1821:
1817:
1816:
1809:
1808:
1801:
1794:
1786:
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1628:
1620:
1612:
1604:
1596:
1588:
1580:
1572:
1564:
1558:
1556:
1552:
1551:
1548:Albert Gleizes
1544:
1543:
1536:
1529:
1521:
1515:
1514:
1505:
1497:
1492:
1485:
1484:External links
1482:
1480:
1479:
1465:
1450:
1439:
1425:
1410:
1395:
1382:
1375:Stephen Kern,
1367:
1344:Marcel Duchamp
1333:
1330:. Iep.utm.edu.
1315:
1288:
1247:
1220:
1188:
1182:
1167:
1152:
1146:Peter Brooke,
1135:
1120:
1114:Les Baigneuses
1104:
1080:
1068:
1066:
1063:
1062:
1061:
1054:
1051:
1050:
1049:
1034:Daniel Robbins
1030:
1020:
1014:
1011:
1004:
993:
990:
989:
988:
974:
971:
968:
965:
959:
956:
949:
946:
943:
916:
913:
896:Les Baigneuses
856:exhibited his
824:Jean Metzinger
820:Ville de Paris
800:Marcel Duchamp
796:Les Baigneuses
787:
784:
755:Marcel Duchamp
712:instantiations
700:motion picture
662:Les Baigneuses
626:Les Baigneuses
599:
596:
571:
568:
440:
437:
413:Georges Braque
393:Jean Metzinger
385:Les Baigneuses
372:Les Baigneuses
368:
367:
360:
345:
330:
323:
281:Georges Seurat
241:Jean Metzinger
229:Les Baigneuses
225:
222:
189:Les Baigneuses
169:
166:
145:Les Baigneuses
137:Jean Metzinger
115:Albert Gleizes
111:Les Baigneuses
100:
99:
90:
86:
85:
82:
78:
77:
74:
70:
69:
66:
62:
61:
59:Albert Gleizes
56:
52:
51:
43:
42:
40:Les Baigneuses
35:
34:
15:
9:
6:
4:
3:
2:
2803:
2792:
2789:
2787:
2784:
2782:
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2537:
2534:
2532:
2529:
2527:
2524:
2522:
2519:
2517:
2514:
2512:
2511:Orphism (art)
2509:
2507:
2504:
2500:
2497:
2496:
2495:
2492:
2490:
2487:
2485:
2484:Cubo-Futurism
2482:
2480:
2477:
2476:
2474:
2470:
2464:
2461:
2459:
2456:
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2286:
2283:
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2278:
2275:
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2270:
2267:
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2262:
2259:
2258:
2257:L'Oiseau bleu
2254:
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2250:
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2179:
2175:
2169:
2166:
2164:
2161:
2159:
2156:
2154:
2151:
2149:
2146:
2144:
2141:
2139:
2138:Lyubov Popova
2136:
2134:
2131:
2129:
2126:
2124:
2121:
2119:
2116:
2114:
2111:
2109:
2106:
2104:
2101:
2099:
2096:
2094:
2091:
2089:
2086:
2084:
2083:Giacomo Balla
2081:
2080:
2078:
2074:
2068:
2065:
2063:
2060:
2056:
2051:
2050:Henry Valensi
2048:
2046:
2043:
2041:
2038:
2036:
2035:Gino Severini
2033:
2031:
2028:
2026:
2023:
2021:
2018:
2016:
2013:
2011:
2008:
2006:
2003:
2001:
2000:Jean Marchand
1998:
1996:
1993:
1991:
1988:
1986:
1985:Fernand LĂ©ger
1983:
1981:
1980:Henri Laurens
1978:
1976:
1973:
1971:
1968:
1966:
1963:
1961:
1958:
1956:
1953:
1951:
1948:
1946:
1943:
1941:
1938:
1936:
1933:
1931:
1928:
1926:
1923:
1921:
1920:Pierre Dumont
1918:
1916:
1913:
1911:
1908:
1906:
1903:
1901:
1898:
1896:
1893:
1891:
1888:
1886:
1883:
1882:
1880:
1878:
1874:
1868:
1865:
1863:
1860:
1858:
1857:Fernand LĂ©ger
1855:
1853:
1850:
1848:
1845:
1843:
1840:
1838:
1835:
1833:
1830:
1828:
1827:Pablo Picasso
1825:
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1818:
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1807:
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1569:
1565:
1563:
1562:List of works
1560:
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1312:
1311:0-8101-0166-1
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1285:0-300-08964-3
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1085:
1078:
1073:
1069:
1060:
1057:
1056:
1047:
1046:2-85056-286-6
1043:
1039:
1035:
1031:
1028:
1024:
1021:
1018:
1015:
1012:
1009:
1008:Le Petit Bleu
1005:
1002:
1001:
996:
995:
986:
982:
978:
975:
972:
969:
966:
963:
960:
957:
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947:
944:
941:
940:
936:
932:
928:
927:
926:L'Oiseau Bleu
921:
912:
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897:
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892:
887:
886:
880:
876:
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866:
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859:
855:
851:
847:
843:
839:
838:Fernand LĂ©ger
835:
831:
830:
825:
821:
817:
814:(no. 1235) —
813:
809:
805:
801:
798:(no. 1347) —
797:
793:
783:
780:
776:
772:
767:
765:
760:
756:
752:
748:
744:
739:
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688:
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669:
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631:
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623:
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584:
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562:
558:
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547:
543:
537:
535:
531:
530:Bateau Lavoir
527:
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511:
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503:
498:
494:
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478:
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470:
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454:
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436:
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430:
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416:
414:
410:
409:Pablo Picasso
406:
405:Fernand LĂ©ger
402:
398:
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288:
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278:
274:
271:, (left) vs.
270:
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242:
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237:City of Paris
234:
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194:primary color
190:
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83:
79:
76:Oil on canvas
75:
71:
67:
63:
60:
57:
53:
49:
44:
41:
36:
31:
26:
22:
2695:Wilhelm Uhde
2691:(art dealer)
2689:Berthe Weill
2669:(art dealer)
2663:(art dealer)
2643:André Salmon
2612:
2604:
2598:Du "Cubisme"
2596:
2576:Ego-Futurism
2516:Abstract art
2494:Czech Cubism
2479:Section d'Or
2458:Proto-Cubism
2403:Paul Gauguin
2398:Paul CĂ©zanne
2378:
2370:
2362:
2343:
2335:
2327:
2319:
2311:
2303:
2295:
2287:
2279:
2271:
2263:
2255:
2247:
2239:
2231:
2225:La Coiffeuse
2223:
2215:
2207:
2199:
2191:
2183:
2143:Diego Rivera
2123:August Macke
2113:El Lissitzky
2088:Alice Bailly
2030:Diego Rivera
1955:Henri Hayden
1900:Joseph Csaky
1877:Section d'Or
1746:
1740:Du "Cubisme"
1738:
1710:
1702:
1694:
1686:
1678:
1670:
1662:
1654:
1646:
1638:
1630:
1623:
1622:
1614:
1606:
1598:
1590:
1582:
1574:
1566:
1509:
1500:
1473:
1468:
1442:
1434:
1428:
1419:
1413:
1404:
1398:
1390:
1385:
1376:
1370:
1358:. Retrieved
1354:the original
1347:
1343:
1336:
1327:
1318:
1302:
1297:
1291:
1276:
1272:
1268:
1264:
1234:
1215:
1211:
1207:
1202:
1185:
1176:
1170:
1161:
1155:
1147:
1129:
1123:
1113:
1107:
1098:
1072:
1037:
1026:
1016:
1007:
1000:Du "Cubisme"
998:
976:
953:S.V.U. Mánes
937:, March 2014
930:
924:
910:
905:
901:
895:
889:
883:
872:
868:
864:
862:
857:
849:
841:
833:
827:
822:(no. 868) —
819:
811:
803:
795:
790:At the 1912
789:
771:scientifique
770:
768:
751:Section d'Or
740:
730:
728:
705:
699:
696:
690:
675:
661:
651:
641:
637:
630:multiplicity
625:
624:
620:
610:
607:Paul CĂ©zanne
592:
582:
579:Paul CĂ©zanne
565:
560:
556:
554:
550:Abstract art
538:
534:Section d'Or
518:
514:Du "Cubisme"
513:
507:
502:Du "Cubisme"
500:
458:
448:
432:
429:Section d'Or
424:
417:
388:
384:
382:
375:
371:
369:
363:
359:(Courbevoie)
348:
338:25 Ă— 41.5 cm
333:
326:
320:25 Ă— 41.5 cm
315:
305:
300:
290:
284:
268:
256:
253:
249:Section d'Or
244:
236:
228:
227:
209:
188:
187:
181:
177:
158:Section d'Or
144:
132:Du "Cubisme"
130:
127:Section d'Or
110:
105:
104:
103:
39:
2735:Armory Show
2609:(1913 book)
2601:(1912 book)
2546:Suprematism
2521:Synchromism
2499:Rondocubism
2443:Divisionism
2438:Pointillism
2418:Paul Signac
2260:(Metzinger)
2252:(Metzinger)
2244:(Metzinger)
2236:(Metzinger)
2098:Carlo CarrĂ
2053: [
1995:André Lhote
1624:The Bathers
1389:Jay, Bill,
1360:12 February
915:Exhibitions
731:cinématique
489:regionalism
485:nationalism
314:1907–1909,
168:Description
106:The Bathers
33:The Bathers
2755:Categories
2506:Die BrĂĽcke
2472:Influenced
2391:Influences
2356:Sculptures
2133:Franz Marc
1474:Le cubisme
1065:References
992:Literature
977:Le cubisme
931:Baigneuses
873:Baigneuses
826:exhibited
812:Artillerie
810:exhibited
708:properties
634:Bergsonian
546:Surrealism
465:classicism
353:54 Ă— 65 cm
301:Baigneuses
273:Courbevoie
218:Courbevoie
149:figurative
81:Dimensions
21:Baigneuses
2649:Max Jacob
2581:Vorticism
2348:(Picasso)
2308:(Duchamp)
2300:(Gleizes)
2292:(Gleizes)
2284:(Gleizes)
2276:(Gleizes)
2268:(Gleizes)
2233:Le goûter
2228:(Picasso)
2220:(Picasso)
2212:(Picasso)
2204:(Picasso)
2196:(Picasso)
2188:(Picasso)
2177:Paintings
2103:Paul Klee
1852:Juan Gris
1691:(1914–15)
1651:(1912–13)
1555:Paintings
933:(right),
854:Juan Gris
764:Futurists
647:kinematic
473:Nietzsche
461:modernism
421:futurists
198:deciduous
109:(French:
2781:Nude art
2645:(critic)
2633:(critic)
2566:Art Deco
2561:De Stijl
2531:Futurism
2372:Danseuse
2321:The City
1592:The Hunt
1576:The Tree
1305:, 1948,
1279:, 2001,
1273:Kubismus
1208:Kubismus
1053:See also
779:Einstein
689:, 1887,
674:, 1887,
632:(in the
589:, London
493:Poincaré
243:'s 1913
235:'s 1912
212:banlieue
89:Location
38:French:
2624:Related
2590:Related
2453:Fauvism
2383:(Csaky)
2375:(Csaky)
2367:(Csaky)
2332:(LĂ©ger)
2324:(LĂ©ger)
2316:(Kupka)
1820:Leaders
1759:Related
842:La Noce
840:showed
834:Le Port
736:CĂ©zanne
611:Bathers
570:CĂ©zanne
481:Riemann
469:Bergson
344:(Paris)
202:Populus
2731:(poet)
2725:(poet)
2651:(poet)
2541:Purism
2526:Tubism
2340:(Gris)
2076:Others
2045:Tobeen
1813:Cubism
1771:Cubism
1751:(1924)
1743:(1912)
1715:(1920)
1707:(1915)
1699:(1915)
1683:(1914)
1675:(1914)
1667:(1913)
1659:(1913)
1643:(1912)
1635:(1912)
1627:(1912)
1619:(1912)
1611:(1911)
1603:(1911)
1595:(1911)
1587:(1910)
1579:(1910)
1571:(1909)
1422:, 2011
1309:
1283:
1242:
1044:
894:, and
642:mobile
561:nature
557:artist
510:Cubism
477:Euclid
425:passé"
362:1908,
347:1908,
332:1908,
325:1908,
297:Clichy
141:Cubism
73:Medium
55:Artist
2057:]
1732:Books
869:Paris
729:This
214:ouest
97:Paris
2551:Dada
2380:Head
1362:2013
1307:ISBN
1281:ISBN
1240:ISBN
1042:ISBN
865:Port
832:and
762:the
745:and
720:time
638:time
559:and
548:and
542:Dada
524:and
495:and
487:and
479:and
471:and
463:and
439:1912
411:and
403:and
231:—as
68:1912
65:Year
802:'s
714:or
415:).
283:'s
210:la
151:or
23:or
2757::
2055:fr
1453:^
1326:.
1250:^
1223:^
1191:^
1138:^
1083:^
1036:,
1025:,
888:,
860:.
848:,
844:—
836:—
609:,
581:,
544:,
491:–
483:–
475:–
467:–
399:,
395:,
355:,
340:,
164:.
143:.
95:,
1805:e
1798:t
1791:v
1540:e
1533:t
1526:v
1364:.
1313:.
1048:.
964:.
520:(
27:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
_vs._Courbevoie,_ca.1912,_Les_Bord_de_Seine,_L%27Ile_de_la_Jatte.jpg)