Category:Cubism - WikiVisually
Cubism was an avant-garde art movement that revolutionized European painting and sculpture in the early 20th century. The essence of cubism is that instead of viewing subjects from a single, fixed angle, the artist breaks them up into a multiplicity of facets, so that several different aspects/faces of the subject can be seen simultaneously.
The main article for this category is Cubism.
► Cubist paintings‎ (5 C, 52 P, 278 F)
► Cubist architects‎ (5 P)
► Cubist artists‎ (2 C, 96 P)
► Cubist sculptures‎ (7 P, 42 F)
► Proto-Cubist paintings‎ (8 P, 55 F)
Concert 1937
Antonín Procházka (painter)
Albert Gleizes, 1909, Bords de la Marne, oil on canvas, 54 x 65 cm, Musée des Beaux-Arts, Lyon..jpg 800 × 663; 356 KB
Albert Gleizes, 1910-12, Les Arbres, oil on canvas, 41 x 27 cm. Reproduced in Du "Cubisme", 1912.jpg 789 × 1,200; 437 KB
Albert Gleizes, 1910, Femme aux Phlox, oil on canvas, 81 x 100 cm, exhibited Armory Show, New York, 1913, The Museum of Fine Arts, Houston..jpg 1,351 × 1,083; 999 KB
Albert Gleizes, 1910, L'Arbre (The Tree), oil on canvas, 92 x 73.2 cm, private collection.jpg 512 × 649; 72 KB
Albert Gleizes, 1911, Dessin pour les Baigneuses, published in La Revue de France et des pays français, February - March 1912.jpg 1,343 × 1,000; 1 MB
Albert Gleizes, 1911, Nature morte (Still Life), published in Les Peintres Cubistes, 1913.jpg 1,800 × 1,422; 1.96 MB
Albert Gleizes, 1911, Paysage (Landscape), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue Galeries Dalmau, Barcelona, 1912.jpg 1,160 × 901; 373 KB
Albert Gleizes, 1911, Portrait de Jacques Nayral, oil on canvas, 161.9 x 114 cm, Tate Modern, London.jpg 1,085 × 1,536; 561 KB
Albert Gleizes, 1911, Stilleben, Nature Morte, Der Sturm postcard, Sammlung Walden, Berlin. Collection Paul Citroen, sold 1928 to Kunstausstellung Der Sturm, requisition by the Nazis in 1937, and missing since.jpg 725 × 590; 334 KB
Albert Gleizes, 1912-13, Les Joueurs de football (Football Players), oil on canvas, 225.4 x 183 cm, National Gallery of Art.jpg 1,727 × 2,126; 2.87 MB
Albert Gleizes, 1912, Dessin pour L'Homme au balcon, Salon des Indépendants 1912, published in Du "Cubisme", 1912.jpg 1,430 × 2,000; 2.39 MB
Albert Gleizes, 1912, Landschaft bei Paris, Paysage près de paris, Paysage de Courbevoie, oil on canvas, 72.8 x 87.1 cm, missing from Hannover since 1937.jpg 738 × 568; 337 KB
Albert Gleizes, 1912, Le Dépiquage des Moissons, Harvest Threshing, oil on canvas, 269 x 353 cm, National Museum of Western Art, Tokyo, Japan.jpg 1,354 × 1,033; 1.48 MB
Albert Gleizes, 1912, Les Baigneuses, oil on canvas, 105 x 171 cm, Paris, Musée d'Art Moderne de la Ville de Paris.jpg 2,056 × 1,277; 1.54 MB
Albert Gleizes, 1912, Les ponts de Paris (Passy), The Bridges of Paris, oil on canvas, 60.5 x 73.2 cm, Museum Moderner Kunst (mumok), Vienna..jpg 762 × 624; 368 KB
Albert Gleizes, 1913, L'Homme au hamac, oil on canvas, 130 x 155.5 cm. Albright-Knox Art Gallery, Buffalo, New York.jpg 2,401 × 1,996; 3.16 MB
Albert Gleizes, 1913, Les Bateaux de pêche (Fischerboote), oil on canvas, 165 x 111 cm, exhibited Salon d'Automne, Paris, 1913-14, no. 770, Manes Moderni Umeni, Vystava, Prague, 1914, no. 44.jpg 703 × 1,034; 448 KB
Albert Gleizes, 1913, Portrait de l’éditeur Eugène Figuière (The Publisher Eugene Figuiere), oil on canvas, 143.5 x 101.5 cm, Musée des Beaux-Arts de Lyon.jpg 1,878 × 2,638; 2.93 MB
Albert Gleizes, 1914-15, Portrait of an Army Doctor (Portrait d'un médecin militaire), oil on canvas, 119.8 x 95.1 cm, Solomon R. Guggenheim Museum (detail).jpg 343 × 447; 159 KB
Albert Gleizes, 1914-15, Portrait of an Army Doctor (Portrait d'un médecin militaire), oil on canvas, 119.8 x 95.1 cm, Solomon R. Guggenheim Museum.jpg 766 × 964; 625 KB
Albert Gleizes, 1914-15, Portrait of an Army Doctor (Portrait d'un médecin militaire), structural schematic.jpg 1,739 × 2,140; 1.73 MB
Albert Gleizes, 1914, Paysage avec un arbre (Landscape with Tree), oil on canvas, 100 x 81 cm, private collection.jpg 719 × 901; 499 KB
Albert Gleizes, 1914, Paysage avec un arbre, Landscape with trees (Landschaft mit Baumen), oil on canvas, 100 x 81 cm, Marlborough-Gerson Gallery, New York.jpg 954 × 1,190; 829 KB
Albert Gleizes, 1914, Paysage Cubiste, oil on canvas, 97 x 130 cm, published in Der Sturm, 5 October 1920.jpg 1,225 × 926; 219 KB
Albert Gleizes, 1915, Broadway, oil on board, 98.5 x 76 cm, private collection.jpg 1,072 × 1,430; 1.52 MB
Albert Gleizes, 1915, Brooklyn Bridge, oil and gouache on canvas, 102 x 102 cm, Solomon R. Guggenheim Museum, New York.jpg 2,885 × 2,963; 1.31 MB
Albert Gleizes, 1915, Chal Post, oil and gouache on board, 101.8 x 76.5 cm, Solomon R. Guggenheim Museum.jpg 681 × 902; 636 KB
Albert Gleizes, 1915, Composition pour Jazz, oil on cardboard, 73 x 73 cm, Solomon R. Guggenheim Museum, New York.jpg 3,993 × 3,999; 8.5 MB
Albert Gleizes, 1915, Retour, published in Le Mot, n. 20, 1 July 1915.jpg 1,359 × 1,011; 1.04 MB
Albert Gleizes, 1920-23, Ecuyère (Horsewoman), oil on canvas, 130 x 93 cm, Musée des Beaux-Arts de Rouen.jpg 933 × 1,300; 727 KB
Albert Gleizes, 1920-23, Ecuyère, oil on canvas, 130 x 93 cm, Musée des Beaux-Arts de Rouen.jpg 453 × 626; 246 KB
Albert Gleizes, 1920, Femme au gant noir (Woman with Black Glove), oil on canvas, 126 x 100 cm. Private collection.jpg 1,145 × 1,440; 1.26 MB
Albert Gleizes, 1920, Femme et enfant (Woman and child).jpg 1,109 × 1,440; 1.01 MB
Albert Gleizes, 1920, Femme portant un enfant, Exposition Internationale d'Art Moderne, Geneva, 26 December 1920 - 25 January 1921, No. 185.jpg 1,331 × 1,984; 2.39 MB
Albert Gleizes, 1920, Figure, gouache on canvas, 91.4 x 76.2 cm, Los Angeles County Museum of Art.jpg 560 × 717; 71 KB
Albert Gleizes, 1921, Composition bleu et jaune (Composition jaune), oil on canvas, 200.5 x 110 cm DSC00547.jpg 529 × 992; 154 KB
Albert Gleizes, Action, Cahiers Individualistes de philosophie et d'art, Volume 1, No. 1, February 1920.jpg 5,641 × 6,795; 12.97 MB
Albert Gleizes, Broom, An International Magazine Of The Arts, November 1921.jpg 1,033 × 1,444; 750 KB
Albert Gleizes, c.1920, L'Homme dans les maisons, La Vie des Lettres (cover illustration), Jacques Povolozky & Cie, Paris, 1920.jpg 537 × 791; 608 KB
Albert Gleizes, c.1920, L'Homme dans les maisons, La Vie des Lettres et des Arts (cover illustration), 1920.jpg 2,104 × 1,500; 1.57 MB
Albert Gleizes, drawing (zeichnung), Der Sturm, 5 June 1920.jpg 1,131 × 1,746; 1.19 MB
Albert Gleizes, l'Homme au Balcon, 1912, oil on canvas, 195.6 x 114.9 cm, Philadelphia Museum of Art.jpg 840 × 1,442; 907 KB
Albert Gleizes, La Chasse, 1911, oil on canvas, 123.2 x 99 cm.jpg 768 × 965; 533 KB
Albert Gleizes, Woman and child (Frau und Kind), Der Sturm, 5 October 1921.jpg 955 × 1,295; 1.2 MB
Albert Gleizes, Zeichnung, Der Sturm, 5 June 1920..jpg 1,066 × 1,641; 884 KB
André Derain, 1911, The Last Supper, oil on canvas, 227.3 x 288.3 cm, Art Institute of Chicago.jpg 900 × 707; 351 KB
André Lhote, 1913, Dessin pour L'escale, published in Montjoie, n.5, 14 April 1913.jpg 3,397 × 4,254; 8.42 MB
Auguste Herbin, 1911, Le pont de fer (Iron Bridge), oil on canvas, 63.5 x 80 cm.jpg 400 × 319; 99 KB
Chagall IandTheVillage.jpg 476 × 599; 75 KB
Diego Rivera, 1912-13, Adoration of the Virgin and Child, oil and encaustic on canvas, 150 x 120 cm, private collection.jpg 720 × 897; 518 KB
Duchamp - Nude Descending a Staircase.jpg 668 × 1,115; 664 KB
Entartete Kunst, Degenerate Art exhibition catalogue, 1937, p. 23, Johannes Molzahn, Jean Metzinger, Kurt Schwitters.jpg 1,097 × 1,487; 690 KB
Femme en chemise assise dans un fauteuil.jpg 1,318 × 2,000; 1.31 MB
Fernand Léger, 1911-1912, Les Fumeurs (The Smokers), oil on canvas, 129.2 x 96.5 cm, Solomon R. Guggenheim Museum, New York..jpg 3,034 × 4,096; 5 MB
Fernand Léger, 1912-13, Nude Model in the Studio (Le modèle nu dans l'atelier), oil on burlap, 128.6 x 95.9 cm, Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim.jpg 3,044 × 4,096; 6.32 MB
Fernand Léger, 1912, Les Fumées, reproduced in Les Peintres Cubistes, 1913.jpg 1,800 × 1,535; 1.97 MB
Fernand Léger, Woman in Blue, Femme en Bleu, 1912, oil on canvas, 193 x 129.9 cm.jpg 1,897 × 2,835; 3.78 MB
Francis Picabia, 1911, Paysage (Landscape), reproduced in Les Peintres Cubistes, 1913.jpg 1,397 × 1,800; 1.91 MB
Francis Picabia, 1912, La Source, The Spring, oil on canvas, 249.6 x 249.3 cm, Museum of Modern Art, New York. Exhibited, 1912 Salon d'Automne, Paris.jpg 994 × 1,000; 134 KB
Francis Picabia, 1912, Tarentelle, oil on canvas, 73.6 x 92.1 cm, Museum of Modern Art, New York.jpg 844 × 671; 462 KB
Francis Picabia, 1912, The Procession, Seville, oil on canvas, 121.9 x 121.9 cm, National Gallery of Art, Washington DC.jpg 1,024 × 1,022; 569 KB
Francis Picabia, 1913-14, Force Comique, aquarelle et graphite sur papier, 63.4 x 52.7 cm, Berkshire Museum.jpg 680 × 837; 143 KB
Francis Picabia, 1913, Catch as Catch Can, oil on canvas, 100.6 x 81.6 cm, Philadelphia Museum of Art.jpg 855 × 1,061; 724 KB
Francis Picabia, 1913, Edtaonisl (Ecclesiastic), oil on canvas, 300.4 x 300.7 cm, Art Institute of Chicago.jpg 765 × 768; 191 KB
Francis Picabia, 1913, Udnie (Young American Girl, The Dance), oil on canvas, 290 x 300 cm, Musée National d’Art Moderne, Centre Georges Pompidou, Paris..jpg 1,798 × 1,800; 2.23 MB
Francis Picabia, Paysage (Landscape), reproduced in Les Peintres Cubistes, 1913.jpg 1,800 × 1,461; 1.86 MB
Francis Picabia, The Dance at the Spring, 1912, oil on canvas, Philadelphia Museum of Art.jpg 654 × 661; 512 KB
František Kupka, 1912, Amorpha, fugue en deux couleurs (Fugue in Two Colors), 210 x 200 cm, Narodni Galerie, Prague.jpg 768 × 755; 567 KB
Georges Braque, 1909-10, La guitare (Mandora, La Mandore), oil on canvas, 71.1 x 55.9 cm, Tate Modern, London.jpg 854 × 1,044; 162 KB
Georges Braque, 1911-12, Man with a Guitar (Figure, L’homme à la guitare), oil on canvas, 116.2 x 80.9 cm (45.75 x 31.9 in), Museum of Modern Art, New York.jpg 1,280 × 1,800; 1.75 MB
Georges Braque, 1911, La Tasse (The Cup), oil on canvas, 24.1 x 33 cm (9.5 x 13 in).jpg 975 × 652; 311 KB
Georges Braque, 1911, Nature morte (Still Life), Reproduced in Du Cubisme, 1912.jpg 697 × 875; 280 KB
Georges Braque, 1911, Nature Morte (The Pedestal Table), oil on canvas, 116.5 x 81.5 cm, Georges Pompidou Center, Paris.jpg 1,258 × 1,800; 1.82 MB
Georges Braque, 1912, The Violin (Mozart-kubelick), oil on canvas, 46 x 61 cm, private collection, Basel, Switzerland.jpg 711 × 541; 70 KB
Georges Braque, 1912, Violin, Mozart Kubelick, oil on canvas, 45.7 x 61 cm (18 x 24 in), Metropolitan Museum of Art.jpg 2,246 × 1,714; 2.27 MB
Georges Braque, 1913, Nature morte (Fruit Dish, Ace of Clubs), oil, gouache and charcoal on canvas, 81 x 60 cm (31.8 x 23.6 in), Musée National d'Art Moderne, Centre Georges Pompidou, Paris.jpg 1,340 × 1,800; 2.09 MB
Georges Braque, 1914, Man With a Guitar, oil on canvas, 130 x 73 cm, Musée National d'Art Moderne, Centre Georges Pompidou, Paris.jpg 410 × 750; 77 KB
Georges Braque, spring 1910, Femme tenant une Mandoline, 92 x 73 cm, Bayerische Staatsgemäldesammlungen, Munich...jpg 1,469 × 1,800; 1.62 MB
Gino Severini, 1912, Dynamic Hieroglyphic of the Bal Tabarin, oil on canvas with sequins, 161.6 x 156.2 cm (63.6 x 61.5 in.), Museum of Modern Art, New York.jpg 410 × 420; 108 KB
GleizesArt.jpg 736 × 1,278; 903 KB
Henri Laurens, 1920, Le Petit boxeur, 43 cm, reproduced in Život 2 (1922), p 53.jpg 860 × 2,120; 998 KB
Henri Laurens, Céline Arnauld, Tournevire, 1919.jpg 2,209 × 3,430; 2.09 MB
Henri Le Fauconnier, 1910-11, L'Abondance (Abundance), oil on canvas, 191 x 123 cm (75.25 x 48.5 in.), Gemeentemuseum Den Haag.jpeg 909 × 1,398; 265 KB
Jean Lambert-Rucki, 1919, La Visite, 65 x 92 cm, Musée des Années 30, Boulogne-Billancourt, Dépôt du Centre Georges Pompidou, MNAM, Paris.jpg 692 × 490; 220 KB
Jean Metzinger, 1911, Etude pour le portrait de Guillaume Apollinaire, Mine graphite sur papier vergé rose, 48 x 31.2 cm, Musée national d'Art moderne, Centre Georges Pompidou, Paris.jpg 890 × 1,182; 257 KB
Jean Metzinger, Gino Severini, Albert Gleizes, Les Annales politiques et littéraires, Sommaire du n. 1536, décembre 1912.jpg 1,896 × 2,964; 3.14 MB
Jean Metzinger, Juan Gris, Marie Laurencin, August Agero, Veu de Catalunya, 25 April 1912.jpg 1,990 × 3,207; 4.12 MB
Jean Metzinger, Le Goûter (Tea Time), published in Le Journal, 30 September 1911.jpg 1,138 × 2,069; 2.08 MB
Jean Metzinger, Portrait of an American Smoking, 1912, Cubist Exhibition, Boggs & Buhl Department Store, Pittsburgh, July 1913.jpg 1,174 × 1,890; 843 KB
Jean Metzinger, Soldier at a Game of Chess, X-ray composite.jpg 276 × 361; 18 KB
Joan Miró, 1920, Horse, Pipe and Red Flower, oil on canvas, 82.6 x 74.9 cm, Philadelphia Museum of Art.jpg 1,026 × 1,120; 1.12 MB
Joan Miró, drawing, published in Troços, Segona sèrie, N. 4, March 1918.jpg 1,073 × 1,368; 671 KB
Le Corbusier (Charles Edouard Jeanneret), 1922, Nature morte verticale (Vertical Still Life), oil on canvas, 146.3 x 89.3 cm, Kunstmuseum, Basel.jpg 363 × 600; 199 KB
Le Corbusier (Charles-Édouard Jeanneret), 1920, Guitare verticale (2ème version), oil on canvas, 100 x 81 cm, Fondation Le Corbusier, Paris.jpg 387 × 480; 20 KB
Le Corbusier (Charles-Édouard Jeanneret), 1920, Still Life, oil on canvas, 80.9 x 99.7 cm, Museum of Modern Art.jpg 500 × 410; 64 KB
Le Corbusier (Charles-Édouard Jeanneret), reproduced in Život 2 (1922).jpg 898 × 865; 398 KB
Le Cubisme devant les Artistes, Les Annales politiques et littéraires, 1 December 1912.jpg 6,678 × 3,126; 9.55 MB
Léopold Survage, 1920, La Ville (The Town), oil on canvas, 254 x 152 cm (black and white photo).jpg 800 × 1,306; 627 KB
Leopold Survage, Stadt.jpg 550 × 676; 350 KB
Marc Chagall, 1911-12, Hommage à Apollinaire, or Adam et Ève (study), gouache, watercolor, ink wash, pen and ink and collage on paper, 21 x 17.5 cm.jpg 1,018 × 1,230; 534 KB
Marc Chagall, 1911-12, The Drunkard (Le saoul), 1912, oil on canvas. 85 x 115 cm. Private collection.jpg 2,482 × 1,753; 2.16 MB
Marc Chagall, 1911, I and the Village, oil on canvas, 192.1 x 151.4 cm, Museum of Modern Art, New York.jpg 330 × 420; 77 KB
Marc Chagall, 1911, To My Betrothed, gouache, watercolor, metallic paint, charcoal, and ink on paper, mounted on cardboard, 61 x 44.5 cm, Philadelphia Museum of Art.jpg 1,197 × 1,673; 1.46 MB
Marc Chagall, 1911, Trois heures et demie (Le poète), Half-Past Three (The Poet), oil on canvas, 195.9 x 144.8 cm, Philadelphia Museum of Art.jpg 463 × 626; 252 KB
Marc Chagall, 1912, Calvary (Golgotha) Christus gewidmet, oil on canvas, 174.6 x 192.4 cm, Museum of Modern Art, New York.jpg 660 × 604; 105 KB
Marc Chagall, 1912, still-life (Nature morte), oil on canvas, private collection.jpg 849 × 711; 630 KB
Marc Chagall, 1913, La femme enceinte (Maternité), oil on canvas, 193 x 116 cm, Stedelijk Museum, Amsterdam.jpg 442 × 740; 80 KB
Marc Chagall, 1913, Paris par la fenêtre (Paris Through the Window), oil on canvas, 136 x 141.9 cm, Solomon R. Guggenheim Museum, New York.jpg 902 × 866; 721 KB
Marcel Duchamp, 1911-12, Nude (Study), Sad Young Man on a Train (Nu -esquisse-, jeune homme triste dans un train), Peggy Guggenheim Collection, Venice.jpg 2,980 × 4,096; 5.62 MB
Marcel Duchamp, 1911, La sonate (Sonata), oil on canvas, 145.1 x 113.3 cm, Philadelphia Museum of Art.jpg 1,026 × 1,309; 840 KB
Marcel Duchamp, 1912, Le Roi et la Reine entourés de Nus vites (The King and Queen Surrounded by Swift Nudes), oil on canvas, 114.6 x 128.9 cm, Philadelphia Museum of Art.jpg 1,024 × 922; 907 KB
Marcel Duchamp, Nude Descending a Staircase, No. 2, in the Frederick C. Torrey home, c. 1913.jpg 674 × 823; 363 KB
Maurice de Vlaminck, c.1912, Village, oil on canvas, 73.7 x 92.1 cm (29 x 36 1-4 in.), Art Institute of Chicago.jpg 800 × 642; 83 KB
Olaf Rude, 1918, Sankt Georg og dragen (Saint George and the dragon), oil on canvas, 99.7 x 79.9 cm, ARoS Aarhus Kunstmuseum.jpg 630 × 787; 130 KB
Pablo Picasso, 1908, Woman's Head (Tête de femme), oil on canvas, 73.6 x 60.6 cm, Museum of Modern Art.jpg 439 × 543; 266 KB
Pablo Picasso, 1909-10, Le Bock, oil on canvas, 81 x 65.5, Lille Métropole Museum of Modern, Contemporary and Outsider Art.jpg 411 × 495; 188 KB
Pablo Picasso, 1909, Femme assise (Sitzende Frau), oil on canvas, 100 x 80 cm, Staatliche Museen zu Berlin, Neue Nationalgalerie.jpg 1,006 × 1,279; 884 KB
Pablo Picasso, 1909, Still Life, Casket, Cup, Apples and Glass, Bologna Gallery of Modern Art.jpg 1,053 × 888; 620 KB
Pablo Picasso, 1909, The Oil Mill (Moulin à huile), oil on canvas, 38.1 x 45.7 cm (15 x 18 in.), Metropolitan Museum of Art.jpg 600 × 495; 105 KB
Pablo Picasso, 1909, Two Nude Figures (Deux figures nues), steel-faced drypoint on Arches laid paper, 13 x 11 cm.jpg 884 × 1,043; 733 KB
Pablo Picasso, 1909, Woman with a Mandolin, oil on canvas, 92 x 73 cm, Hermitage Museum.jpg 583 × 745; 300 KB
Pablo Picasso, 1911, La Femme au Violon, oil on canvas, private collection, on long-term loan to Bavarian State Painting Collections, Pinakothek der Moderne, Munich.jpg 1,018 × 1,442; 946 KB
Pablo Picasso, 1911, Still Life with a Bottle of Rum, oil on canvas, 61.3 x 50.5 cm, Metropolitan Museum of Art, New York.jpg 450 × 550; 117 KB
Pablo Picasso, 1912-13, Guitare (Guitar), oil and charcoal on canvas, 72.4 x 60 cm, National Museum of Art, Architecture and Design, Oslo, Norway.jpg 684 × 820; 442 KB
Pablo Picasso, 1912, Le poète (The Poet), oil on canvas, 59.9 x 47.8 cm, Kunstmuseum, Basel.jpg 941 × 1,178; 935 KB
Pablo Picasso, 1912, Violon, verre, pipe et encrier (Souvenir of Le Havre), oil on canvas, 81 x 54 cm, Narodni Galerie, Prague, Czech Republic.jpg 716 × 1,076; 546 KB
Pablo Picasso, 1913-14, Woman in a Chemise in an Armchair, oil on canvas, 149.9 x 99.4 cm, Metropolitan Museum of Art.jpg 414 × 624; 181 KB
Pablo Picasso, 1913, Violin Hanging on the Wall, oil, spackle with sand, enamel, and charcoal on canvas, 65 x 46 cm, Museum of Fine Arts Berne.jpg 3,000 × 4,250; 6.1 MB
Pablo Picasso, reproduced in L'Elan, Number 9, 12 February 1916.jpg 1,867 × 2,803; 1.63 MB
Pablo Picasso, reproduced in L'Elan, Number 10, 1 December 1916.jpg 2,629 × 3,507; 2.55 MB
Picabia starDancer.jpg 580 × 800; 145 KB
Recoveredgleizes.jpg 808 × 1,024; 269 KB
Violin and Candlestick.jpg 570 × 700; 112 KB
Albert Gleizes, Marcel Duchamp, Jean Crotti, The Literary Digest, 27 November 1915.jpg 4,495 × 1,691; 4.05 MB
Alexander Archipenko, Flat Torso, 1914.jpg 719 × 1,065; 450 KB
Alexander Archipenko, La Vie Familiale, Family Life, 1912.jpg 829 × 1,195; 1.13 MB
Alexander Archipenko, Statuette, 1916.jpg 803 × 1,248; 730 KB
Constantin Brancusi, 1909, Portrait De Femme (La Baronne Renée Frachon), now lost. Armory Show, published press clipping, 1913.jpg 400 × 572; 120 KB
Francis Picabia paintings published in New York Tribune, 9 March 1913.jpg 6,091 × 9,066; 20.09 MB
Georges Braque, 1910, Violon, verre et couteau (Still Life with Violin, Glass and Knife), oil on canvas, 51 × 67 cm, oval, National Gallery, Prague.jpg 870 × 708; 401 KB
Georges Braque, 1913, Femme à la guitare (Woman with Guitar), oil and charcoal on canvas, 130 × 73 cm, Musée National d'Art Moderne, Centre Pompidou.jpg 1,733 × 3,039; 3.08 MB
Georges Braque, 1917, Guitare et verre (Guitar and Glass), oil on canvas, 60.1 x 91.5 cm, Kröller-Müller Museum.jpg 560 × 367; 116 KB
Georges Braque, 1917, La Joueuse de mandoline, oil on canvas, 92 × 65 cm, Lille Métropole Museum of Modern, Contemporary and Outsider Art.jpg 696 × 986; 581 KB
Jacques Lipchitz, 1914, Acrobat on Horseback (Acrobate à cheval).jpg 1,110 × 1,515; 934 KB
Jacques Lipchitz, 1917, L'homme à la mandoline, 80 cm, Musée National d'Art Moderne, Centre Georges Pompidou.jpg 345 × 608; 154 KB
Jacques Lipchitz, 1918, Le Guitariste (The Guitar Player).jpg 1,018 × 1,870; 958 KB
Jacques Lipchitz, 1918, Still Life, bas relief, stone.jpg 800 × 633; 215 KB
Jacques Lipchitz, 1919, Pierrot. Published in Action, Cahiers Individualistes De Philosophie Et D’art, July 1920.jpg 653 × 1,231; 350 KB
Joseph Csaky, 1920, Deux figures, relief, sandstone, polychrome, 80 cm, Kröller-Müller Museum.jpg 313 × 511; 98 KB
Joseph Csaky, 1920, Face (Figure), limestone, 70 cm.jpg 282 × 454; 35 KB
Joseph Csaky, 1920, Tête (Tête cubiste), stone, 30 cm.jpg 322 × 435; 49 KB
Joseph Csaky, 1921, Figure (Tête), stone, polychrome, 36 cm.jpg 304 × 454; 46 KB
Joseph Csaky, 1921, Figure, marble (white, gray, yellow), 64 cm.jpg 273 × 455; 17 KB
Joseph Csaky, 1921, Figure, stone, polychrome, 65 x 20 x 6 cm.jpg 163 × 475; 61 KB
Joseph Csaky, 1921, Tête (Tête de jeune fille, Tête d'enfant), marble (white), 21.5 cm, (profile), Musée National d'Art Moderne.jpg 306 × 427; 45 KB
Joseph Csaky, 1921, Tête (Tête de jeune fille, Tête d'enfant), marble (white), 21.5 cm, Musée National d'Art Moderne.jpg 308 × 430; 34 KB
Joseph Csaky, 1922, Femme accroupie, bronze, 50 cm, stone base, Kröller-Müller Museum.jpg 306 × 439; 34 KB
Joseph Csaky, 1922, Figure abstraite, stone, polychrome, 80 cm.jpg 286 × 449; 28 KB
Joseph Csaky, 1922, Tête, marble (white, gray veins), 55 cm.jpg 645 × 1,080; 435 KB
Joseph Csaky, Deux figures, 1920, relief, limestone, polychrome, 80 cm, Kröller-Müller Museum, Otterlo, Holland.jpg 538 × 928; 333 KB
Joseph Csaky, Head (Portrait d'homme), 1913, Plaster lost or destroyed, Published in Montjolie, March 1914.jpg 935 × 1,344; 487 KB
Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg 1,209 × 2,020; 697 KB
Joseph Csaky, Robert Delaunay, Henry Ottmann, The Sun (New York), 15 March 1914.jpg 4,842 × 7,116; 12.53 MB
Ossip Zadkine, 1913, Maternité, painted elmwood, 81 cm, exhibited Salon des Independants, Paris, 1914 Published in Montjolie, 1914.jpg 374 × 612; 180 KB
Ossip Zadkine, 1918, Femme au violon (Woman with a Violin).jpg 862 × 1,178; 1.23 MB
Ossip Zadkine, 1920, Venus.jpg 1,054 × 1,792; 1.16 MB
Pablo Picasso, 1910, Woman with Mustard Pot (La Femme au pot de moutarde), oil on canvas, 73 x 60 cm, Gemeentemuseum, The Hague. Exhibited at the Armory Show, New York, Chicago, Boston 1913.jpg 1,948 × 2,362; 735 KB
Retrieved from "https://en.wikipedia.org/w/index.php?title=Category:Cubism&oldid=543857850"
4. Crystal Cubism – Crystal Cubism is a distilled form of Cubism consistent with a shift, between 1915 and 1916, towards a strong emphasis on flat surface activity and large overlapping geometric planes. The primacy of the geometric structure, rooted in the abstract. The tightening of the compositions, the clarity and sense of reflected in these works, led to its being referred to by the French poet. The collective phenomenon of Cubism once again—now in its advanced revisionist form—became part of a widely discussed development in French culture, in terms of the separation of culture and life, the Crystal Cubist period emerges as the most important in the history of Modernism. Cubism, from its inception, stems from the dissatisfaction with the idea of form that had been in practiced since the Renaissance, Cézanne was preoccupied by the means of rendering volume and space, surface variations with overlapped shifting planes. Increasingly in his works, Cézanne achieves a greater freedom. His work became bolder, more arbitrary, more dynamic and increasingly nonrepresentational, as his color planes acquired greater formal independence, defined objects and structures began to lose their identity. Where before, the pillars of academicism had been shaken. It was a regeneration, writes Gleizes, indicating the emergence of a wholly new cast of mind. Every season it appeared renewed, growing like a living body, the Cubist method leading to 1912 has been considered analytical, entailing the decomposition of the subject matter, while subsequently synthetic, built on geometric construction. The terms Analytic Cubism and Synthetic Cubism originated through this distinction, by 1913 Cubism had transformed itself considerably in the range of spatial effects. At the 1913 Salon dAutomne, a salon in which the tendency was Cubism, Metzinger exhibited En Canot, Gleizes Les Bâteaux de Pêche. In these works, more so than before, can be seen the importance of the plane in the overall composition. At the outset of the First World War many artists were mobilized, Metzinger, Gleizes, Braque, Léger, de La Fresnaye, despite the brutal interruption, each found the time to continue making art, sustaining differing types of Cubism. Yet they discovered a link between the Cubist syntax and that of the anonymity and novelty of mechanized warfare. Cubism evolved as much a result of an evasion of the atrocities of war as of nationalistic pressures. Along with the evasion came the need to further and further away from the depiction of things. As the rift between art and life grew, so too came the burgeoning need for a process of distillation and this period of profound reflection contributed to the constitution of a new mindset, a prerequisite for fundamental change
6. The Cubist Painters, Aesthetic Meditations – Les Peintres Cubistes, Méditations Esthétiques, is a book written by Guillaume Apollinaire between 1905 and 1912, published in 1913. This was the third major text on Cubism, following Du Cubisme by Albert Gleizes and Jean Metzinger, also reproduced are photographs of artists Metzinger, Gleizes, Gris, Picabia and Duchamp. In total, there are 46 halftone portraits and reproductions and he elucidates the history of the Cubist movement, its new aesthetic, its origins, its development, and its various features. Apollinaire first intended this book to be a collection of his writings on art entitled Méditations Esthétiques rather than specifically on Cubism. In the fall of 1912 he revised the page proofs to include material on the Cubist painters, adding the subtitle. When the book went to press, the title was enclosed in brackets and reduced in size, while the subtitle Les Peintres Cubistes was enlarged. A portion of the text was translated into English and published with several images from the book in The Little Review, Quarterly Journal of Art and Letters, New York. Apollinaire, like Baudelaire, writes Pamela A. Genova, was an art critic. His work was spontaneous, impetuous, and ahead of its time, as a close friend of all the Cubists, and Marie Laurencins lover, Apollinaire witnessed the development of Cubism firsthand. He was in contact with Le Bateau-Lavoir and its habitués—including Max Jacob, Maurice Princet, Picasso, Braque. He was also in contact with the Groupe de Puteaux, based in the western suburbs of Paris—including the Duchamp brothers, Gleizes, Picabia. Apollinaire coined several important terms of the avant-garde, such as Orphism and Surrealism and he wrote about these and related movements such as Fauvism, Futurism, and Simultanism. Guillaume Apollinaires only book on art, The Cubist Painters, Aesthetic Meditations is a collection of reflections. 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, is a manifesto for the new art form, consisting of seven chapters, of much of the text was written in 1912. In the section on Marie Laurencin, Apollinaire included a text a Henri Rousseau, included are four reproductions of the works by each artist, and portrait photographs of Metzinger, Gleizes, Gris, Picabia, and Duchamp. A landmark in the history of art criticism, this essay synthesizes the aesthetic preoccupations of not just the Cubists, the volume is valued today as a work of reference and a vintage example of creative modernist writing. In his analysis of the new art movement, Apollinaire makes a distinction between four different types of Cubism, scientific, physical, orphic and instinctive
8. Cubo-Futurism – Cubo-Futurism was the main school of painting and sculpture practiced by the Russian Futurists. Kazimir Malevich developed the style, which can be seen in his The Knife Grinder, though he later abandoned it for Suprematism
9. Czech Cubism – Czech Cubism was an avant-garde art movement of Czech proponents of Cubism, active mostly in Prague from 1912 to 1914. Prague was perhaps the most important center for Cubism outside Paris before the start of World War One, many of these artists were members of the Mánes Union of Fine Arts. A major division in Czech architecture occurred after 1912 when many young artists from Jan Kotĕra. These younger architects were more idealistic in their outlook and criticized the strict rationalism of their forebears, Otto Wagner, Janák, Gočár, and Hofman founded the group Skupina výtvarných umĕlců and established a journal for the group, Umĕlecký mĕsíčník. Czech Cubists distinguish their work through the construction of points, slicing planes. These angles allowed the Czech Cubists to incorporate their own trademark in the art group of Modernism. ”It was a way to revolt from the typical art scene in the early 1900s in Europe. This evolved into a new art movement, referred to generally as Cubo-Expressionism, Czech Cubism developed between 1911 and 1914. It was a development of functionalism generated by architects and designers in Prague. Fifteen years later, the first concept of cubism itself was written off as a decorative purpose, on the contrary, it was a revolt against traditional values of realism. Czech Cubism was first conceal by the Modern Movement and masked by the dictates of Stalinist and post-Stalinist culture in Czechoslovakia. After the Velvet Revolution of 1989 and the post modern attraction of ornamentation and decoration, there came to be a rise of fascination in Czech culture and its own unique forms of cubism. Czech Cubism developed paradoxically as both a product of Czech bourgeois affluence and as a rejection of secessionist designers such as Otto Wagner. Architects such as Josef Chochol and Pavel Janák devised spiritualist philosophies of design, as Cubism spread across the European continent in the early 20th century, its greatest impact can be seen today in the Czech Republic. Pyramid and crystal forms were one of the signature principles seen in Czech Cubism which was incorporated in architecture, furniture, the Museum of Decorative Arts in Prague uses the House of the Black Madonna as a permanent exhibition space for Czech Cubist art. Cubist sculpture References Sources The Czech Cubism Foundation What is Czech Cubism, von Vegesack, Alexander, ed. Czech Cubism, Architecture, Furniture, Decorative Arts. Journal of Design History Toman, Jindrich, Czech Cubism and the Book, The Modern Czech Book
10. Danseuse (Csaky) – Danseuse, also known as Femme à léventail, or Femme à la cruche, is an early Cubist, Proto-Art Deco sculpture created in 1912 by the Hungarian avant-garde sculptor Joseph Csaky. This black and white photograph from the Csaky family archives shows a view of the original 1912 plaster. Danseuse was exhibited in Paris at the 1912 Salon dAutomne, an exhibition that provoked a succès de scandale and resulted in a xenophobic and anti-modernist quarrel in the French National Assembly. The sculpture was exhibited at the 1914 Salon des Indépendants entitled Femme à léventail. Danseuse is a sculpture carved in a vertical format. The work represents a standing or dancing nude with a folded fan in her left hand. The sculpture, known from a photograph, is executed in a highly Cubist syntax, in opposition to the softness and curvilinearity of Nabis. The head, with its stylish coiffure, and the facial features are simply constructed with only a few surface planes juxtaposed at seemingly right angles. Even the vase, upon examination, appears treated in geometric terms, its sphericity broken by an angular cut to the right. Just as in Csakys Groupe de femmes, Danseuse already showed a new way of representing the human figure, the 1912 Automne exhibition, held in Paris at the Grand Palais des Champs-Elysées from 1 October to 8 November resulted in a xenophobe and anti-modernist quarrel in the National Assembly. The group of artists now recognized as Cubists, among which several non-French citizens exhibited, were regrouped into the same room, the Cubist room was packed full with spectators, as others waited in line to get in, recalled Albert Gleizes. The resistance to both foreigners and avant-garde art was part of a more profound crises, that of defining modern French art in the wake of Impressionism centered in Paris, placed into question was the modern ideology elaborated upon since the late 19th century. What had begun as a question of aesthetics quickly turned political during the Cubist exhibition, the critic Louis Vauxcelles was most implicated in the deliberations. On 3 December 1912 the polemic reached the Chambre des députés and was debated at the French National Assembly, and it would not be the last either. Joseph Csaky exhibited the sculptures Danseuse no,405, Groupe de femmes, 1911-1912, Portrait de M. S. H. No.91 Albert Gleizes, lHomme au Balcon 1912, also exhibited at the Armory show, New York, Chicago, Boston,1913. Jean Metzinger entered three works, Dancer in a café, La Plume Jaune, Femme à lÉventail, hung in the arts section inside La Maison Cubiste. André Lhote, Le jugement de Paris,1912 František Kupka, Amorpha, Fugue à deux couleurs,1912, Csaky exhibited Femme à léventail, plaster n.5092 under the number 813 of the catalog, along with two busts, executed in a highly Cubist facture
11. Robert Delaunay – Robert Delaunay was a French artist who, with his wife Sonia Delaunay and others, cofounded the Orphism art movement, noted for its use of strong colours and geometric shapes. His later works were abstract, reminiscent of Paul Klee. His key influence related to use of colour and a clear love of experimentation with both depth and tone. Robert Delaunay was born in Paris, the son of George Delaunay, while he was a child, Delaunays parents divorced, and he was raised by his mothers sister Marie and her husband Charles Damour, in La Ronchère near Bourges. When he failed his exam and said he wanted to become a painter. At age 19, he left Ronsin to focus entirely on painting and contributed six works to the Salon des Indépendants in 1904. He traveled to Brittany, where he was influenced by the group of Pont-Aven, and, in 1906, he contributed works he painted in Brittany to the 22nd Salon des Indépendants, where he met Henri Rousseau. Delaunay formed a friendship at this time with Jean Metzinger. The two of them were singled out by the art critic Louis Vauxcelles in 1907 as Divisionists who used large, mosaic-like cubes to construct small, Robert Herbert writes, Metzingers Neo-Impressionist period was somewhat longer than that of his close friend Delaunay. The height of his Neo-Impressionist work was in 1906 and 1907, piet Mondrian developed a similar mosaic-like Divisionist technique circa 1909. The Futurists later would incorporate the style, under the influence of Gino Severinis Parisian works, into their dynamic paintings, Delaunay is most closely identified with Orphism. From 1912 to 1914, he painted nonfigurative paintings based on the characteristics of brilliant colors that were so dynamic they would function as the form. Apollinaire was strongly influenced by Delaunay’s theories of color and often quoted from them to explain Orphism, Delaunay’s fixations with color as the expressive and structural means were sustained with his study of color. He believes painting is a visual art that depends on intellectual elements. The contrasts and harmonies of color produce in the eye simultaneous movements, vision becomes the subject of painting. His early paintings are deeply rooted in Neoimpressionism, night Scene for example has vigorous activity with the use of lively brushstrokes in bright colors against a dark background. It doesn’t define solid object but the areas that surround them, spectral colors of Neoimpressionism were later abandoned, the Eiffel Tower series, were fragmentation of solid objects and their merging with space was learned. Influences in this series were Cézanne, Analytical Cubism, and Futurism, in the Eiffel Tower the interpenetration of tangible objects and surrounding space is accompanies by intense movement of geometric plans that are more dynamic than static equilibrium of Cubist forms
12. Du "Cubisme" – Du Cubisme, also written Du Cubisme, or Du « Cubisme », is a book written in 1912 by Albert Gleizes and Jean Metzinger. This was the first major text on Cubism, predating Les Peintres Cubistes by Guillaume Apollinaire, the highly influential treatise was published by Eugène Figuière Éditeurs, Collection Tous les Arts, Paris,1912. It is thought to have appeared in November or early December 1912 and it was subsequently published in English and Russian in 1913. A Russian translation by Mikhail Matiushin appeared in the issue of Soiuz molodezhi in March 1913, a new edition was published in 1947 with an avant-propos by Gleizes and an epilogue by Metzinger. The artists took the occasion to reflect upon the evolution of this artistic movement thirty three years after the appearance of the first publication of Du Cubism. The collaboration between Albert Gleizes and Jean Metzinger that would lead to the publication of Du Cubisme began during the aftermath of the 1910 Salon dAutomne. At this massive Parisian exhibition renown for displaying the latest and most radical artistic tendencies, several artists including Gleizes, the utilization of a non-conventional form of geometry had permeated the works of these artists who a priori had little or no contact between one another. A group formed following the exhibition that would include Gleizes, Metzinger, Henri Le Fauconnier, Fernand Léger and they convened regularly at the studio of le Fauconnier where he worked on his ambitious allegorical painting entitled LAbondance. The idea of moving around an object in order to see it from different view-points later treated in Du Cubisme was an idea of Metzingers Note sur la Peinture. Indeed, prior to Cubism painters worked from the factor of a single view-point. In that article, Metzinger notes that Braque and Picasso discarded traditional perspective and this is the concept of mobile perspective that would tend towards the representation of the total image, a series of ideas that still today define the fundamental characteristics of Cubist art. Setting the stage for Du Cubisme, Metzingers Note sur la peinture not only highlighted the works of Picasso and Braque, on the one hand, Le Fauconnier and it was also a tactical selection that highlighted the fact that only Metzinger himself was positioned to write about all four. Metzinger, uniquely, had been acquainted with the Montmartre group. The Salon de la Section dOr was an exhibition organized by the Salon Cubists with the goal of bringing all the most radical trends in painting. Scheduled to take place at the Galerie La Boétie in Paris, October 1912, before World War I the image of Cubism in France and abroad was founded on an extremely broad definition. Along with Léger he identified these three with a new tendency, which he labelled Orphic Cubism or Orphism and which he considered of significance for the future. The Salon d’Automne of 1912 led to a debate on Cubism in the Chambre des Députés, since the exhibition was held in the State’s Grand Palais and it was against this background of public anger and revolt that Gleizes and Metzinger wrote Du Cubisme. It was not solely an initiative to explain the new art, other Cubists showed affinities with this concept, and to Bergson’s insistence on the elasticity of our consciousness in both time and space
13. Raoul Dufy – Raoul Dufy was a French Fauvist painter, brother of Jean Dufy. He developed a colorful, decorative style that became fashionable for designs of ceramics and textiles and he is noted for scenes of open-air social events. He was also a draftsman, printmaker, book illustrator, scenic designer, a designer of furniture, Raoul Dufy was born into a large family at Le Havre, in Normandy. He left school at the age of fourteen to work in a coffee-importing company, in 1895, when he was 18, he started taking evening classes in art at Le Havres École des Beaux-Arts. The classes were taught by Charles Lhuillier, who had been, forty years earlier, there, Dufy met Raimond Lecourt and Othon Friesz with whom he later shared a studio in Montmartre and to whom he remained a lifelong friend. During this period, Dufy painted mostly Norman landscapes in watercolors, in 1900, after a year of military service, Dufy won a scholarship to the École nationale supérieure des Beaux-Arts in Paris, where again he crossed paths with Othon Friesz. He concentrated on improving his drawing skills, the impressionist landscape painters, such as Claude Monet and Camille Pissarro, influenced Dufy profoundly. His first exhibition took place in 1901, introduced to Berthe Weill in 1902, Dufy showed his work in her gallery. Then he exhibited again in 1903 at the Salon des Indépendants, a boost to his confidence, the painter, Maurice Denis, bought one of his paintings. Dufy continued to paint, often in the vicinity of Le Havre, in 1904, with his friend, Albert Marquet, he worked in Fecamp on the English Channel. Henri Matisses Luxe, Calme et Volupté, which Dufy saw at the Salon des Indépendants in 1905, was a revelation to the young artist, les Fauves emphasized bright color and bold contours in their work. Dufys painting reflected this aesthetic until about 1909, when contact with the work of Paul Cézanne led him to adopt a somewhat subtler technique. It was not until 1920, however, after he had flirted briefly with yet another style, cubism and it involved skeletal structures, arranged with foreshortened perspective, and the use of thin washes of color applied quickly, in a manner that came to be known as stenographic. Dufys cheerful oils and watercolors depict events of the period, including yachting scenes, sparkling views of the French Riviera, chic parties. Dufy completed one of the largest paintings ever contemplated, a huge and immensely popular ode to electricity, Dufy also acquired a reputation as an illustrator and as a commercial artist. He painted murals for buildings, he also produced a huge number of tapestries. His plates appear in books by Guillaume Apollinaire, Stéphane Mallarmé, in 1909, Raoul Dufy was commissioned by Paul Poiret to design stationery for the house, and after 1912 designed textile patterns for Bianchini-Ferier used in Poirets and Charvets garments. In the late 1940s and early 1950s, Dufy exhibited at the annual Salon des Tuileries in Paris, by 1950, his hands were struck with rheumatoid arthritis and his ability to paint diminished, as he has to fasten the brush to his hand
14. Wilhelmina Weber Furlong – Wilhelmina Weber Furlong was a German American artist and teacher. Beginning in 1892 her teachers included Emil Carlsen, William Merritt Chase and she was present at the Salon dAutomne or Autumn Salon for three years and she knew Pablo Picasso, Paul Cézanne, and others who exhibited at the Paris Salon. In the American modernism movement she painted between 1892 and 1962 where she thrived during the modernist movement in St. Louis, New York City and she painted in Mexico City from 1906 to 1913 and again in New York City from 1913 to 1947. She was also active during the years of the modernist movement in New York City. She also painted in Bolton Landing, New York from 1921 to 1960 at her Modern art colony, Golden Heart Farm and simultaneously in Glens Falls, Weber Furlongs works are on permanent display at the Bolton Landing Museum. The Hyde Collection in Glens Falls, New York has displayed the works of Wilhelmina Weber Furlong since 1966 where they hosted a solo retrospective of the artist work after her death in 1962. The Tang Museum at Skidmore College holds a work by Weber Furlong which has been exhibited regionally since 1952, the Ft. Edward Art Center hosted a solo exhibition in May 1994. The one woman show was held at the Iconic Building 98 studio galleries along with a lecture by Professor Emeritus James K. Kettlewell retired curator of the Hyde Collection. In Spring of 2012, Wilhelmina Weber Furlong became the subject of a film based on the biography on the life of the popular early American woman modernist. Permanent displays of the work of Wilhelmina Weber Furlong are at the Hyde Collection in Glens Falls, New York and the Bolton Landing, New York town history museum. On July 23,2013 the City Glens Falls, New York Common Council approved a resolution to place a New York State historical marker in downtown Glens Falls near City Hall. The resolution stated, Weber Furlong One of Americas great and influential artists of the twentieth century, the final years of her life were spent in Glens Falls, where she lived and taught near this site at her Ridge Street studio until her death in 1962. Placed for the Warren County Bicentennial, the Weber Furlong Foundation Detailed description of the Max Weber papers, 1902–2008. Detailed description of the Dorothy Dehner papers,1920, Detailed description of the Ben Benn papers, 1905–1993. Oral history interviews with Dorothy Dehner,1965 Oct. -1966
15. Albert Gleizes – Albert Gleizes was a French artist, theoretician, philosopher, a self-proclaimed founder of Cubism and an influence on the School of Paris. Albert Gleizes and Jean Metzinger wrote the first major treatise on Cubism, Gleizes was a founding member of the Section dOr group of artists. He was also a member of Der Sturm, and his theoretical writings were originally most appreciated in Germany. Gleizes spent four years in New York, and played an important role in making America aware of modern art. He was a member of the Society of Independent Artists, founder of the Ernest-Renan Association, Gleizes exhibited regularly at Léonce Rosenberg’s Galerie de l’Effort Moderne in Paris, he was also a founder, organizer and director of Abstraction-Création. From the mid-1920s to the late 1930s much of his energy went into writing, La Peinture et ses lois, Vers une conscience plastique, La Forme et l’histoire and Homocentrisme. Born Albert Léon Gleizes and raised in Paris, he was the son of a designer who ran a large industrial design workshop. He was also the nephew of Léon Comerre, a portrait painter who won the 1875 Prix de Rome. The young Albert Gleizes did not like school and often skipped classes to idle away the time writing poetry, finally, after completing his secondary schooling, Gleizes spent four years in the 72nd Infantry Regiment of the French army then began pursuing a career as a painter. Gleizes began to paint self-taught around 1901 in the Impressionist tradition and his first landscapes from around Courbevoie appear particularly inspired by Sisley or Pissarro. The density with which these works are painted and their solid framework suggest affinities with Divisionism which were noted by early critics. Gleizes was only years of age when his work titled La Seine à Asnières was exhibited at the Société Nationale des Beaux-Arts in 1902. The following year Gleizes exhibited two paintings at the Salon dAutomne, in 1905 Gleizes was among the founders of lAssociation Ernest-Renan, a union of students opposed to military propaganda. Gleizes was in charge of the Section littéraire et artistique, organizing theater productions, at the Musée des Beaux-Arts de Lyon, Gleizes exhibited Jour de marché en banlieue. Tending towards 1907 his work evolved into a Post-Impressionist style with strong Naturalist and Symbolist components, Gleizes and others decide to create an association fraternelle dartistes and rent a large house in Créteil. The Abbaye de Créteil was a community of artists that aimed to develop their art free of any commercial concerns. For nearly a year, Gleizes along with painters, poets, musicians and writers. A lack of income forced them to give up their cherished Abbaye de Créteil in early 1908 and Gleizes moved to rue du Delta near Montmartre, in 1908 Gleizes exhibited at the Toison dOr in Moscow
16. History of painting – The history of painting reaches back in time to artifacts from pre-historic humans, and spans all cultures. It represents a continuous, though disrupted, tradition from Antiquity. Across cultures, and spanning continents and millennia, the history of painting is a river of creativity. Until the early 20th century it relied primarily on representational, religious and classical motifs, after which time more purely abstract, developments in Eastern painting historically parallel those in Western painting, in general, a few centuries earlier. African art, Jewish art, Islamic art, Indian art, Chinese art, and Japanese art each had significant influence on Western art, and vice versa. Initially serving utilitarian purpose, followed by imperial, private, civic, and religious patronage, Eastern and Western painting later found audiences in the aristocracy, from the Modern era, the Middle Ages through the Renaissance painters worked for the church and a wealthy aristocracy. Beginning with the Baroque era artists received commissions from a more educated. Finally in the West the idea of art for arts sake began to find expression in the work of the Romantic painters like Francisco de Goya, John Constable, the 19th century saw the rise of the commercial art gallery, which provided patronage in the 20th century. The oldest known paintings are approximately 40,000 years old, josé Luis Sanchidrián at the University of Cordoba, Spain, believes the paintings are more likely to have been painted by Neanderthals than early modern humans. Images at the Chauvet cave in France are thought to be about 32,000 years old and they are engraved and painted using red ochre and black pigment and show horses, rhinoceros, lions, buffalo, mammoth or humans often hunting. There are examples of cave paintings all over the world—in France, India, Spain, Portugal, China, various conjectures have been made as to the meaning these paintings had to the people that made them. Prehistoric men may have painted animals to catch their soul or spirit in order to hunt them more easily or the paintings may represent an animistic vision and homage to surrounding nature. They may be the result of a basic need of expression that is innate to human beings, in Paleolithic times, the representation of humans in cave paintings was rare. Mostly, animals were painted, not only animals that were used as food but also animals that represented strength like the rhinoceros or large Felidae, signs like dots were sometimes drawn. Rare human representations include handprints and stencils, and figures depicting human / animal hybrids, the Chauvet Cave in the Ardèche Departments of France contains the most important preserved cave paintings of the Paleolithic era, painted around 31,000 BC. The Altamira cave paintings in Spain were done 14,000 to 12,000 BC and show, among others, bisons. The hall of bulls in Lascaux, Dordogne, France, is one of the best known cave paintings, if there is meaning to the paintings, it remains unknown. The caves were not in an area, so they may have been used for seasonal rituals
17. House of the Black Madonna – The House of the Black Madonna is a cubist building in the Old Town area of Prague, Czech Republic. It was designed by Josef Gočár and it is currently in use as the Czech Museum of Cubism and includes the Grand Café Orient restaurant on the first floor. The House of the Black Mother, sometimes referred to as Black Mother of the Lord, was designed, Josef Gočár built the house as the first example of cubist architecture in Prague, and it remains probably the most celebrated. Even without historical details of the building surrounding it, the House at the Black Madonna maintains the atmosphere of the neighborhood. The house was given its name by the sculpture that originally adorned one of the two Baroque buildings on the same lot. After many years altered use in the period and under communist rule. Gočár designed the house in mid-1911 at the age of 31 for the wholesale merchant František Josef Herbst. Herbst chose Gočár to build his department store in the Old Town along the old route because of the architect’s earlier success with a similar shop in Jaroměř. Because of its prominent location in the heart of the city, the building thus uses the language of baroque architecture in a Cubist form, thus exemplifying the ‘contextualization’ of Cubist architecture. Gočár’s first plans were not well received by the historical buildings authority in Bohemia, subsequent designs incorporated more Cubist features into the building. The Prague City Council eventually approved the plans on August 4,1911, Gočár’s early modernist orientation, gave way to new Cubist designs in the finished building. The angular bay windows, iconic capitals between windows, and cubist balcony railing took their place in the designs, like many of Gočár’s houses, the House at the Black Madonna was built with a reinforced-concrete skeleton inspired by the Chicago School. Cubist interiors have proven a challenge to architects, the use of a reinforced-concrete skeleton allowed for large interior spaces without ceiling support that were better suited to Cubist aesthetics. The Grand Café Orient, which encompassed the entire first floor without supporting pillars, was a feat of engineering. In some literature, Gočáris described as ‘decorativist’ because he was concerned with creating a Cubist façade instead of a Cubist building. It is thus ironic that his design for the Grand Café Orient is the only surviving Cubist interior in the world, as for the façade, multiple changes in design and the requirements of harmonization forced certain compromises in the Cubist elements. The façade breaks with Cubist and modern traditions on the third storey, for example, the roof resembles baroque double roofs, and the third storey also features flat windows and pilasters with Classical fluting between them. The House at the Black Madonna was originally designed to house a department store, herbst’s store occupied the ground and second floor of the building
18. Eugene Ivanov (artist) – Eugene Ivanov is a Russian-Czech contemporary artist, painter, graphic artist and illustrator. Since 1998 he has been living and working in Prague, Czech Republic, Russian-Czech painter and book illustrator, Ivanov, was born in 1966 in Tyumen, Siberia, Russia. Since 1998 he has lived and worked in Prague, Czech republic, ivanovs artworks are founded on dreams and of the unconscious. Ivanovs imagery is suffused with surrealistic poetry, along with his oil paintings and watercolors, Eugene Ivanov has illustrated over 100 books. He has had solo exhibitions and his works are collected internationally. Solo Exhibition, Russian Centre Of Science And Culture, Prague, at the Water’s Edge Solo Exhibition by Eugene Ivanov, EE Fine Art, Cambridge, UK.2009. EE Fine Art gallery, January Sale, Keeping it Small, Cambridge, Solo exhibition, ATRAX Gallery, Prerov, Czech Republic. The Christmas exhibition, Ostrozska Nova Ves, Czech Republic, the Christmas exhibition, Ostrozska Nova Ves, Czech Republic. Solo Exhibition, Russian Centre Of Science And Culture, Prague, Solo Exhibition, Spolek Mlejn, Ostrava, Czech Republic. Exhibition hall of the association of painters, Tyumen, Russia, Solo exhibition No.9, Most Gallery, Palace of culture of oil workers, Tyumen, Russia. 2nd Annual International String Art Competition, 1st Annual International String Art Competition. Contest of the Illustrations for poems, maroussia Klimova Trampled the flowers of evil. Nina Sadur The Marvellous Old Woman, edvard Radzinsky But does love exist. Jiri Wilson Nemec Rychlebskos tales 2, edvard Radzinsky I stand at restaurant, in marriage - late to die - early. Maroussia Klimova My Anti-History of Russian Literature, marianna Goncharova Kangaroo in the jacket and other funny stories. Yury Buida Message for My Lady Left Hand, leo Rosten The Joys of Yiddish. Orhan Tez Söyleş Benimle Dedi Güzel Türkçem, ron Miller The Radical Theories of Copernicus, Kepler, Galileo, and Newton. Angela Shteyngart Dont get used to love, yury Buida Thief, spy and murderer
19. Paul Klee – Paul Klee was a Swiss-German artist. His highly individual style was influenced by movements in art that included Expressionism, Cubism and he and his colleague, Russian painter Wassily Kandinsky, both taught at the Bauhaus school of art, design and architecture. His works reflect his dry humor and his sometimes childlike perspective, his personal moods and beliefs, and his musicality. First of all, the art of living, then as my ideal profession, poetry and philosophy, Paul Klee was born in Münchenbuchsee, Switzerland, as the second child of German music teacher Hans Wilhelm Klee and Swiss singer Ida Marie Klee, née Frick. His sister Mathilde was born on 28 January 1876 in Walzenhausen and their father came from Tann and studied at the Stuttgart Conservatory singing, piano, organ and violin, meeting there his future wife Ida Frick. Hans Wilhelm Klee was active as a teacher at the Bern State Seminary in Hofwil near Bern until 1931. Klee was able to develop his skills as his parents encouraged and inspired him until his death. In 1880, his family moved to Bern, where they moved 17 years later after numerous changes of residence into a house at the Kirchenfeld district. From 1886 to 1890, Klee visited primary school and received, at the age of 7 and he was so talented on violin that, aged 11, he received an invitation to play as an extraordinary member of the Bern Music Association. He stated, I didnt find the idea of going in for music creatively particularly attractive in view of the decline in the history of musical achievement. As a musician, he played and felt emotionally bound to traditional works of the eighteenth and nineteenth century, at sixteen, Klee’s landscape drawings already show considerable skill. Around 1897, Klee started his diary, which he kept until 1918, during his school years, he avidly drew in his school books, in particular drawing caricatures, and already demonstrating skill with line and volume. He barely passed his exams at the Gymnasium of Bern. With his characteristic dry wit, he wrote, After all, it’s rather difficult to achieve the exact minimum, and it involves risks. On his own time, in addition to his interests in music and art, Klee was a great reader of literature. With his parents reluctant permission, in 1898 Klee began studying art at the Academy of Fine Arts in Munich with Heinrich Knirr and he excelled at drawing but seemed to lack any natural color sense. He later recalled, During the third winter I even realized that I probably would never learn to paint, during these times of youthful adventure, Klee spent much time in pubs and had affairs with lower class women and artists models. He had a son in 1900 who died several weeks after birth
20. Jean Lambert-Rucki – Jean Lambert-Rucki, a Polish avant-garde artist, sculptor, and graphic artist, was best known for his participation in the Cubist, Surrealist and Art Deco movements. He exhibited at the 1913 Salon dAutomne in Paris, from 1919 was represented by both Léonce Rosenberg at the Galerie de lEffort Moderne and the art dealer Paul Guillaume. Working in diverse styles and media, at times influenced by the art of Africa. Born in 1888 in Kraków, Poland, Jean Lambert-Rucki was the youngest of a large family and he was eleven years old when his father died suddenly. A child prodigy, he earned a living by making portraits that surprised the Bourgeoisie of Kraków. He attended art school in his hometown to pursue his studies, and then went to the School of Fine Arts in Kraków where he became friends with Moïse Kisling and his youth was marked by the rich folklore of Central Europe. He made several trips to Russia, frequented gypsies, and learned Russian dances and his work throughout his career would remains deeply imbued with the product of these early experiences. Enthused by an exhibition of works by Gauguin in Kraków, he decided to go to Paris and he immediately met friends of Polish origin who hosted him. Enrolling at the Académie Colarossi, he mingled with artists of Montparnasse at Le Dôme Café and Café de la Rotonde. Lambert-Rucki earned his living by retouching photographs in Montmartre, something which did not fulfill his monetary needs, in 1913 he moved into a studio at 29 rue Campagne Première in the 14th arrondissement of Paris. In 1914 he engaged in the French Foreign Legion to serve France during the war and he changed his name to Jean Lambert-Rucki. Wounded during the war, he was assigned to the Archeological Service at the Archaeological Museum of Thessaloniki in Greece, where he conducts excavations. He later made copies of the mosaics of Sainte Sophie de Salonique for the Louvre under the direction of Jean Guiffrey the Curator for the Department of Painting, Musées nationaux. During his military service he befriends the sculptors Joseph Csaky and Gustave Miklos, soon to become the godfather of Lambert-Ruckis daughter Théano, in 1918, demobilized, Lambert-Rucki returned to Paris where he settled at 12 rue du Moulin-de-Beurre in the Montparnasse district. With the support given by Léonce Rosenberg from 1918, Cubism returned as an issue for artists. In 1920 Lambert-Rucki married Monique Bickel, herself a pupil of the sculptor Auguste Rodin and their daughter Mara Rucki was born 7 April 1920. In 1923 he became friends with the Coppersmith Jean Dunand, with whom he would work for the twenty years. He refuses the proposal of Jean Dunand to co-sign their works, from 1925 to the end of his life, Lambert-Rucki exhibits his works, many of which were commissioned, throughout Europe, Canada and the United States, and churches
21. Tadeusz Makowski – Tadeusz Makowski was a Polish painter who worked in France and was associated with the School of Paris. From 1902 to 1906, he studied philology at the Jagiellonian University. During that time, he began studying art at the Kraków Academy of Fine Arts with Jan Stanisławski. Upon completing his courses there in 1908, he moved to Paris, originally he painted in the style taught by his professors. Then, he painted some frescoes that attracted the attention of a group of Cubist painters, led by Henri Le Fauconnier and this had a decisive influence on his work. At the invitation of Władysław Ślewiński, he spent the war years in Brittany and these trips inspired him to depart from strict cubism and go back to studying nature, creating many stylized landscapes. Later, his subjects were carnivals, fairs and children, done in a style inspired by the old Dutch Masters, Polish folk art. He also did book illustrations. During the 1920s, he lived briefly in the Netherlands, from 1912 to 1931, he kept a diary that was published in Warsaw in 1961 by the State Publishing Institute. Władysława Jaworska, Tadeusz Makowski, Kluszczyński,1999, ISBN 83-86328-24-X Władysława Jaworska, Izabela Kania and Elżbieta Zawistowska, an appreciation of Makowski @ Culture. pl
23. Orphism (art) – The meaning of the term Orphism was elusive when it first appeared and remains to some extent vague. The Orphists were rooted in Cubism but moved toward a pure lyrical abstraction, more concerned with the expression and significance of sensation, this movement began with recognizable subjects but was rapidly absorbed by increasingly abstract structures. Orphism aimed to dispense with recognizable subject matter and to rely on form, the movement also aimed to express the ideals of Simultanism, the existence of an infinitude of interrelated states of being. The decomposition of spectral light expressed in Neo-Impressionist color theory of Paul Signac, Robert Delaunay, Albert Gleizes, and Gino Severini, all knew Henry personally. Henry would take the step in bringing emotional associational theory into the world of artistic sensation. The underlying theory behind Neo-Impressionsim would have an effect on the works produced in the coming years by the likes of Robert Delaunay. Indeed, the Neo-Impressionists had succeeded in establishing a scientific basis for their painting in the domain of color. The Cubists were to do so in both the domain of form and dynamics, and the Orphists would do so with color too, the Symbolists had used the word orphique in relation to the Greek myth of Orpheus, who they perceived as the ideal artist. Apollinaire had written a collection of quatrains in 1907 entitled Bestiaire ou cortège d’Orphée, within which Orpheus was symbolized as a poet, for both Apollinaire and the Symbolists who preceded him, Orpheus was associated with mysticism, something that would inspire artistic endeavors. The voice of light that Apollinaire mentioned in his poems was a metaphor for inner experiences, though not fully articulated in his poems, the voice of light is identified as a line that could be colored and become a painting. The Orphic metaphor thus represented the power to create new structures and color harmonies. The term Orphism was coined by poet and art critic Guillaume Apollinaire at the Salon de la Section dOr in 1912, during his lecture at the Section dOr exhibit Apollinaire presented three of Kupkas abstract works as perfect examples of pure painting, as anti-figurative as music. An Orphic painters works should convey an aesthetic pleasure, but at the same time a meaningful structure. According to Apollinaire Orphism represented a move towards a completely new art-form, kandinskys detailed theoretical essays described the correlations between color and sound. Fernand Léger and Marcel Duchamp, as they tended towards abstraction, were included as Orphists in the writings of Apollinaire. Apollinaire stayed with the Delaunays during the winter of 1912, becoming close friends, Apollinaire wrote several texts discussing their work to promote the concept of Orphism. In March 1913 Orphism was exhibited to the public at the Salon des Indépendants, and in Montjoie Apollinaire argued for the abolition of Cubism in favour of Orphism, ‘If Cubism is dead, long live Cubism. The kingdom of Orpheus is at hand and this exhibition marked a turning-point in Apollinaire’s relation with R. Delaunay, following some remarks in an argument with Umberto Boccioni about the ambiguity of the term ‘simultaneity’
24. Francis Picabia – Francis Picabia was a French avant-garde painter, poet and typographist. After experimenting with Impressionism and Pointillism, Picabia became associated with Cubism and his highly abstract planar compositions were colourful and rich in contrasts. He was one of the major figures of the Dada movement in the United States. He was later associated with Surrealism, but would soon turn his back on the art establishment. Francis Picabia was born in Paris of a French mother and a Cuban father who was an attaché at the Cuban legation in Paris and his mother died of tuberculosis when he was seven. Some sources would have his father as of aristocratic Spanish descent, whereas others consider him of non-aristocratic Spanish descent, financially independent, Picabia studied under Fernand Cormon and others at the École des Arts Decoratifs in the late 1890s. Fernand Cormon took him into his academy at 104 boulevard de Clichy, from the age of 20, he lived by painting, he subsequently inherited money from his mother. In the beginning of his career, from 1903 to 1908, little churches, lanes, roofs of Paris, riverbanks, wash houses, lanes, barges—these were his subject matter. Some however, began to question his sincerity and said he copied Sisley, or that his cathedrals looked like Monet, from 1909, he came under the influence of those that would soon be called Cubists and later form the Golden Section. The same year, he married Gabrielle Buffet, around 1911 Picabia joined the Puteaux Group, members of which he met at the studio of Jacques Villon in Puteaux, a commune in the western suburbs of Paris. There he became friends with artist Marcel Duchamp and close friends with Guillaume Apollinaire, other group members included Albert Gleizes, Roger de La Fresnaye, Fernand Léger and Jean Metzinger. From 1913 to 1915 Picabia traveled to New York City several times and took part in the avant-garde movements. The magazine 291 devoted an issue to him, he met Man Ray, Gabrielle and Duchamp joined him, drugs and alcohol became a problem. He suffered from dropsy and tachycardia and these years can be characterized as Picabias proto-Dada period, consisting mainly of his portraits mécaniques. He continued the periodical with the help of Marcel Duchamp in the United States, in Zurich, seeking treatment for depression and suicidal impulses, he had met Tristan Tzara, whose radical ideas thrilled Picabia. Picabia, the provocateur, was back home, Picabia continued his involvement in the Dada movement through 1919 in Zürich and Paris, before breaking away from it after developing an interest in Surrealist art. He denounced Dada in 1921, and issued an attack against Breton in the final issue of 391. The same year, he put in an appearance in the René Clair surrealist film Entracte, the film served as an intermission piece for Picabias avant-garde ballet, Relâche, premiered at the Théâtre des Champs-Élysées, with music by Erik Satie
25. Lyubov Popova – Lyubov Sergeyevna Popova was a Russian avant-garde artist, painter and designer. Lyubov Sergeyevna had two brothers and a sister, Sergei was the eldest, then Lyubov, Pavel and Olga, Pavel became a philosopher and the guardian of his sisters artistic legacy. She grew up with a strong interest in art, especially Italian Renaissance painting, at eleven years old she began formal art lessons at home, she was first enrolled in Yaltinskaias Womens Gymnasium, then in Arsenevas Gymnasium in Moscow. By the age of 18 she was studying with Stanislav Zhukovsky, in 1912 to 1913, she began attending the studios of the Cubist painters Henri Le Fauconnier and Jean Metzinger. In 1909 she traveled to Kiev, then in 1910 to Pskov, the following year she visited other ancient Russian cities, including St. Petersburg, to study icons. In 1912 she worked in a Moscow studio known as The Tower with Ivan Aksenov and Vladimir Tatlin, in 1912–1913 she studied art with Nadezhda Udaltsova in Paris, where she met Alexander Archipenko and Ossip Zadkine in 1913. After returning to Russia that same year, she worked with Tatlin, Udaltsova, in 1914 she traveled in France and Italy at the development of Cubism and Futurism. Popova was one of the first female pioneers in Cubo-Futurism, through a synthesis of styles she worked towards what she termed painterly architectonics. From 1914–1915 her Moscow home became the meeting-place for artists and writers, in 1914–1916 Popova together with other avant-garde artists contributed to the two Knave of Diamonds exhibitions, in Petrograd Tramway V and the 0.10, The Store in Moscow. Her painting The Violin of 1914 suggests the development from Cubism towards the painterly architectonics series of 1916–1918 and this series defined her distinct artistic trajectory in abstract form. The canvas surface is a field of overlapping and intersecting angular planes in a constant state of potential release of energy. At the same time the elements are held in a balanced and proportioned whole as if linking the compositions of the classical past to the future, color is used as the iconic focus, the strong primary color at the center drawing the outer shapes together. The creation of a new kind of painting was part of the urge of the Russian avant-garde to remake the world. The term supreme refers to a non-objective or abstract world beyond that of everyday reality. However, there was a tension between those who, like Malevich, saw art as a spiritual quest, and others who responded to the need for the artist to create a new physical world. Popova embraced both of these ideals but eventually identified herself entirely with the aims of the Revolution working in poster, book design, fabric and theatre design, at 0.10 she had exhibited a number of figurative painted cardboard reliefs in a cubist derived style. Popovas superimposed planes and strong color have the presence of actual space. In 1918 Popova married the art historian Boris Eding, and gave birth to a son, von Eding died the following year of typhoid fever
27. Mallikarjuna Reddy – Http, //archive. deccanherald. com/deccanherald/sep132005/city2123332005912. asp Mallikarjuna Reddy was born Changalaraya Reddy in Thoppanahalli, a village in Bangarpet, Kolar district, Karnataka, India. He taught himself caricature around the age of nine but later, in 2000, whilst there he developed his interest in working with miniatures and began to create microscopic sculptures. In 2001, he exhibited at the Karnataka Chitrakala Parishath and he gained publicity from journalist and photographer Manjunath Kiran, but remained an amateur. In February 2005 he was recognized as the Guinness World Record Holder after creating a 28-link chain on a single toothpick, the previous record of 17 links had been established by Bob Shammy in 1991. Reddy then worked in service and took up political activities
28. Pierre Reverdy – Pierre Reverdy was a French poet whose works were inspired by and subsequently proceeded to influence the provocative art movements of the day, Surrealism, Dadaism and Cubism. The loneliness and spiritual apprehension that ran through his poetry appealed to the Surrealist credo and he, though, remained independent of the prevailing “isms, ” searching for something beyond their definitions. His writing matured into a mystical mission seeking, as he wrote, the son of a winegrower, Reverdy was born in Occitanie, in the region of Narbonne, and grew up near the Montagne Noire. The Reverdy ancestors were stonemasons and sculptors associated with work commissioned for churches, the extant facts of his childhood and early years are few and obscured. Some source material indicates that at the time of Reverdy’s birth, further, it is believed that Reverdy’s father and mother were not able to marry each other until 1897. His father schooled him at home, teaching him to read, Reverdy arrived in Paris in October 1910, devoting his early years there to his writing. It was in Paris, at the artistic enclave centered around the Bateau-Lavoir in Montmartre that he met Guillaume Apollinaire, Max Jacob, Louis Aragon, André Breton, Philippe Soupault, all would come to admire and champion Reverdy’s poetry. Reverdy published a volume of poetry in 1915. A second compilation of his work out in 1924, Les épaves du ciel. These poems, short, fragmentary, the words an evocation of sharp visuals, in the first Surrealist Manifesto, André Breton hailed Reverdy as the greatest poet of the time. Louis Aragon said that for Breton, Soupault, Éluard and himself, Reverdy was our immediate elder, in 1917, together with Max Jacob, Vicente Huidobro and Guillaume Apollinaire, Reverdy founded the influential journal Nord-Sud which contained many Dadaist and Surrealist contributions. Sixteen issues of Nord-Sud were published, from March 15,1917 through October 15,1918, by nature, Reverdy was a somber man, whose strong spiritual inclinations led him over time to distance himself from the frenetic world of bohemian Paris. In 1926, in a ritualistic act signifying the renunciation of the material world and he converted to Catholicism and retreated with his wife, Henriette, to a small house located in proximity to a Benedictine abbey at Solesmes. Excluding intermittent periods when he visited Paris, Solesmes was his home for the thirty years where he lived a “quasi-monastic life. During this time in Solesmes, Reverdy wrote several collections including Sources du vent, Ferraille, besides this, Reverdy published two volumes containing critical matter entitled En vrac and Le livre de mon bord. During the WWII German occupation of France, Reverdy became a partisan in the resistance movement, at the liberation of Paris from Nazi rule, his group of French Resistance fighters were responsible for the capture and arrest of French traitor and German espionage agent Baron Louis de Vaufreland. One of Reverdy’s most enduring and profound relationships was with the couturier, the intense period of their romantic liaison lasted from 1921-1926. Yet after the fire of this initial involvement cooled, they maintained a deep bond, and great friendship
29. Section d'Or – The Section dOr, also known as Groupe de Puteaux, was a collective of painters, sculptors, poets and critics associated with Cubism and Orphism. Based in the Parisian suburbs, the group held meetings at the home of the Duchamp brothers in Puteaux. Active from 1911 to around 1914, members of the came to prominence in the wake of their controversial showing at the Salon des Indépendants in the spring of 1911. The Salon de la Section dOr, held October 1912—the largest and most important public showing of Cubist works prior to World War I—exposed Cubism to an audience still. After the war, with support given by the dealer Léonce Rosenberg, the Puteaux Group organized their first exhibition under the name Salon de la Section dOr at the Galerie La Boétie in Paris, October 1912. Following the 1911 Salon exhibitions the group formed by Le Fauconnier, Metzinger, Gleizes, Léger, francis Picabia was introduced to the circle, perhaps by Guillaume Apollinaire with whom he had recently become friendly. Most importantly was the contact established with Metzinger and the Duchamp brothers, the opening address was given by Apollinaire. The 1912 Salon de la Section dOr was arguably the most important pre-World War I Cubist exhibition, in the previous year the Cubists and a large number of their associates had exhibited at the Galerie de lArt Contemporain under the auspices of the Société Normande de Peinture Moderne. This exhibition had received attention in the press, though due to the diversity of the works presented it had been referred to as an exposition des fauves et cubistes. The Salon de la Section dOr, however, was accepted as being entirely Cubist in nature. Over 200 works were displayed, and the fact many of the artists showed artworks representative of their development from 1909 to 1912 gave the exhibition the allure of a Cubist retrospective. The inauguration was held from nine until midnight, for which the precedent was the opening of the 1903 Salon dAutomne. Invitations were widely diffused prior to the show, and many of the guests had to be turned away on opening night. Undoubtedly, due to the success of the exhibition, Cubism became recognized as a tendency, genre or style in art with a specific common philosophy or goal. The idea of the Section dOr originated in the course of conversations between Gleizes, Metzinger and Jacques Villon, the groups title was suggested by Villon, after reading a 1910 translation of Leonardo da Vincis Trattato della Pittura by Joséphin Péladan. Peladan attached great significance to the golden section, and other similar geometric configurations. For Villon, this symbolized his belief in order and the significance of mathematical proportions, because it reflected patterns, jean Metzinger and the Duchamp brothers were passionately interested in mathematics. The name La Section dOr represented simultaneously a continuity with past traditions and current trends in related fields, the Section dOr group founded by some of the most prominent Cubists was in effect an homage to Georges Seurat
30. Sergei Shchukin – Sergei Ivanovich Shchukin was a Russian businessman who became an art collector, mainly of French Impressionist and Post-Impressionist art. Shchukin and Sons Trading Company became one of the largest manufacturing, there were several art collectors in the Shchukin family. Another brother, Ivan, also collected art, Shchukin made his first art purchases following a trip to Paris in 1897, when he bought his first Monet. He later bought numerous works to a total of 258 paintings decorating the walls of his home in Moscow. Shchukin was particularly notable for his association with Matisse, who decorated his mansion and created one of his iconic paintings, La Danse. La Danse is commonly recognized as a key point of career, henri Matisse created one of his major works La Danse for Shchukin as part of a two painting commission, the other important painting being Music,1910. An earlier version of La Danse is in the collection of The Museum of Modern Art in New York City, in 1909, Shchukin opened his home on Sundays for public viewings, introducing French avant-garde painting to the Moscovites. After the 1917 Revolution, the government appropriated his collection while Shchukin escaped to Paris and his mansion in Moscow became the State Museum of New Western Art, the section II being the mansion and collection of the other famous Russian patron Ivan Morozov. Eventually, the two sections were merged and exhibited in the former Ivan Morozov mansion at Prechistenka,21, in 1948 the State Museum of New Western Art was closed down by a decree signed by Stalin due to its allegedly bourgeois, cosmopolitan and wrongly oriented artworks. The two collections were divided between the Pushkin Museum of Fine Arts and the State Hermitage Museum in St. Petersburg. Shchukin died on 10 January 1936 in Paris, irina Antonova, Director of the Pushkin Museum, once remarked about Shchukin, He started to collect unpopular art, which was snubbed by the Louvre and other museums. Perhaps he heard foreshocks that would change the world, such a collector could appear only in a country that awaited a revolution. He collected art that prefigured the global cataclysms, in the autumn of 2016, the exhibibition Icônes de lart moderne. La collection Chtchoukine, opened at Fondation Louis Vuitton, shchukins portrait by Matisse, from the Metropolitan Museum The Morozov-Shchukin collections
31. Simbolul – Simbolul was a Romanian literary and art magazine, published in Bucharest between October and December 1912. Other figures associated with the magazine were Adrian Maniu, Emil Isac and Claudia Millian, Simbolul also featured illustrations by, among others, Janco and his teacher Iosif Iser. This approach contrasted with the traditional approach favored by the Poporanist group. Janco, who was at the time Isers pupil, exhibited his first drawings at the Tinerimea Artistică Youth Salon in April 1912. The journal built on the legacy of other short-lived literary publications, in particular Revista Celor Lalți and Insula, however, literary critic Paul Cernat notes, Ion Minulescu did not have the virtues of an ideologue and a theorist. Thus, Simbolul was called by Cernat a turning plate between the Symbolism of Insula contributors and pre-avant-gardist Post-symbolism, the three founders of the magazine, which published its six issues after October 25,1912, were all in their teenage years. Tzara, known then under his birth name Samuel Rosenstock and his early pseudonym S. Samyro, was sixteen, the magazine never published an editorial cassette, but a note in issue 3 specified that all editing aspects are in the care of Mr. S. Samyro. Tzara and Janco were probably the main financial backers. Samyro debuted as a poet in Simbolul, contributing Symbolist pieces which, according to Paul Cernat, showed the influence of Belgian writer Maurice Maeterlinck, as well as that of Minulescu. Swedish literary historian Tom Sandqvist notes, In his own poems in Simbolul, in all, Tzara published four lyrical pieces, one in each issue, pieces which Cernat deemed naively musical, and which other critics found so uncharacteristic that they believed them to be pastiche. The pieces are, Pe râul vieții, Cântec, Poveste, according to Cernat, Iovanakis poems show the influence of Symbolism and its precursor, Parnassianism, being inspired by or adapted from the work of French poets Albert Samain and Charles Baudelaire. They include the first issues Cetate moartă and Sonet, as well as the English-titled Lewdness, dedicated to an unnamed prostitute, the latter was the first in a series dedicated to seascapes and marine art, and referenced Isers early paintings. Maniu and Emil Isac took charge of the political and satirical side of Simbolul, Vineas Saint Sava colleague Poldi Chapier, a future journalist, lawyer and promoter of Marcel Jancos art, regularly contributed poetry, considered rather colorless by Cernat. Other poets whose work was published by Simbolul included Alfred Hefter-Hidalgo. The latter were noted for their pieces with subjects such as the physical contact between virgins. Alongside the regular or frequent contributors, Simbolul attracted established Symbolist writers or other young authors, according to American art historian S. A. It was here that Macedonski published Ură, an adapted from the Renaissance author Cecco Angioleri. The latter was a parable about Jesus Christ, showing the Biblical Magi visiting the greatest symbolist poet of humankind, Simbolul was illustrated by several graphic artists
33. Tobeen – Tobeen is the pseudonym of the French artist Félix Elie Bonnet. Tobeen stayed frequently in the part of thé Pyrenees, Basque Country. Because of his frequent reference to Basque subjects within his paintings he became known as a Basque artist, however, he was not a Basque and neither were his parents. From 1910 he worked in Paris where he maintained relations with the group of Pablo Picasso and Georges Braque and he exhibited eleven works at the Salon de la Section dOr, Galerie La Boétie, Paris, October 1912. But Tobeen was not a city-dweller and he loved a life of liberty, the sea, the woods and after 1920 he settled in Saint-Valery-sur-Somme. Tobeens paintings, drawings and woodcarvings show the traces of his Parisian period, Tobeen. org Inscription au catalogue raisonné Tobeen Richard/Goiko
34. Tubism – Tubism is a term coined by the art critic Louis Vauxcelles in 1911 to describe the style of French artist Fernand Léger. Meant as derision, the term was inspired by Légers idiosyncratic version of Cubism, the style was developed by Léger in his paintings of 1909–1919, such as Nudes in the Forest and The Card Players. ISBN 0-7924-5848-6 Buck, Robert T. et al. Fernand Léger
Les Peintres Cubistes, Méditations Esthétiques (English, The Cubist Painters, Aesthetic Meditations), is a book written …
Czech Cubism (referred to more generally as Cubo-Expressionism) was an avant-garde art movement of Czech proponents of …
Rondocubist building of Legiobanka, Prague, Czech Republic
Eugene Ivanov (artist) [videos]
Eugene Ivanov (Czech: Evžen Ivanov; Russian: Евгений Иванов; 19 January 1966 in Tyumen, Siberia, Russia) is a …
Eugene Ivanov's illustrations
Eugene Ivanov's art
Tadeusz Makowski [videos]
Tadeusz Makowski (29 January 1882, Oświęcim - 1 November 1932, Paris) was a Polish painter who worked in France and was …
Self-portrait (c.1920)
Société Normande de Peinture Moderne [videos]
The Société Normande de Peinture Moderne, also known as Société de Peinture Moderne, or alternatively, Normand Society …
Albert Gleizes, 1910-12, Les Arbres (The Trees), oil on canvas, 41 x 27 cm
From left to right: Robert Antoine Pinchon, Mrs. Dumont, La Broue and Pierre Dumont, at an exhibition before World War I
Almanach pour 1908, Edition du Group des XXX, December 1907, Paris, Rouen
Antonín Procházka (painter) [videos]
Antonín Procházka (5 June 1882, Vážany - 9 June 1945, Brno) was a Czech Modernist painter and graphic artist. — Biography... …
The House of the Black Madonna is a cubist building in the "Old Town" area of Prague, Czech Republic. It was designed …
Wilhelmina Weber Furlong (1878–1962) was a German American artist and teacher. — Among America's earliest avant-garde …
Pierre Reverdy [videos]
Pierre Reverdy (French: [ʁəvɛʁdi]; September 13, 1889 – June 17, 1960) was a French poet whose works were inspired by …