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554:(published in 1920), which centered exclusively on the developments of Picasso, Braque, LĂ©ger, and Gris. The terms "Analytical Cubism" and "Synthetic Cubism" which subsequently emerged (overshadowing Apollinaire's classification scheme) have been widely accepted since the mid-1930s. However, both terms are historical impositions that occurred after the facts they identify. Neither phase was designated as such at the time corresponding works were created. "If Kahnweiler considers Cubism as Picasso and Braque," wrote
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guided by intuition, to preoccupy themselves with the new possibilities of spatial measurement which included the 'fourth dimension'. This fictitious realm represented the "immensity of space eternalizing itself in all directions at any given moment". This utopian expression stood for the aspiration and premonitions of artists who contemplated
Egyptian, African, and oceanic sculptures; who meditated on various scientific works, and who lived "in anticipation of a sublime art".
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845:"unique in the history of art". For Apollinaire, Metzinger had purity; "his meditations take beautiful forms whose harmony tends to approach the sublime... entirely stripped of all that was known before him. Each one of his pictures contains a judgment of the universe and his entire work resembles a nocturnal firmament when it is clear, free from all clouds and trembling with adorable lights. There is nothing incomplete in his works, poetry ennobles the smallest details."
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the highest tower, to prepare for time and ivy the most beautiful of ruins, to throw across a harbor or a river an arch more audacious than the rainbow, and finally to compose to a lasting harmony, the most powerful ever imagined by man. Duchamp-Villon had this titanic conception of architecture. A sculptor and an architect, light is the only thing that count for him; but in all the arts, also, it is only light, the incorruptible light, that counts."
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wrote the titles on the paintings themselves. "This literature, which so few painters have been able to avoid, disappears from his art, but not poetry. He uses forms and colors, not to render appearances, but to penetrate the essential nature of forms and formal colors... Perhaps it will be the task of an artist as detached from aesthetic preoccupations, and as intent on the energetic as Marcel
Duchamp, to reconcile art and the people."
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602:: purity, unity, and truth; all of which would keep "nature in subjection". He deplored the violent attacks waged against the Cubist's preoccupation with geometry; geometrical figures being the essence of drawing. "Geometry, the science of space, its dimensions and relations, has always determined the norms and rules of painting."
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angles which retain light, with
Fernand LĂ©ger by bubbles, with Metzinger by vertical lines, parallel to the sides of the frame cut by infrequent echelons." Apollinaire found equivalence in the works of all the great painters. "It gives pictorial intensity to a painting, and this is enough to justify its legitimacy."
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The departure of sculpture from nature tends toward architecture, writes
Apollinaire: "The utilitarian end aimed at by most contemporary architects is responsible for the great backwardness of architecture as compared with the other arts. The architect, the engineer should have sublime aims: to build
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is the art of painting with elements borrowed not from visual reality, but entirely created by the artist and endowed by him with a powerful reality. The works of the Orphic artists simultaneously present a pure aesthetic pleasure, a construction to the senses and a sublime meaning. This is pure art,
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Rousseau died in
September 1910. Apollinaire made clear the great esteem held by the Cubist painters for his works, calling Rousseau the "Inhabitant of Delight". It was for Apollinaire the qualities of his work that made his painting "so charming to look at". Few artists had been mocked during their
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Picasso, with his planes to denote volume, "gives an enumeration so complete" that objects are entirely transformed, "thanks to the effort of the spectator, who is forced to see all the elements simultaneously". In questioning whether
Picasso's art is profound rather than noble, Apollinaire answers,
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The current trend in the classification of Cubist styles reflects
Apollinaire's wider view of the movement, more so than others. Cubism is once again no longer definitively attached to the art of a specific group or even a movement. It embraces vastly disparate work; applying to artists in different
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as a means of understanding the works of Braque and
Picasso, is difficult to apply to other Cubist's whose art fundamentally differed from the 'Analytic' or 'Synthetic' categories, compelled Kahnweiler to question their right to be called Cubists at all. According to Robbins, "To suggest that merely
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is, according to
Apollinaire, the art of painting elements borrowed not from visual reality, but suggestive of the artist's instinct and intuition. Instinctive Cubism includes a very large number of artists. Derived from French Impressionism, the movement spans ("is spreading") across all of Europe.
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As in the works of Robert
Delaunay, color was for Picabia "the ideal dimension", one that incorporated all other dimensions. Form was symbolic, while the color remained formal. It was "a perfectly legitimate art, and surely a very subtle one". Color was saturated with energy and prolonged in space.
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Gris had "meditated on everything modern", painting "to conceive only new structures" and "materially pure forms". Apollinaire compares the work of Gris with the "scientific cubism" of Picasso, "his only master", a type of drawing that was geometrical individualized, "a profoundly intellectual art,
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Majesty above all characterized the art of Gleizes, bringing a startling innovation to contemporary art, as few of the modern painters had done before. "This majesty arouses and provokes the imagination... the immensity of things. This art is vigorous... realized by a force of the same sort as that
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Metzinger, following Picasso and Braque, was chronologically the third Cubist artist, observed Apollinaire. Describing Metzinger, Apollinaire claims this 'great painter's work had not yet been fully appreciated, despite the design, composition, the contrasted lights and an overall style'. His works
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Rousseau had painted two portraits of Apollinaire: "I often watched him at work, and I know the care he gave to the tiniest details; he had the capacity to keep the original and definitive conception of his picture always before him until he had realized it; and he left nothing, above all, nothing
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There was "nothing incomplete" in the works of Metzinger. His works were the "fruit of a rigorous logic" writes the author. When explaining the art of our epoch, "his work will be one of the surest documents". Metzinger's paintings contained their own 'explanation'. For Apollinaire this was a case
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of 1908, first exhibited to the public works whose geometric preoccupations began to dominate the composition. Picasso's work, though not exhibited, set the precedent. This transformation, believed Apollinaire, was in perfect harmony with the society in which the painter evolved. Braque's role was
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Before Cubism, the three dimensions of Euclidean geometry had been sufficient for artists. But according to Apollinaire, "geometry is to the plastic arts what grammar is to the art of the writer". Artists, just as scientists, no longer had to limit themselves to three spatial dimensions. They were
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To date, Duchamp's production had been too spars and differed considerably from one painting to the next. Apollinaire hesitated to make any broad generalizations, noting rather Duchamp's apparent talent and his abandoning of "the cult of appearances". To free his art from all perceptions, Duchamp
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The title for Picabia was intellectually inseparable from the work to which it referred, playing a role as actual objects. Analogous to Picabia's titles, real objects, "are the pictorial arabesques in the backgrounds of Laurencin's pictures. With Albert Gleizes this function is taken by the right
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pioneers, he was often misunderstood, underestimated, or disregarded. Yet for one who began as a novice in the appreciation, analysis, and promotion of painting, the accuracy of Apollinaire's taste is uncanny, for his favorite painters are now considered among the most influential artists of the
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It was not a question of abstraction, but of "direct pleasure". Surprise played an important role. "Can the taste of a peach be called abstract?" mused the author. Each picture of Picabia "has a definite existence, the limits of which are set by the title". Picabia's paintings were so far from
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relationship. "Her art dances, like Salome, between that of Picasso, who like a new John the Baptist bathes all the arts in a baptism of light, and that of Rousseau, a sentimental Herod." The author states the similarities to dance and "rhythmic enumeration, infinitely gracious in painting".
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The art of Laurencin (and women more generally) brought a "new vision full of the joy of the universe", an "entirely feminine aesthetic" writes Apollinaire. As an artist, he placed Laurencin between Picasso and Le Douanier Rousseau, not as a hierarchical indication, but as a statement of
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The works of Gleizes show "powerful harmonies", but Apollinaire warns of confounding his paintings with the "theoretical cubism" of the "scientific painters". Referring to the writings of Gleizes, Apollinaire cites the will of the artist to "bring back his art to his simplest elements".
514:, is the art of painting new ensembles with elements borrowed not from the reality of vision, but from the reality of knowledge. It is the tendency of 'pure' painting. The painters Apollinaire places in this category are: Picasso, Braque, Metzinger, Gleizes, Laurencin and Gris.
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332:"Apollinaire, like Baudelaire", writes Pamela A. Genova, "was a self-taught art critic, and he began his art theory naĂŻve to the technical terminology and to the conventional precepts of the field. His work was spontaneous, impetuous, and ahead of its time, and like many
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LĂ©ger is described as a talented artist. "I love his art because it is not scornful, because it knows no servility, and because it does not reason. I love your light colors , O Fernand LĂ©ger! Fantasy does not lift you to fairylands, but it grants you all your joys."
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Gleizes had understood the influence of CĂ©zanne on the Cubists, writes Apollinaire. The work of Gleizes, he continues, has "a degree of plasticity such that all the elements which constitute the individual characters are represented with the same dramatic majesty".
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As an active figure in well-established literary journals from 1902 to his death in 1918, Apollinaire played a crucial role in the development of early modernism by founding his own artistic journals, by supporting galleries and exhibitions, as a collector of
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Just as the Impressionists and the Fauves, Picabia "translated light into color", arriving at "an entirely new art". His color was not just a "luminous transposition" without "symbolic significance". It was a "form and light of whatever is represented".
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A landmark in the history of art criticism, this essay synthesizes the aesthetic preoccupations of not just the Cubists, but of Apollinaire himself. The volume is valued today as a work of reference and a vintage example of creative modernist writing.
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is an unsystematic collection of reflections and commentaries. It was written between 1905 and 1912, and ultimately published in 1913. Composed of two parts, the volume demonstrates the poetic vision of Apollinaire. The first part, "On Painting"
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lifetime as Rousseau, and even fewer had faced with equal calm the hail of insults. And happily, writes Apollinaire, he "was able to find, in insults and mockeries, evidence that even the ill-intentioned could not disregard his work".
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Guillaume Apollinaire, « Quatre nouveaux artistes français », 4 juillet 1914, dans Chroniques d’art 1902-1918, textes réunis avec préface et notes par Leroy C. Breunig, Paris, Gallimard, « Folio essais », 2002, p.
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2527:, section II, (Méditations esthétiques) Les Peintres cubistes, Figuière, 1913. Éric Thiébaud (Stylage sémantique) et Frédéric Glorieux (Informatique éditoriale). Université Paris-Sorbonne, Labex Obvil, 2014, license cc. (in French)
851:
436:), analyzes the work of ten artists most representative of the movement in the following order: Picasso, Braque, Metzinger, Gleizes, Laurencin, Gris, LĂ©ger, Picabia, Duchamp, and in the Appendix, Duchamp-Villon. In the section on
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and literary circles. Italian by birth, Polish by name (Wilhelm Albert WĹ‚odzimierz Apolinary Kostrowicki), Parisian by choice, Apollinaire was a leading figure in early modernist poetry, a permutable figure whose work echoed the
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socio-cultural environments and settings. And despite the difficulties of classification, Cubism, as predicted by Apollinaire in 1913, has been called the first and the most influential of all movements in 20th-century art.
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essential, to chance. Its nervous draftsmanship, variety, charm, and delicacy of tones make this work's excellence. His pictures of flowers show the resources of charm and emphasis in the soul and hand of the Douanier."
2511:, quote: "A Picasso studies an object as a surgeon dissects a body", The Little Review: Quarterly Journal of Art and Letters, Vol. 8, No. 2: Picabia Number, editor: Margaret C. Anderson, New York, 1922-03 (Spring 1922)
521:, is the discipline of constructing painting with elements borrowed mostly from the reality of vision. Its social role is well marked, but it is not a pure art. The 'physicist' who created this trend is Le Fauconnier.
741:"heroic", his art "peaceful and admirable", writes the poet, "He expresses a beauty, a beauty full of tenderness, and the pearl-like quality of his pictures irradiates our understanding. He is an angelic painter."
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1066:"Feminine Art, the art of Laurencin, tends to become a pure arabesque humanized by an attentive observation of nature, which, being expressive, forsakes simple decoration while remaining just as agreeable."
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divides Cubism into three phases: "Early Cubism" (from 1906 to 1908), when the movement was initially developed in the ateliers of Picasso and Braque; "High Cubism" (from 1909 to 1914), during which time
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art, and as an impassioned supporter of a diverse group of emerging artists. His pervasive influence on these artists is exemplified by a multitude of portraits of Apollinaire painted by artists such as
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movement. Cooper's restrictive use of these terms to distinguish the work of Braque, Picasso, Gris and LĂ©ger (to a lesser extent) implied an intentional value judgement, according to Christopher Green.
998:
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402:: "The new artists demand an ideal beauty, which will be, not merely the proud expression of the species, but the expression of the universe, to the degree that it has been humanized by light." (
248:
Guillaume Apollinaire, a French poet, playwright, short story writer, novelist, and art critic, served as a decisive interface between artists and poets of the early 20th century, joining the
2004:
Les peintres cubistes. Première série / Guillaume Apollinaire, Méditations esthétiques, Watsonline, Thomas J. Watson Library, The Catalog of the Libraries of The Metropolitan Museum of Art
153:
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in 1917), and was the first to adopt the term "Cubism" on behalf of his fellow artists (at the 1911 Salon des Indépendants, Brussels). He wrote about these and related movements such as
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2105:, Vol. 9, No. 1: Stella Number, editor: Margaret C. Anderson, New York, 1922-09 (Autumn 1922), pp. 41–59. The Modernist Journals Project, Brown University and The University of Tulsa
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because these artists developed differently or varied from the traditional pattern they deserved to be relegated to a secondary or satellite role in Cubism is a profound mistake."
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Besides the artists of whom Apollinaire writes in preceding chapters, there were other artists and writers alike attached, "whether willingly or not", to the Cubist movement.
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Included are four reproductions of the works by each artist (with the exception of Rousseau), and portrait photographs of Metzinger, Gleizes, Gris, Picabia, and Duchamp.
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The Little Review: Quarterly Journal of Art and Letters, Vol. 9, No. 2: Miscellany Number, Anderson, Margaret C. (editor), New York, 1922-12, Winter 1922, pp. 49-60
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Hargrove, Nancy (1998). "The Great Parade: Cocteau, Picasso, Satie, Massine, Diaghilev—and T.S. Eliot". Journal for the Interdisciplinary Study of Literature 31 (1)
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were "set apart" above and beyond many of the works of his contemporaries. "It was then that Jean Metzinger, joining Picasso and Braque, founded the Cubist City."
2462:, Published by The Solomon R. Guggenheim Foundation, New York, in collaboration with Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund, pp. 19-20
327:, Paris. Metzinger painted several portraits of Apollinaire, 1909–10, 1911 and this work which, according to Apollinaire, is "said to be a portrait of myself".
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according to color a merely symbolic significance". His works had "purity, scientifically conceived", and "from this purity parallels are sure to spring".
349:
As a close friend of all the Cubists, and Marie Laurencin's lover, Apollinaire witnessed the development of Cubism firsthand. He was in close contact with
365:, based in the western suburbs of Paris—including the Duchamp brothers, Gleizes, Picabia and again Metzinger (who associated with both groups early on).
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rather than specifically on Cubism. In the fall of 1912 he revised the page proofs to include more material on the Cubist painters, adding the subtitle,
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423:), is a manifesto for the new art form, consisting of seven chapters (22 pages), of which much of the text was written in 1912 and published in
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558:, "our only fault is in subjecting other Cubists' works to the rigors of that limited definition." This interpretation of Cubism, formulated
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1901:, 1985, Jean Metzinger in Retrospect, The University of Iowa Museum of Art, J. Paul Getty Trust, University of Washington Press, pp. 9–23
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2476:, pp. 11–221, Phaidon Press Limited 1970 in association with the Los Angeles County Museum of Art and the Metropolitan Museum of Art,
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510:, Apollinaire makes a distinction between four different types of Cubism; scientific, physical, orphic and instinctive. The first,
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was the only independent volume of art criticism published by Apollinaire, and represented a highly original critical source on
3027:
480:
This was the third attempt to define the new pictorial trend burgeoning during the years before the First World War, following
150:. He elucidates the history of the Cubist movement, its new aesthetic, its origins, its development, and its various features.
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Gleizes / Metzinger / Duchamp-Villon / Villon, Der Sturm, Volume 5, Number 8, 15 July 1914. Princeton Blue Mountain collection
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emerged as an important exponent (after 1911); and "Late Cubism" (from 1914 to 1921), the last phase of Cubism as a radical
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131:. Also reproduced are photographs of artists Metzinger, Gleizes, Gris, Picabia and Duchamp. In total, there are 46
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571:
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A portion of the text was translated into English and published with several images from the original book in
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Chronique d'un musée: Musée royal des beaux-arts de Belgique, Bruxelles, Françoise Roberts-Jones, pp. 76, 146
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which realized the Pyramids and the Cathedrals, the constructions in metal, the bridges and the tunnels."
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1925:), Paris, Albert Messein, 1912, Collection des Trente. Translated in Mark Antliff and Patricia Leighten,
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2034:
The Poetics of Visual Cubism, Guillaume Apollinaire on Pablo Picasso, Studies in 20th Century Literature
631:"It does not dispense with the observation of nature, and acts upon us as intimately as nature itself."
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2441:, (translated and analyzed by Peter F. Read, University of California Press, 25 Oct. 2004 (back cover)
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444:, first published in a review of the 1911 Salon des Indépendants (L'Intransigéant, 10 April 1911).
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Guillaume Apollinaire (1880-1918), "Pure Painting" (1913) reprinted in Ellmann & Feidelson,
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according to Apollinaire, that includes the work of R. Delaunay, LĂ©ger, Picabia and M. Duchamp.
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Apollinaire first intended this book to be a general collection of his writings on art entitled
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Agence Photographique de la Réunion des musées nationaux et du Grand Palais des Champs-Elysées
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Leroy C. Breunig and Jean-Claude Chevalier (eds), Paris: Hermann, 1965; Trans. Lionel Abel,
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8:
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216:, suggesting the modification was made so late that only the title pages were reprinted.
65:
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2607:, (Méditations esthétiques) Les Peintres cubistes, Figuière, 1913. (Full text in French)
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The second and larger section of the book (53 pages), under the heading "New Painters" (
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Nude (Study), Sad Young Man on a Train (Nu, esquisse, jeune homme triste dans un train)
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Guillaume Apollinaire, "Les Peintres Cubistes" (The Cubist Painters) published in 1913
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Guillaume Apollinaire, "Les Peintres Cubistes" (The Cubist Painters) published in 1913
2335:, Les Soirées de Paris, No. 3, April 1912, pp. 89-92, and No. 4, May 1912, pp. 113-115
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is simply the expression of a plastic emotion experienced spontaneously near Naples".
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Guillaume Apollinaire during the spring of 1916 after his shrapnel wound to the temple
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appears only on the half t.p. and t.p. pages, while every other page has the title
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2003:
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Artcurial, Art Moderne 1, HĂ´tel Marcel Dassault, Paris, Thursday 23 October, 2008
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1877:, published by Eugène Figuière Éditeurs, Paris, 1912 (Eng. trans., London, 1913)
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Jean Metzinger, 1910, Portrait of Guillaume Apollinaire, Christie's Paris, 2007
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The historical study of Cubism began in the late 1920s, drawing at first from
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abstractions that "the painter can tell you the history of each one of them.
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394:, and Simultanism. But his most compellingly original stance can be found in
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2555:, Kubismus, 1928 and Le Rouge et le Noir, 1929, translation by Peter Brooke
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Ministère de la Culture - Médiathèque du Patrimoine, Dist. RMN-Grand Palais
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Apollinaire stressed the importance of what he perceived as virtues of the
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between 1905 and 1912, published in 1913. This was the third major text on
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2429:, Peter Read (Translator), University of California Press, 25 Oct. 2004
1980:, by André Salmon, Cambridge University Press, Nov 14, 2005, pp. 55–60
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was supported in the press by the writers listed above, in addition to
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A man like Picasso studies an object as a surgeon dissects a cadaver. (
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Apollinaire coined several important terms of the avant-garde, such as
361:, Picasso, Braque and Metzinger. He was also in close contact with the
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Préface, Catalogue du 8e Salon annuel du Cercle d'art Les Indépendants
1252:), pencil and charcoal on paper, 36 x 26.5 cm, private collection
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3395:
3365:
2580:
2578:
2576:
2574:
2572:
2570:
2568:
2566:
2564:
2562:
2553:
The Epic, From immobile form to mobile form, From CĂ©zanne to Cubism
1801:
1045:
l'Homme au Balcon, Man on a Balcony (Portrait of Dr. Théo Morinaud)
391:
132:
2049:, N.108, Friday, 18 April 1913, Bibliothèque nationale de France,
624:
Un Picasso étudie un objet comme un chirurgien dissèque un cadavre
200:. When the book went to press, the original title was enclosed in
3693:
3287:
1816:. In addition to Duchamp-Villon, other Cubist sculptors included
387:
201:
2559:
3375:
3360:
2879:
2647:
1780:, and Michel Puy. According to Apollinaire this trend included
699:
Lille MĂ©tropole Museum of Modern, Contemporary and Outsider Art
147:
60:
2453:
2451:
2449:
2447:
2097:
2095:
91:
is illustrated with black and white photographs of works by
2406:
Theories of Modern Art: A Source Book by Artists and Critics
2142:
2093:
2091:
2089:
2087:
2085:
2083:
2081:
2079:
2077:
2075:
1952:
Theories of Modern Art: A Source Book by Artists and Critics
1919:
La Jeune Peinture française, Histoire anecdotique du cubisme
3385:
2209:, MoMA, From Grove Art Online, 2009 Oxford University Press
2444:
1535:, oil on cardboard mounted on Masonite, 100 x 73 cm,
188:, Marguerite Gillot, Maurice Cremnitz and Marie Laurencin.
2616:
2152:
2072:
1437:), oil on canvas, 50.3 Ă— 61.5 cm, private collection
1272:. Only the upper half of this painting was reproduced in
2331:
Part III, IV and V adapted from Guillaume Apollinaire,
2308:, MoMA, Grove Art Online, Oxford University Press, 2009
2116:
The Little Review, Autumn 1922, archive.org (full text)
2103:
The Little Review: Quarterly Journal of Art and Letters
221:
The Little Review: Quarterly Journal of Art and Letters
2460:
Albert Gleizes 1881 - 1953, A Retrospective Exhibition
1030:), requisition by the Nazis in 1937, and missing since
2259:, Phaidon Press Limited 1970 in association with the
2158:
Guillaume Apollinaire, Paris-Journal, 3 juillet, 1914
1232:), oil on canvas, 22 x 28 cm, private collection
1212:), oil on canvas, 30 x 58 cm, private collection
2408:, University of California Press, 1968, pp. 221-248
2245:, Musée moderne de Bruxelles, 10 June – 3 July 1911
1927:
A Cubism Reader, Documents and Criticism, 1906-1914
323:, Pittsburgh, Pennsylvania. Exhibited at the 1914
2539:Metzinger, Pre-Cubist and Cubist Works, 1900–1930
2322:, Les Soirées de Paris, No. 1, Feb. 1912, pp. 1-4
2223:, A.T.P. & Le Seuil, Chamalières, p. 17, 1996
2059:
645:Brick Factory at Tortosa (L'Usine, Horta de Ebro)
184:, a muse, Guillaume Apollinaire, Fricka the dog,
40:, Collection "Tous les Arts", Paris, 1913 (cover)
3792:
1893:
1891:
1889:
1887:
1885:
1883:
1659:La Maison Cubiste, Projet d'Hotel (Cubist House)
1111:), oil on canvas, 115 x 146 cm. Exhibited
817:Man with a Guitar (Figure, L'homme Ă la guitare)
486:by Albert Gleizes and Jean Metzinger, 1912, and
2399:
2397:
2395:
2393:
2391:
2389:
2387:
2385:
2383:
2381:
2379:
2377:
2375:
2373:
2371:
2369:
2367:
2365:
2363:
2361:
466:. This work portrays Apollinaire and his muse,
2359:
2357:
2355:
2353:
2351:
2349:
2347:
2345:
2343:
2341:
2295:
2293:
2291:
697:), oil and enamel on canvas, 46 x 63 cm,
566:Other terms have surfaced since. In his book,
46:Les Peintres Cubistes, Méditations Esthétiques
30:Les Peintres Cubistes, Méditations Esthétiques
3601:
2632:
2531:
1971:
1969:
1937:
1935:
1880:
1580:, oil on canvas, 147 cm Ă— 89.2 cm,
985:, oil on canvas, 81 x 100 cm, exhibited
755:Le Viaduc de L'Estaque (Viaduct at L'Estaque)
668:L'Homme Ă la clarinette (Man with a Clarinet)
2318:Part II adapted from Guillaume Apollinaire,
1869:
1867:
1557:The King and Queen Surrounded by Swift Nudes
1363:, 1912, oil on canvas, 193 x 129.9 cm,
2338:
2302:Cubism, Origins and application of the term
2288:
1999:
1997:
1995:
1993:
174:La Noble compagnie, Le Rendez-vous des amis
142:, Collection "Tous les Arts", Paris, 1913,
3721:The Cubist Painters, Aesthetic Meditations
3608:
3594:
3441:The Cubist Painters, Aesthetic Meditations
2639:
2625:
2486:
2067:The Cubist Painters: Aesthetic Meditations
1966:
1946:, 1912, quoted in Herschel Browning Chipp
1932:
416:The Cubist Painters, Aesthetic Meditations
414:Guillaume Apollinaire's only book on art,
52:The Cubist Painters, Aesthetic Meditations
34:The Cubist Painters, Aesthetic Meditations
3615:
2036:, Vol. 27, Iss. 1, Article 3, 1 Jan. 2003
1864:
1559:), oil on canvas, 114.6 x 128.9 cm,
1329:), oil on canvas, 194.9 Ă— 116.5 cm,
1250:Etude pour le Portrait de Germaine Raynal
780:), oil on canvas, 51 Ă— 67 cm, oval,
2027:
2025:
2023:
2021:
2019:
2017:
2015:
2013:
2011:
1990:
1955:, University of California Press, 1968,
1909:
1907:
1657:Raymond Duchamp-Villon, 1912, Study for
1553:Le Roi et la Reine entourés de Nus vites
1481:
1375:
1173:
1048:, oil on canvas, 195.6 x 114.9 cm,
949:
831:
446:
340:
308:
230:
208:was enlarged, dominating the cover. Yet
204:and reduced in size, while the subtitle
152:
20:
1899:Jean Metzinger: At the Center of Cubism
1516:), oil on canvas, 114 x 146.5 cm,
1268:, oil on canvas, 127.6 x 88.3 cm,
906:La Femme au Cheval (Woman with a horse)
819:, oil on canvas, 116.2 x 80.9 cm,
799:, oil on canvas, 116.5 x 81.5 cm,
778:Still Life with Violin, Glass and Knife
3793:
1473:, oil on canvas, 73.6 x 92.1 cm,
647:, oil on canvas, 50.7 x 60.2 cm,
3831:Contemporary philosophical literature
3589:
2620:
2404:Herschel Browning Chipp, Peter Selz,
2008:
1904:
1306:), oil on canvas, 120 x 170 cm,
1087:), oil on canvas, 130 x 194 cm,
982:La Femme aux Phlox (Woman with Phlox)
2198:
1417:Francis Picabia, Paysage (Landscape)
909:, oil on canvas, 162 x 130 cm,
863:, dimensions and whereabouts unknown
3036:Portrait of Daniel-Henry Kahnweiler
1873:Albert Gleizes and Jean Metzinger,
1010:, oil on canvas, 123.2 x 99 cm
723:), oil on canvas, 60 x 81 cm,
670:, oil on canvas, 106 x 69 cm,
363:Groupe de Puteaux (or Section d'Or)
319:, oil on canvas, 129.7 x 96.68 cm,
282:, Marie Laurencin, Marcel Duchamp,
13:
3172:Still Life with Checked Tablecloth
3140:Nude Descending a Staircase, No. 2
2541:, International Galleries, Chicago
2069:, Wittenborn, New York, 1944, 1949
1760:. Certain artists associated with
1577:Nude Descending a Staircase, No. 2
1371:
1056:
757:, oil on canvas, 73 x 60 cm,
14:
3867:
2592:
2320:Du sujet dans la peinture moderne
1977:André Salmon on French Modern Art
1593:
1490:
1165:
1133:Die Jungen Damen, The young women
1115:, 1911, Moderna Museet, Stockholm
945:
827:
797:Nature Morte (The Pedestal Table)
731:
501:
274:, Pablo Picasso, Jean Metzinger,
3686:Le Bestiaire ou Cortège d'Orphée
2513:. The Modernist Journals Project
2261:Los Angeles County Museum of Art
1650:
1635:
1619:
1604:
1567:
1544:
1524:
1501:
1462:
1442:
1422:
1410:
1361:La Femme en Bleu (Woman in Blue)
1352:
1337:
1314:
1291:
1280:
1257:
1237:
1217:
1197:
1140:
1120:
1096:
1072:
1035:
1015:
997:
972:
918:
896:
868:
850:
808:
788:
765:
746:
705:
679:
656:
636:
440:, Apollinaire included a text a
168:), oil on canvas, 130 x 194 cm,
2544:
2516:
2500:
2466:
2432:
2420:
2325:
2312:
2277:
2249:
2235:
2226:
2213:
2183:
2172:
2161:
2131:
2120:
2109:
609:
492:Histoire anecdotique du cubisme
83:Histoire anecdotique du cubisme
3846:Works by Guillaume Apollinaire
3547:Douglas Cooper (art historian)
3513:Daniel Robbins (art historian)
2040:
1642:Raymond Duchamp-Villon, 1912,
1626:Raymond Duchamp-Villon, 1911,
1611:Raymond Duchamp-Villon, 1911,
591:
302:, Pierre Savigny de Belay and
257:, the Cubists and foresaw the
1:
1858:
881:, 1911, 75.9 x 70.2 cm,
546:. It came to rely heavily on
398:, in his analysis of the new
172:, Paris. Alternative titles:
135:portraits and reproductions.
16:Book by Guillaume Apollinaire
3028:Portrait of Ambroise Vollard
2306:Meanings and interpretations
1186:
991:Museum of Fine Arts, Houston
935:, Paris. Also reproduced in
7:
3806:Books about the visual arts
3740:The Muse Inspiring the Poet
3508:Paul Rosenberg (art dealer)
3164:Still Life with Candlestick
2855:Georges Ribemont-Dessaignes
2221:Dictionnaire du surréalisme
2194:, Volume 2, Gallimard, 1991
1944:Anecdotal History of Cubism
1923:Anecdotal History of Cubism
1831:
1588:
1537:Peggy Guggenheim Collection
506:In his analysis of the new
496:Anecdotal History of Cubism
456:The Muse Inspiring the Poet
353:and its habitués—including
10:
3872:
3780:Prix Guillaume Apollinaire
3108:Portrait of Jacques Nayral
2646:
2265:Metropolitan Museum of Art
1582:Philadelphia Museum of Art
1561:Philadelphia Museum of Art
1518:Philadelphia Museum of Art
1429:Francis Picabia, 1911–12,
1323:Étude pour trois portraits
1270:Philadelphia Museum of Art
1103:Marie Laurencin, 1910–11,
1050:Philadelphia Museum of Art
883:Philadelphia Museum of Art
736:It was Braque who, at the
616:
460:La muse inspirant le poète
240:Guillaume Apollinaire and
3750:
3731:
3712:
3677:
3658:
3623:
3458:
3424:
3306:
3225:
3190:
3148:The Cathedral (Katedrála)
3052:Le pigeon aux petits pois
3020:Les Demoiselles d'Avignon
3011:
2910:
2710:
2654:
1778:Filippo Tommaso Marinetti
1531:Marcel Duchamp, 1911–12,
1449:Francis Picabia, c.1912,
1327:Study for Three Portraits
1109:Jeune Femmes, Young Girls
925:Jean Metzinger, 1911–12,
903:Jean Metzinger, 1911–12,
815:Georges Braque, 1911–12,
409:
316:Le Fumeur (Man with Pipe)
226:
223:, New York, Autumn 1922.
3640:L'Enchanteur pourrissant
2953:Stanton Macdonald-Wright
2599:Apollinaire, Guillaume,
2523:Apollinaire, Guillaume,
931:. Exhibited at the 1912
911:Statens Museum for Kunst
782:National Gallery, Prague
774:Violon, verre et couteau
672:Museo Thyssen-Bornemisza
313:Jean Metzinger, c.1913,
140:Eugène Figuière Éditeurs
55:), is a book written by
38:Eugène Figuière Éditeurs
3667:The Breasts of Tiresias
3575:Fourth dimension in art
3496:Daniel-Henry Kahnweiler
3132:Les Joueurs de football
2507:Guillaume Apollinaire,
2190:Guillaume Apollinaire,
1853:Fourth dimension in art
1665:
1469:Francis Picabia, 1912,
1127:Marie Laurencin, 1911,
1085:Apollinaire et ses amis
1079:Marie Laurencin, 1909,
860:Nu à la cheminée (Nude)
801:Georges Pompidou Center
725:Staatsgalerie Stuttgart
548:Daniel-Henry Kahnweiler
380:(concerning the ballet
214:Méditations Esthétiques
194:Méditations Esthétiques
166:Apollinaire et ses amis
3851:Books about ideologies
3536:John Quinn (collector)
2760:Raymond Duchamp-Villon
2458:Daniel Robbins, 1964,
1644:Croquis pour le Soleil
1574:Marcel Duchamp, 1912,
1551:Marcel Duchamp, 1912,
1508:Marcel Duchamp, 1910,
1487:
1381:
1179:
1155:). Also reproduced in
1113:Salon des Indépendants
1042:Albert Gleizes, 1912,
1022:Albert Gleizes, 1911,
1004:Albert Gleizes, 1911,
979:Albert Gleizes, 1910,
955:
933:Salon des Indépendants
857:Jean Metzinger, 1910,
837:
795:Georges Braque, 1911,
772:Georges Braque, 1910,
759:Tel Aviv Museum of Art
753:Georges Braque, 1908,
738:Salon des Indépendants
691:Nature morte Espagnole
628:
470:
346:
328:
325:Salon des Indépendants
321:Carnegie Museum of Art
245:
189:
129:Raymond Duchamp-Villon
41:
3632:Les Onze Mille Verges
3617:Guillaume Apollinaire
3472:Guillaume Apollinaire
2537:S. E. Johnson, 1964,
1485:
1379:
1344:Fernand LĂ©ger, 1912,
1321:Fernand LĂ©ger, 1911,
1308:Kröller-Müller Museum
1298:Fernand LĂ©ger, 1910,
1274:Les Peintres Cubistes
1177:
1081:RĂ©union Ă la campagne
953:
885:. Also reproduced in
835:
643:Pablo Picasso, 1909,
620:
544:Les Peintres Cubistes
450:
404:Les Peintres Cubistes
396:Les Peintres Cubistes
344:
312:
239:
210:Les Peintres Cubistes
206:Les Peintres Cubistes
198:Les Peintres Cubistes
162:RĂ©union Ă la campagne
156:
144:Les Peintres Cubistes
89:Les Peintres Cubistes
57:Guillaume Apollinaire
26:Guillaume Apollinaire
24:
2775:Roger de La Fresnaye
2720:Alexander Archipenko
2495:The Modern Tradition
1822:Alexander Archipenko
1475:Museum of Modern Art
1331:Milwaukee Art Museum
1230:The Packet of Cigars
1007:La Chasse (The Hunt)
928:Le Port (The Harbor)
878:Le goûter (Tea Time)
821:Museum of Modern Art
552:Der Weg zum Kubismus
426:Les Soirées de Paris
372:(at the Salon de la
3856:Books about artists
2988:Alexander Rodchenko
2928:Patrick Henry Bruce
2860:Jeanne Rij-Rousseau
2770:Henri Le Fauconnier
2730:Constantin Brâncuși
2702:Henri Le Fauconnier
2333:La peinture moderne
2300:Christopher Green,
2219:Jean-Paul Clébert,
1826:Constantin Brâncuși
1702:, Georges Deniker,
1692:Alexandre Mercereau
1435:Landscape at Cassis
1403:Dance at the Spring
1300:Nudes in the forest
284:Maurice de Vlaminck
3774:Apolinère Enameled
3678:Poetry collections
3648:Le Poète assassiné
3552:Arthur Jerome Eddy
3100:La Femme aux Phlox
3076:La Femme au Cheval
2993:Nadezhda Udaltsova
2805:Jean Lambert-Rucki
2785:Natalia Goncharova
2474:"The Cubist Epoch"
2257:"The Cubist Epoch"
2032:Pamela A. Genova,
1772:, Adilphe Basler,
1770:René Blum (ballet)
1764:were supported by
1762:Instinctive Cubism
1678:, Jacques Nayral,
1488:
1382:
1210:Guitar and Glasses
1180:
1149:Femme Ă l'Ă©ventail
989:, New York, 1913,
956:
838:
651:, Saint Petersburg
542:and Apollinaire's
532:Instinctive Cubism
471:
347:
329:
288:Giorgio de Chirico
246:
190:
42:
3788:
3787:
3583:
3582:
3449:La Maison Cubiste
3298:Chronophotography
3268:Neo-impressionism
2605:Peintres nouveaux
1682:, Joseph Granié,
1672:Scientific Cubism
1628:Vasque décorative
1365:Kunstmuseum Basel
1304:Nus dans la forĂŞt
1264:Juan Gris, 1912,
1244:Juan Gris, 1912,
1224:Juan Gris, 1912,
1204:Juan Gris, 1912,
1147:Marie Laurencin,
1129:Les jeunes femmes
1105:Les jeunes filles
512:Scientific Cubism
464:Kunstmuseum Basel
434:Peintres nouveaux
280:Amedeo Modigliani
237:
3863:
3826:Aesthetics books
3801:Philosophy books
3610:
3603:
3596:
3587:
3586:
3502:LĂ©once Rosenberg
3466:Louis Vauxcelles
3406:Russian Futurism
3324:Cubist sculpture
3283:Symbolism (arts)
3199:Groupe de femmes
3116:Man on a Balcony
3084:Dancer in a café
3044:The Accordionist
2998:Marie Vassilieff
2963:Kazimir Malevich
2943:Lyonel Feininger
2893:
2840:Louis Marcoussis
2825:Jacques Lipchitz
2641:
2634:
2627:
2618:
2617:
2587:
2582:
2557:
2551:Albert Gleizes,
2548:
2542:
2535:
2529:
2520:
2514:
2504:
2498:
2490:
2484:
2472:Douglas Cooper,
2470:
2464:
2455:
2442:
2436:
2430:
2424:
2418:
2401:
2336:
2329:
2323:
2316:
2310:
2297:
2286:
2281:
2275:
2255:Douglas Cooper,
2253:
2247:
2239:
2233:
2230:
2224:
2217:
2211:
2202:
2196:
2187:
2181:
2176:
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2156:
2150:
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2129:
2124:
2118:
2113:
2107:
2099:
2070:
2063:
2057:
2044:
2038:
2029:
2006:
2001:
1988:
1973:
1964:
1939:
1930:
1911:
1902:
1897:Daniel Robbins,
1895:
1878:
1871:
1814:Umberto Boccioni
1766:Louis Vauxcelles
1759:
1741:was defended by
1727:Olivier Hourcade
1724:
1708:Louis Marcoussis
1698:, André Tudesq,
1676:Ricciotto Canudo
1674:was defended by
1654:
1639:
1623:
1608:
1571:
1548:
1528:
1505:
1466:
1446:
1431:Paysage Ă Cassis
1426:
1414:
1356:
1341:
1318:
1295:
1261:
1241:
1221:
1201:
1153:Woman with a fan
1144:
1124:
1100:
1076:
1039:
1019:
1001:
976:
922:
900:
875:Jean Metzinger,
872:
854:
812:
792:
769:
750:
709:
683:
660:
649:Hermitage Museum
640:
568:The Cubist Epoch
351:Le Bateau-Lavoir
292:Mikhail Larionov
276:Louis Marcoussis
238:
182:Fernande Olivier
36:), published by
3871:
3870:
3866:
3865:
3864:
3862:
3861:
3860:
3791:
3790:
3789:
3784:
3763:Marie Laurencin
3746:
3743:(1909 painting)
3727:
3708:
3673:
3654:
3619:
3614:
3584:
3579:
3564:Blaise Cendrars
3554:(art collector)
3543:(art collector)
3532:(art collector)
3520:(art collector)
3454:
3420:
3302:
3263:Esprit Jouffret
3258:Maurice Princet
3243:Gustave Courbet
3221:
3186:
3180:Three Musicians
3007:
3003:Marie Vorobieff
2906:
2897:Georges Valmier
2887:
2875:LĂ©opold Survage
2850:Francis Picabia
2810:Marie Laurencin
2800:František Kupka
2765:Alexandra Exter
2740:Robert Delaunay
2725:MarĂa Blanchard
2706:
2682:Robert Delaunay
2650:
2645:
2601:Sur la peinture
2595:
2590:
2583:
2560:
2549:
2545:
2536:
2532:
2525:Sur la peinture
2521:
2517:
2505:
2501:
2491:
2487:
2471:
2467:
2456:
2445:
2437:
2433:
2425:
2421:
2402:
2339:
2330:
2326:
2317:
2313:
2298:
2289:
2282:
2278:
2254:
2250:
2240:
2236:
2231:
2227:
2218:
2214:
2205:Hajo DĂĽchting,
2203:
2199:
2192:Ĺ’uvres en prose
2188:
2184:
2177:
2173:
2166:
2162:
2157:
2153:
2147:
2143:
2136:
2132:
2125:
2121:
2114:
2110:
2100:
2073:
2064:
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2045:
2041:
2030:
2009:
2002:
1991:
1974:
1967:
1940:
1933:
1912:
1905:
1896:
1881:
1872:
1865:
1861:
1834:
1806:Kees van Dongen
1798:Auguste Chabaud
1786:Georges Rouault
1753:
1718:
1712:Physical Cubism
1668:
1661:
1655:
1646:
1640:
1631:
1624:
1615:
1609:
1596:
1591:
1584:
1572:
1563:
1549:
1540:
1529:
1520:
1510:Joueur d'Ă©checs
1506:
1493:
1478:
1467:
1458:
1447:
1438:
1427:
1418:
1415:
1380:Francis Picabia
1374:
1372:Francis Picabia
1367:
1359:Fernand LĂ©ger,
1357:
1348:
1342:
1333:
1319:
1310:
1296:
1283:
1276:
1262:
1253:
1242:
1233:
1222:
1213:
1202:
1189:
1168:
1161:
1145:
1136:
1125:
1116:
1101:
1092:
1077:
1059:
1057:Marie Laurencin
1052:
1040:
1031:
1020:
1011:
1002:
993:
977:
948:
941:
923:
914:
901:
892:
873:
864:
855:
830:
823:
813:
804:
793:
784:
770:
761:
751:
734:
727:
710:
701:
684:
675:
661:
652:
641:
619:
614:
596:
519:Physical Cubism
504:
468:Marie Laurencin
438:Marie Laurencin
429:the same year.
421:Sur la peinture
412:
359:Maurice Princet
296:Robert Delaunay
231:
229:
158:Marie Laurencin
121:Francis Picabia
113:Marie Laurencin
17:
12:
11:
5:
3869:
3859:
3858:
3853:
3848:
3843:
3838:
3833:
3828:
3823:
3818:
3813:
3811:Artists' books
3808:
3803:
3786:
3785:
3783:
3782:
3777:
3770:
3765:
3760:
3754:
3752:
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3726:
3725:
3716:
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3690:
3681:
3679:
3675:
3674:
3672:
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3655:
3653:
3652:
3644:
3636:
3627:
3625:
3621:
3620:
3613:
3612:
3605:
3598:
3590:
3581:
3580:
3578:
3577:
3572:
3567:
3561:
3558:Pierre Reverdy
3555:
3549:
3544:
3541:Leonard Lauder
3538:
3533:
3527:
3521:
3518:Gertrude Stein
3515:
3510:
3505:
3499:
3493:
3492:(poet, critic)
3490:Maurice Raynal
3487:
3481:
3475:
3474:(poet, critic)
3469:
3462:
3460:
3456:
3455:
3453:
3452:
3445:
3437:
3428:
3426:
3422:
3421:
3419:
3418:
3413:
3408:
3403:
3398:
3393:
3391:Constructivism
3388:
3383:
3378:
3373:
3371:Crystal Cubism
3368:
3363:
3358:
3353:
3348:
3343:
3338:
3337:
3336:
3326:
3321:
3316:
3310:
3308:
3304:
3303:
3301:
3300:
3295:
3290:
3285:
3280:
3275:
3270:
3265:
3260:
3255:
3250:
3248:Georges Seurat
3245:
3240:
3235:
3229:
3227:
3223:
3222:
3220:
3219:
3211:
3203:
3194:
3192:
3188:
3187:
3185:
3184:
3176:
3168:
3160:
3152:
3144:
3136:
3128:
3124:Les Baigneuses
3120:
3112:
3104:
3096:
3088:
3080:
3072:
3064:
3056:
3048:
3040:
3032:
3024:
3015:
3013:
3009:
3008:
3006:
3005:
3000:
2995:
2990:
2985:
2983:Morgan Russell
2980:
2975:
2970:
2965:
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2955:
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2940:
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2930:
2925:
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2912:
2908:
2907:
2905:
2904:
2902:Jacques Villon
2899:
2894:
2882:
2877:
2872:
2867:
2862:
2857:
2852:
2847:
2845:Jean Metzinger
2842:
2837:
2832:
2827:
2822:
2817:
2812:
2807:
2802:
2797:
2795:Auguste Herbin
2792:
2787:
2782:
2780:Albert Gleizes
2777:
2772:
2767:
2762:
2757:
2752:
2750:Marcel Duchamp
2747:
2745:Sonia Delaunay
2742:
2737:
2732:
2727:
2722:
2716:
2714:
2708:
2707:
2705:
2704:
2699:
2697:Marcel Duchamp
2694:
2689:
2684:
2679:
2677:Albert Gleizes
2674:
2672:Jean Metzinger
2669:
2667:Georges Braque
2664:
2658:
2656:
2652:
2651:
2644:
2643:
2636:
2629:
2621:
2615:
2614:
2609:
2594:
2593:External links
2591:
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2039:
2007:
1989:
1965:
1942:André Salmon,
1931:
1913:André Salmon,
1903:
1879:
1862:
1860:
1857:
1856:
1855:
1850:
1848:Crystal Cubism
1845:
1840:
1833:
1830:
1735:Auguste Herbin
1704:Jacques Villon
1696:Pierre Reverdy
1684:Maurice Raynal
1667:
1664:
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1649:
1647:
1641:
1634:
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1594:Duchamp-Villon
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1585:
1573:
1566:
1564:
1550:
1543:
1541:
1530:
1523:
1521:
1514:The Chess Game
1507:
1500:
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1491:Marcel Duchamp
1489:
1486:Marcel Duchamp
1480:
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1166:Henri Rousseau
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836:Jean Metzinger
829:
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785:
771:
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572:Douglas Cooper
556:Daniel Robbins
503:
502:Classification
500:
452:Henri Rousseau
442:Henri Rousseau
411:
408:
406:, p. 18)
339:
338:
272:Henri Rousseau
242:André Rouveyre
228:
225:
178:Gertrude Stein
125:Marcel Duchamp
105:Albert Gleizes
101:Jean Metzinger
97:Georges Braque
75:Jean Metzinger
71:Albert Gleizes
15:
9:
6:
4:
3:
2:
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3768:Bateau-Lavoir
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3372:
3369:
3367:
3364:
3362:
3359:
3357:
3354:
3352:
3349:
3347:
3346:Orphism (art)
3344:
3342:
3339:
3335:
3332:
3331:
3330:
3327:
3325:
3322:
3320:
3319:Cubo-Futurism
3317:
3315:
3312:
3311:
3309:
3305:
3299:
3296:
3294:
3291:
3289:
3286:
3284:
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3165:
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3118:
3117:
3113:
3110:
3109:
3105:
3102:
3101:
3097:
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3093:
3092:L'Oiseau bleu
3089:
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2973:Lyubov Popova
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2918:Giacomo Balla
2916:
2915:
2913:
2909:
2903:
2900:
2898:
2895:
2891:
2886:
2885:Henry Valensi
2883:
2881:
2878:
2876:
2873:
2871:
2870:Gino Severini
2868:
2866:
2863:
2861:
2858:
2856:
2853:
2851:
2848:
2846:
2843:
2841:
2838:
2836:
2835:Jean Marchand
2833:
2831:
2828:
2826:
2823:
2821:
2820:Fernand LĂ©ger
2818:
2816:
2815:Henri Laurens
2813:
2811:
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2806:
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2798:
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2781:
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2756:
2755:Pierre Dumont
2753:
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2692:Fernand LĂ©ger
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2662:Pablo Picasso
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2482:0-87587-041-4
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2020:
2018:
2016:
2014:
2012:
2005:
2000:
1998:
1996:
1994:
1987:
1986:0-521-85658-2
1983:
1979:
1978:
1972:
1970:
1963:. pp. 199–206
1962:
1961:0-520-01450-2
1958:
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1818:Auguste Agéro
1815:
1811:
1810:Gino Severini
1807:
1803:
1799:
1795:
1791:
1787:
1783:
1782:Henri Matisse
1779:
1775:
1771:
1767:
1763:
1757:
1752:
1751:Henry Valensi
1748:
1747:Pierre Dumont
1744:
1740:
1739:Orphic Cubism
1736:
1732:
1731:Jean Marchand
1728:
1722:
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1281:Fernand LĂ©ger
1275:
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1266:Man in a Café
1260:
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1089:Musée Picasso
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743:
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713:Pablo Picasso
708:
703:
700:
696:
692:
688:
687:Pablo Picasso
682:
677:
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669:
665:
664:Pablo Picasso
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573:
569:
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525:Orphic Cubism
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520:
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509:
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489:
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469:
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389:
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376:in 1912) and
375:
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364:
360:
356:
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318:
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311:
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304:Henri Matisse
301:
297:
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187:
186:Pablo Picasso
183:
179:
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170:Musée Picasso
167:
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159:
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138:Published by
136:
134:
130:
126:
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117:Fernand LĂ©ger
114:
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102:
98:
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93:Pablo Picasso
90:
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76:
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68:
67:
62:
58:
54:
53:
48:
47:
39:
35:
31:
27:
23:
19:
3841:Ethics books
3821:French books
3772:
3738:
3720:
3719:
3702:Calligrammes
3700:
3692:
3684:
3665:
3646:
3638:
3630:
3530:Wilhelm Uhde
3526:(art dealer)
3524:Berthe Weill
3504:(art dealer)
3498:(art dealer)
3478:André Salmon
3447:
3440:
3439:
3433:Du "Cubisme"
3431:
3411:Ego-Futurism
3351:Abstract art
3329:Czech Cubism
3314:Section d'Or
3293:Proto-Cubism
3238:Paul Gauguin
3233:Paul CĂ©zanne
3213:
3205:
3197:
3178:
3170:
3162:
3154:
3146:
3138:
3130:
3122:
3114:
3106:
3098:
3090:
3082:
3074:
3066:
3060:La Coiffeuse
3058:
3050:
3042:
3034:
3026:
3018:
2978:Diego Rivera
2958:August Macke
2948:El Lissitzky
2923:Alice Bailly
2865:Diego Rivera
2790:Henri Hayden
2735:Joseph Csaky
2712:Section d'Or
2604:
2600:
2552:
2546:
2538:
2533:
2524:
2518:
2508:
2502:
2494:
2488:
2468:
2459:
2434:
2422:
2405:
2332:
2327:
2319:
2314:
2305:
2301:
2279:
2251:
2242:
2237:
2228:
2220:
2215:
2206:
2200:
2191:
2185:
2174:
2163:
2154:
2144:
2133:
2122:
2111:
2102:
2066:
2061:
2042:
2033:
1976:
1951:
1947:
1943:
1926:
1922:
1918:
1915:L'art vivant
1914:
1898:
1875:Du "Cubisme"
1874:
1843:Section d'Or
1838:Proto-Cubism
1790:André Derain
1774:Gustave Kahn
1761:
1738:
1737:, and VĂ©ra.
1716:Roger Allard
1711:
1700:André Warnod
1680:André Salmon
1671:
1669:
1658:
1643:
1627:
1612:
1597:
1575:
1556:
1552:
1532:
1513:
1509:
1494:
1470:
1454:
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1434:
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1402:
1398:
1395:
1391:
1387:
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1360:
1345:
1326:
1322:
1303:
1299:
1284:
1273:
1265:
1249:
1245:
1229:
1225:
1209:
1205:
1190:
1181:
1169:
1158:Du "Cubisme"
1156:
1152:
1148:
1132:
1128:
1108:
1104:
1084:
1080:
1060:
1043:
1027:
1024:Nature morte
1023:
1005:
980:
965:
961:
957:
938:Du "Cubisme"
936:
926:
904:
888:Du "Cubisme"
886:
876:
858:
843:
839:
816:
796:
777:
773:
754:
735:
720:
716:
695:Sol y sombra
694:
690:
667:
644:
629:
623:
621:
611:New Painters
610:
604:
600:plastic arts
597:
592:
586:
567:
565:
559:
551:
543:
540:Du "Cubisme"
539:
537:
531:
530:
524:
523:
518:
517:The second,
516:
511:
508:art movement
505:
495:
491:
488:André Salmon
483:Du "Cubisme"
481:
479:
475:
472:
459:
455:
433:
431:
424:
420:
415:
413:
403:
400:art movement
395:
381:
374:Section d'Or
367:
348:
333:
314:
300:Marc Chagall
263:
247:
220:
218:
213:
209:
205:
197:
193:
191:
173:
165:
161:
143:
137:
88:
87:
82:
79:André Salmon
77:(1912); and
66:Du "Cubisme"
64:
63:; following
51:
50:
45:
44:
43:
33:
29:
18:
3570:Armory Show
3444:(1913 book)
3436:(1912 book)
3381:Suprematism
3356:Synchromism
3334:Rondocubism
3278:Divisionism
3273:Pointillism
3253:Paul Signac
3095:(Metzinger)
3087:(Metzinger)
3079:(Metzinger)
3071:(Metzinger)
2933:Carlo CarrĂ
2888: [
2830:André Lhote
2509:On Painting
1929:, pp. 41–61
1754: [
1719: [
1688:Marc Brésil
1226:Les Cigares
987:Armory Show
666:, 1911–12,
593:On Painting
581:avant-garde
334:avant-garde
267:avant-garde
259:Surrealists
250:visual arts
3816:1913 books
3795:Categories
3732:Portrayals
3341:Die BrĂĽcke
3307:Influenced
3226:Influences
3191:Sculptures
2968:Franz Marc
1859:References
1794:Raoul Dufy
1613:Baudelaire
1477:, New York
1471:Tarentelle
1346:Les Fumées
1206:La Guitare
1028:Still Life
560:post facto
378:Surrealism
255:Symbolists
49:(English,
3484:Max Jacob
3416:Vorticism
3183:(Picasso)
3143:(Duchamp)
3135:(Gleizes)
3127:(Gleizes)
3119:(Gleizes)
3111:(Gleizes)
3103:(Gleizes)
3068:Le goûter
3063:(Picasso)
3055:(Picasso)
3047:(Picasso)
3039:(Picasso)
3031:(Picasso)
3023:(Picasso)
3012:Paintings
2938:Paul Klee
2687:Juan Gris
2267:, p. 98,
2055:0182-5852
2047:Le Figaro
1187:Juan Gris
1178:Juan Gris
913:, Denmark
721:Jolie Eva
717:Le violon
577:Juan Gris
498:), 1912.
462:), 1909,
355:Max Jacob
337:century".
109:Juan Gris
3480:(critic)
3468:(critic)
3401:Art Deco
3396:De Stijl
3366:Futurism
3207:Danseuse
3156:The City
2263:and the
1832:See also
1802:Jean Puy
1743:Max Goth
1630:(detail)
1589:Appendix
1539:, Venice
1399:a priori
1246:Portrait
715:, 1912,
689:, 1912,
674:, Madrid
550:'s book
392:Futurism
202:brackets
160:, 1909,
133:halftone
85:(1912).
3758:Orphism
3751:Related
3694:Alcools
3459:Related
3425:Related
3288:Fauvism
3218:(Csaky)
3210:(Csaky)
3202:(Csaky)
3167:(LĂ©ger)
3159:(LĂ©ger)
3151:(Kupka)
2655:Leaders
2207:Orphism
1455:Paysage
1091:, Paris
803:, Paris
617:Picasso
388:Fauvism
370:Orphism
244:in 1914
3836:Cubism
3724:, 1913
3705:(1918)
3697:(1913)
3689:(1911)
3670:(1903)
3651:(1916)
3643:(1909)
3635:(1907)
3624:Novels
3566:(poet)
3560:(poet)
3486:(poet)
3376:Purism
3361:Tubism
3175:(Gris)
2911:Others
2880:Tobeen
2648:Cubism
2480:
2414:
2304:, and
2271:
2053:
1984:
1959:
1824:, and
1812:, and
1706:, and
891:(1912)
410:Volume
383:Parade
227:Author
148:Cubism
61:Cubism
3713:Other
3659:Plays
2892:]
1948:et al
1758:]
1723:]
3386:Dada
3215:Head
2478:ISBN
2412:ISBN
2269:ISBN
2149:505.
2051:ISSN
1982:ISBN
1957:ISBN
1749:and
1666:Note
127:and
73:and
1921:, (
69:by
3797::
2890:fr
2603:,
2561:^
2446:^
2410:,
2340:^
2290:^
2074:^
2010:^
1992:^
1968:^
1950:,
1934:^
1917:,
1906:^
1882:^
1866:^
1828:.
1820:,
1808:,
1804:,
1800:,
1796:,
1792:,
1788:,
1784:,
1776:,
1768:,
1756:fr
1745:,
1733:,
1729:,
1725:,
1721:fr
1710:.
1694:,
1690:,
1686:,
570:,
490:,
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357:,
306:.
298:,
294:,
290:,
286:,
278:,
261:.
180:,
176::
123:,
119:,
115:,
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