Portal:Albert Gleizes
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Introduction
Albert Gleizes (French: [glɛz]; 8 December 1881 – 23 June 1953) 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, Du "Cubisme", 1912. Gleizes was a founding member of the Section d'Or group of artists. He was also a member of Der Sturm, and his many theoretical writings were originally most appreciated in Germany, where especially at the Bauhaus his ideas were given thoughtful consideration. Gleizes spent four crucial 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, and both a founder and participant in the Abbaye de Créteil. 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, e.g., La Peinture et ses lois (Paris, 1923), Vers une conscience plastique: La Forme et l’histoire (Paris, 1932) and Homocentrisme (Sablons, 1937).
Selected general articles
Bords de la Marne, also called Les Bords de la Marne and The Banks of the Marne, is a proto-Cubist oil painting on canvas created in 1909 by the French artist, theorist and writer Albert Gleizes. In this work can be seen a departure from the representation of the observable world. The subject is treated neither as a confined symbolic allegory nor as a cultural background indicated by specific real appearance, but is instead presented in concrete and precise geometric terms. The development of Cubist and abstract art in the work of Gleizes was necessarily a transformation from the synthetic preoccupation with his subject matter. The passage of Gleizes' painting from an epic visionary figuration to total abstraction was foreshadowed during his proto-Cubist period. Bords de la Marne measures 54 × 65 cm, and is currently in the permanent collection of the Musée des Beaux-Arts de Lyon. Read more...
This is a list of works by the French artist, theoretician, philosopher Albert Gleizes; one of the founders of Cubism and an influence on the School of Paris.
The artistic career of Gleizes spanned more than fifty years, from roughly 1901 to the year of his death in 1953. He was both a prolific painter and writer. This incomplete list is a selection of some of Gleizes' better-known oil paintings, or includes those for which images are available. Also listed is an extensive selection of his writings; both books and articles. Read more...
Portrait de l’éditeur Eugène Figuière, also referred to as The Publisher Eugene Figuiere (Portrait de Figuière, L'Editeur Eugène Figuière, Portrait d'un Editeur, Portrait d'Eugène Figuière or Portrait of the Publisher Eugene Figuiere), is a painting created in 1913 by the artist, theorist and writer Albert Gleizes. This work was exhibited at the Salon d'Automne, 1913 (no. 768) and Moderni Umeni, 45th Exhibition of SVU Mánes in Prague 1914 (no. 47), and several major exhibitions the following years. Executed in a highly Cubist idiom, the work nevertheless retains recognizable elements relative to its subject matter. The painting represents Eugène Figuière. Head of his own publishing company, Figuière strove to be identified with every modern development. In 1912 he published the first and only manifesto on Cubism entitled Du "Cubisme", written by Albert Gleizes and Jean Metzinger. In 1913 Figuière published Les Peintres Cubistes, Méditations Esthétiques (The Cubist Painters, Aesthetic Meditations), by Guillaume Apollinaire. The painting, purchased directly from the artist in 1948, is in the permanent collection of the Musée des beaux-arts de Lyon, France. Read more...
Woman with Animals, originally referred to as La dame aux bêtes and Portrait de Mme D.V. or Madame Raymond Duchamp-Villon, is a painting created late 1913 and completed during the month of February, 1914, by the French artist, theorist and writer Albert Gleizes. The painting was exhibited at the Salon des Indépendants, Paris, 1 March – 30 April 1914 (titled Portrait de Mme D.V.). Woman with animals is executed in a personal Cubist style noted by the fusing background and figure, the multiple perspective or successive views at various moments in time of the Mrs. Duchamp-Villon's face and other elements, the freestyle brushstrokes delineating juxtaposing planes. The work was restored in 1940 by Jacques Villon and Robert Delaunay. Formerly in the collection of Marcel Duchamp, the work—along with a 1913 lavis and gouache study of the same subject entitled La femme aux bêtes—has been in the Peggy Guggenheim Collection, Venice, Italy, since 1940. Read more...
Les Baigneuses (also known as The Bathers), is a large oil painting created at the outset of 1912 by the French artist, theorist and writer Albert Gleizes (1881–1953). It was exhibited at the Salon des Indépendants in Paris during the spring of 1912; the Salon de la Société Normande de Peinture Moderne, Rouen, summer 1912; and the Salon de la Section d'Or, autumn 1912. The painting was reproduced in Du "Cubisme", written by Albert Gleizes and Jean Metzinger the same year: the first and only manifesto on Cubism. Les Baigneuses, while still 'readable' in the figurative or representational sense, exemplifies the mobile, dynamic fragmentation of form and multiple perspective characteristic of Cubism at the outset of 1912. Highly sophisticated, both in theory and in practice, this aspect of simultaneity would soon become identified with the practices of the Section d'Or group. Gleizes deploys these techniques in "a radical, personal and coherent manner". Purchased in 1937, the painting is exhibited in the permanent collection of the Musée d'Art Moderne de la Ville de Paris. Read more...
This is a list of works by the French artist, theoretician, philosopher Albert Gleizes; one of the founders of Cubism and an influence on the School of Paris.
The artistic career of Gleizes spanned more than fifty years, from roughly 1901 to the year of his death in 1953. He was both a prolific painter and writer. This incomplete list is a selection of some of Gleizes' better-known oil paintings, or includes those for which images are available. Also listed is an extensive selection of his writings; both books and articles. Read more...
Du "Cubisme", 1912, Albert Gleizes and Jean Metzinger, published by Eugène Figuière Éditeurs (cover)
Du "Cubisme", also written Du Cubisme, or Du « Cubisme » (and in English, On Cubism or Cubism), 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 (1913). The book is illustrated with black and white photographs of works by Paul Cézanne (1), Gleizes (5), Metzinger (5), Fernand Léger (5), Juan Gris (1), Francis Picabia (2), Marcel Duchamp (2), Pablo Picasso (1), Georges Braque (1), André Derain (1), and Marie Laurencin (2).
The highly influential treatise was published by Eugène Figuière Éditeurs, Collection "Tous les Arts", Paris, 1912. Prior to publication the book was announced in the Revue d'Europe et d'Amérique, March 1912; for the occasion of the Salon de Indépendants during the spring of 1912 in the Gazette des beaux-arts; and in Paris-Journal, October 26, 1912. It is thought to have appeared in November or early December 1912. 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. Read more...- Cubism is an early-20th-century art movement which brought European painting and sculpture historically forward toward 20th century Modern art. Cubism in its various forms inspired related movements in literature and architecture. Cubism has been considered to be among the most influential art movements of the 20th century. The term is broadly used in association with a wide variety of art produced in Paris (Montmartre, Montparnasse and Puteaux) during the 1910s and throughout the 1920s.
The movement was pioneered by Pablo Picasso and Georges Braque, joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, and Fernand Léger. One primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne. A retrospective of Cézanne's paintings had been held at the Salon d'Automne of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death in 1907. In Cubist artwork, objects are analyzed, broken up and reassembled in an abstracted form—instead of depicting objects from a single viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. Read more...
Woman with Black Glove (French: Femme au gant noir, or Femme Assise) is a painting by the French artist, theorist and writer Albert Gleizes. Painted in 1920, after returning to Paris in the wake of World War I, the paintings highly abstract structure is consistent with style of experimentation that transpired during the second synthetic phase of Cubism, called Crystal Cubism. As other post-wartime works by Gleizes, Woman with Black Glove represents a break from the first phase of Cubism, with emphasis placed on flat surface activity and large overlapping geometric planes.
There are several smaller versions of Woman with Black Glove, illustrating a facet of Gleizes' pursuits during the early 1920s: "reminiscences of specific reality evoked within the context of increasingly careful picture construction", writes art historian Daniel Robbins. Read more...
Portrait of an Army Doctor (in French Portrait d'un médecin militaire) is a 1914-15 painting by the French artist, theorist and writer Albert Gleizes. Painted at the fortress city of Toul (Lorraine) while Gleizes served in the military during the First World War, the paintings abstract circular rhythms and intersecting aslant planes announce the beginning of the second synthetic phase of Cubism. The work represents Gleizes's commanding officer, Major Mayer-Simon Lambert (1870-1943), the regimental surgeon in charge of the military hospital at Toul. At least eight preparatory sketches, gouaches and watercolors of the work have survived, though Portrait of an Army Doctor is one of the only major oil paintings of the period.
As other wartime works by Gleizes, Portrait of an Army Doctor represents a break from the first phase of Cubism. These wartime works mark "the beginning of an attempt to preserve specific and individual visual characteristics while experimenting with a radically different compositional treatment in which broad planes, angled from the perimeter, meet circles." (Robbins, 1964) Rather than based on the analysis of volumetric objects, the artist strove toward synthesis; something that originated in unity. Read more...
L'Homme au hamac, also referred to as Man in a Hammock, is a painting created in 1913 by the French artist, theorist and writer Albert Gleizes. The work was exhibited at Moderni Umeni, SVU Mánes, Vystava, Prague, February – March 1914, no. 41; and Der Sturm, Berlin, July – August 1914. The painting was reproduced in Guillaume Apollinaire, Paris-Journal, July 4, 1914 (published again in Chroniques d'Art, 1960. p. 405); and Albert Gleizes, L'Épopée, Le Rouge et le Noir, October 1929, p. 81. Stylistically Gleizes' painting exemplifies the principle of mobile perspective laid out in Du "Cubisme", written by himself and French painter Jean Metzinger. Evidence suggests that the man reclining in the hammock is indeed Jean Metzinger. Formerly in the collection of Metzinger, the first owner of the painting, Man in a Hammock forms part of the permanent collection of the Albright-Knox Art Gallery, Buffalo, New York. Read more...
Composition for "Jazz", or Composition (For "Jazz"), is a 1915 painting by the French artist, theorist and writer Albert Gleizes. This Cubist work was reproduced in a photograph of Gleizes working on the painting in the Xeic York Herald, then published in The Literary Digest, 27 November 1915 (p. 1225). Composition for "Jazz" was purchased in 1938 by Solomon R. Guggenheim from Feragil Gallery, New York and forms part of the Solomon R. Guggenheim Founding Collection. The painting is in the permanent collection of the Solomon R. Guggenheim Museum in New York City. Read more...
Juliette Roche (1884–1980), also known as Juliette Roche Gleizes, was a French painter and writer who associated with members of the Cubist and Dada movements. Read more...
L'Arbre (The Tree), is a painting created in 1910 by the French artist, theorist and writer Albert Gleizes. Executed in an advanced Proto-Cubist style, the work was exhibited in Paris at the Salon des Indépendants, 1910 (no. 2160), the following year Gleizes chose to exhibit this work at the Salon de la Section d'Or, Galerie La Boétie, 1912 (no. 34), and Manes Moderni Umeni, S.V.U., Vystava, Prague, 1914 (no. 33). The painting was again shown at the Grand Palais, Salon des Indépendants, Trente ans d'art indépendant, in 1926. L'Arbre, an important work of 1910, appeared at the decisive Salon des Indépendants of 1911, where Cubism emerged as a group manifestation and spread across the globe, at times shocking the general public. Read more...
La Femme aux Phlox, also known as Woman with Phlox or Woman with Flowers, is an oil painting created in 1910 by the French artist and theorist Albert Gleizes (1881–1953). The painting was exhibited in Room 41 at the Salon des Indépendants in the Spring of 1911 (no. 2612); the exhibition that introduced Cubism as a group manifestation to the general public for the first time. The complex collection of geometric masses in restrained colors exhibited in Room 41 created a scandal from which Cubism spread throughout Paris, France, Europe and the rest of the world. It was from the preview of the works by Gleizes, Metzinger, Le Fauconnier, Delaunay and Léger at the 1911 Indépendants that the term 'Cubism' can be dated. La Femme aux Phlox was again exhibited the following year at the Salon de la Section d'Or, Galerie La Boétie, 1912 (no. 35). La Femme aux Phlox was reproduced in The Cubist Painters, Aesthetic Meditations (Les Peintres Cubistes) by Guillaume Apollinaire, published in 1913. The same year, the painting was again revealed to the general public, this time in the United States, at the International Exhibition of Modern Art (The Armory Show), New York, Chicago, and Boston (no. 195). The work is now in the Museum of Fine Arts, Houston, Gift of the Esther Florence Whinery Goodrich Foundation. Read more...
Le Chemin, Paysage à Meudon also known as Paysage avec personage, is an oil on canvas painted in 1911 by the artist, theorist and writer Albert Gleizes. The work was exhibited at the Salon des Indépendants during the spring of 1911, Paris; Les Indépendants, Musée moderne de Bruxelles, 1911; Galeries Dalmau, Exposicio d'art cubista, Barcelona, 1912; Galerie La Boétie, Salon de La Section d'Or, 1912. Le Chemin was identified by Hector Feliciano as having been plundered by the Nazis from the home of collector Alphonse Kann during World War II. It was returned to the heirs of Alphonse Kann in July 1997 and placed at public auctions in New York (1999) and London (2010) respectively. Read more...
Man on a Balcony (also known as Portrait of Dr. Théo Morinaud and 'L'Homme au balcon), is a large oil painting created in 1912 by the French artist, theorist and writer Albert Gleizes (1881–1953). The painting was exhibited in Paris at the Salon d'Automne of 1912 (no. 689). The Cubist contribution to the salon created a controversy in the French Parliament about the use of public funds to provide the venue for such 'barbaric art'. Gleizes was a founder of Cubism, and demonstrates the principles of the movement in this monumental painting (over six feet tall) with its projecting planes and fragmented lines. The large size of the painting reflects Gleizes's ambition to show it in the large annual salon exhibitions in Paris, where he was able with others of his entourage to bring Cubism to wider audiences.
In February 1913, Gleizes and other artists introduced the new style of modern art known as Cubism to an American audience at the Armory Show in New York City, Chicago and Boston. In addition to Man on a balcony (no. 196), Gleizes exhibited his 1910 painting Femme aux Phlox (Museum of Fine Arts, Houston). Read more...
Cubist Landscape, also referred to as Tree and River and Paysage cubiste or Arbre et fleuve, is a Cubist painting created in 1914 by the French artist, theorist and writer Albert Gleizes. Tree and River is one of Gleizes' last pre-World War I landscapes. A comparison with earlier works such as Le Chemin, Paysage à Meudon (1911), Les Baigneuses (Gleizes) (1912), Harvest Threshing (1912) and Passy, Bridges of Paris (1912) demonstrates the artists' continuity with the theme of deep spatial vistas and wide panoramic views, though with a notable diminution of specific references to reality. The painting was reproduced in the German art and literary magazine Der Sturm (titled Baum und Fluss) October 1920. Read more...
La Chasse, also referred to as The Hunt, is a painting created in 1911 by the French artist, theorist and writer Albert Gleizes. The work was exhibited at the 1911 Salon d'Automne (no. 610); Jack of Diamonds, Moscow, 1912; the Salon de la Société Normande de Peinture Moderne, Rouen, summer 1912; the Salon de la Section d'Or, Galerie La Boétie, 1912 (no. 37), Le Cubisme, Musée National d'Art Moderne, Paris, 1953 (no. 64 bis), and several major exhibitions during subsequent years.
In 1913 the painting was reproduced in Les Peintres Cubistes, Méditations esthétiques by Guillaume Apollinaire. Read more...
Brooklyn Bridge is a 1915 painting by the French artist, theorist and writer Albert Gleizes. Brooklyn Bridge was exhibited at the Montross Gallery, New York, 1916 (no. 40) along with works by Jean Crotti, Marcel Duchamp and Jean Metzinger.
This is the first in a series of three highly abstract paintings by Gleizes of the Brooklyn Bridge. It was the most abstract painting of the bridge to date. Gleizes and the Italian-American artist Joseph Stella had been friends since 1915 and it has been of interest to compare this painting with Stella's Brooklyn Bridge of 1919-20. Read more...
Passy, Bridges of Paris, also called Les ponts de Paris (Passy), or Paysage à Passy, is a painting created in 1912 by the French artist, theorist and writer Albert Gleizes. The work was exhibited at the Salon de la Société Normande de Peinture Moderne, Rouen, 1912 (titled Passy); the Salon de la Section d'Or, Galerie La Boétie, Paris, 1912 (titled Passy); Manes Moderni Umeni, Vystava, Prague, 1914 (titled Paysage à Passy); and Galerie Der Sturm, Berlin, July, 1914.
Passy was one of a small group of works chosen to be reproduced in the seminal treatise Du "Cubisme", written by Albert Gleizes and Jean Metzinger in 1912 and published by Eugène Figuière the same year. Executed in a highly personal Cubist style with multiple viewpoints and planar faceting, this is one of a number of paintings from 1912-13 involving the theme of the bridge in an urban landscape. Read more...
Portrait of Jacques Nayral (also known as Portrait de Jacques Nayral) is a large oil painting created in 1911 by the French artist, theorist and writer Albert Gleizes (1881–1953). It was exhibited in Paris at the Salon d'Automne of 1911 (no. 609), the Salon de la Section d'Or, 1912 (no. 38), and reproduced in Du "Cubisme" written by Jean Metzinger and Albert Gleizes in 1912, the first and only manifesto on Cubism. Metzinger in 1911 described Gleizes' painting as 'a great portrait'. Portrait of Jacques Nayral, one of Gleizes' first major Cubist works, while still 'readable' in the figurative or representational sense, exemplifies the mobile, dynamic fragmentation of form characteristic of Cubism at the outset of 1911. Highly sophisticated in theory and in practice, this aspect of simultaneity would soon become identified with the practices of the Section d'Or. Here Gleizes deploys these techniques in a radical, personal and coherent manner.
Jacques Nayral (a pseudonym for Joseph Houot) was a young modernist poet, dramatist, publisher and occasional sports writer, who shared with Gleizes a passion for the theories of Henri Bergson. He was a friend of Gleizes and married his sister Mireille in 1912. Gleizes began work on his portrait in 1910. The interfusion and interrelation between the sitter and the background of the painting reflect Bergson’s concepts about the simultaneity of experience. It was avant-garde works such as this widely exhibited portrait that fed the public outcry against Cubism. "Its scale echoes the large-scale paintings of the official exhibitions, while its style subverts that tradition". (Tate Modern) Read more...
Le Dépiquage des Moissons, also known as Harvest Threshing, and The Harvesters, is an immense oil painting created in 1912 by the French artist, theorist and writer Albert Gleizes (1881–1953). It was first revealed to the general public at the Salon de la Section d'Or, Galerie La Boétie in Paris, October 1912 (no. 43). This work, along with La Ville de Paris (City of Paris) by Robert Delaunay, is the largest and most ambitious Cubist painting undertaken during the pre-War Cubist period. Formerly in the collection of the Solomon R. Guggenheim Museum in New York, this monumental painting by Gleizes is exhibited at the National Museum of Western Art, in Tokyo, Japan. Read more...
Les Joueurs de football, also referred to as Football Players, is a 1912–13 painting by the French artist, theorist and writer Albert Gleizes. The work was exhibited at the Salon des Indépendants, Paris, March–May 1913 (no. 1293). September through December 1913 the painting was exhibited at Erster Deutscher Herbstsalon, Berlin (no. 147). The work was featured at Galeries Dalmau in Barcelona, 29 November – 12 December 1916 (no. 31), Gleizes' first one-person show. The work was again exhibited at Galeries Dalmau 16 October – 6 November 1926 (no. 7). Stylistically Gleizes' Football Players exemplifies the principle of mobile perspective laid out in Du "Cubisme", written by himself and French painter Jean Metzinger. Guillaume Apollinaire wrote about Les Joueurs de football in an article titled "Le Salon des indépendants", published in L'Intransigeant, 18 March 1913, and again in "A travers le Salon des indépendants", published in Montjoie!, Numéro Spécial, 18 March 1913.
Les Joueurs de football was left by the artist at Galeries Dalmau in 1916. Titled Jugadors de Futbol, the painting was reproduced in the avant-garde Catalan magazine L'Amic de les arts, November 1926. The caption included the inscription Collection Joseph Dalmau. Read more...
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Selected images
Albert Gleizes, 1911, La Chasse (The Hunt), oil on canvas, 123.2 x 99 cm. Published in L'Intransigeant, 10 October 1911, "Les Peintres Cubistes" 1913, by G. Apollinaire, and Au Salon d'Automne, Revue d'Europe et d'Amerique, Paris, October 1911
Albert Gleizes, 1920, Ecuyère, oil on canvas, 130 x 93 cm, Musée des Beaux-Arts de Rouen. Published in Broom, An International Magazine of the Arts, November 1921
Albert Gleizes, 1914, Paysage cubiste, Arbre et fleuve (Cubist Landscape), oil on canvas, 97 x 130 cm, published in Der Sturm, 5 October 1920
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
Albert Gleizes, 1914, Woman with animals (La dame aux bêtes) Madame Raymond Duchamp-Villon, oil on canvas, 77 5/16 x 45 15/16 inches (196.4 x 114.1 cm). The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice
Albert Gleizes, 1915, Brooklyn Bridge (Pont de Brooklyn), oil and gouache on canvas, 102 x 102 cm, Solomon R. Guggenheim Museum, New York
Albert Gleizes, 1912 (spring), Dessin pour L'Homme au balcon, exhibited Salon des Indépendants 1912
Albert Gleizes, 1912, Les Baigneuses (The Bathers), oil on canvas, 105 x 171 cm, Musée d'Art Moderne de la Ville de Paris
La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris. Albert Gleizes, Portrait de Eugène Figuière, La Chasse (The Hunt), and Les Baigneuses (The Bathers) are seen towards the center. Works by Robert Delaunay and André Lhote are seen to the left and right respectively, amidst works by others
Albert Gleizes, 1915, Chal Post, oil and gouache on board, 101.8 x 76.5 cm, Solomon R. Guggenheim Museum, New York
Albert Gleizes, 1909, Bords de la Marne, oil on canvas, 54 x 65 cm, Musée des Beaux Arts de Lyon
Albert Gleizes, Les Maison, Landscape (1910-11), Exposició d'Art Cubista, Galeries Dalmau, 1912, catalogue entry
Armory Show, International Exhibition of Modern Art, Chicago, 1913. The Cubist room, Gallery 53 (northeast view), Art Institute of Chicago, March 24–April 16, 1913. Gleizes' Man on a Balcony is exhibited to the right
Albert Gleizes, 1910, L'Arbre (The Tree), oil on canvas, 92 x 73.2 cm, private collection. Exhibited Salon des Indépendants, 1910; Salon de la Section d'Or, Galerie La Boétie, 1912; Manes Moderni Umeni, S.V.U., Vystava, Prague, 1914
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
Albert Gleizes, 1911, Le Chemin, Paysage à Meudon, oil on canvas, 146.4 x 114.4 cm. Exhibited at Salon des Indépendants, 1911, Salon des Indépendants, Bruxelles, 1911, Galeries J. Dalmau, Barcelona, 1912, Galerie La Boétie, Salon de La Section d'Or, 1912, stolen by Nazi occupiers from the home of collector Alphonse Kann during World War II, returned to its rightful owners in 1997
Albert Gleizes, 1912-13, Les Joueurs de football (Football Players), oil on canvas, 225.4 x 183 cm (88.7 by 72 in.), National Gallery of Art, Washington D.C.
Albert Gleizes, 1912, L'Homme au Balcon, Man on a Balcony (Portrait of Dr. Théo Morinaud), oil on canvas, 195.6 x 114.9 cm (77 x 45 1/4 in.), Philadelphia Museum of Art. Exhibited at Salon d'Automne, Paris, 1912, Armory show, New York, Chicago, Boston, 1913. Purchased from the Armory Show by Arthur Jerome Eddy
Albert Gleizes, 1920, Femme au gant noir (Woman with Black Glove), oil on canvas, 126 x 100 cm, National Gallery of Australia
Installation shot of the Cubist room, 1913 Armory Show, published in the New York Tribune, February 17, 1913 (p. 7). Left to right: Raymond Duchamp-Villon, La Maison Cubiste (Projet d'Hotel), Cubist House; Marcel Duchamp Nude (Study), Sad Young Man on a Train (Nu [esquisse], jeune homme triste dans un train) 1911-12 (The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice); Albert Gleizes, L'Homme au Balcon (Man on a Balcony), 1912 (Philadelphia Museum of Art); Marcel Duchamp, Nude Descending a Staircase, No. 2; Alexander Archipenko, La Vie Familiale, Family Life (destroyed)
Albert Gleizes, 1912, Les ponts de Paris (Passy), The Bridges of Paris (Passy), oil on canvas, 60.5 x 73.2 cm, Museum Moderner Kunst (mumok), Vienna. Published in Du "Cubisme", 1912
Albert Gleizes, 1910–12, Les Arbres (The Trees), oil on canvas, 41 x 27 cm. Reproduced in Du "Cubisme", 1912
Albert Gleizes, untitled, drawing (zeichnung), published in the cover of Der Sturm, 5 June 1920
Albert Gleizes, 1910, La Femme aux Phlox (Woman with Phlox), oil on canvas, 81 x 100 cm, exhibited Armory Show, New York, 1913, Museum of Fine Arts, Houston
Albert Gleizes, 1915, Composition for "Jazz", oil on cardboard, 73 x 73 cm, Solomon R. Guggenheim Museum, New York
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
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, Tel Aviv Museum of Art
Albert Gleizes, c.1920, Figures planes (Trois personages assis), dimensions approximately 126 x 100 cm, location unknown. Exhibited Der Sturm, Berlin, 1921 (no. 927) and reproduced in Gleizes 1927, p. 97
Albert Gleizes, 1913, L'Homme au Hamac (Man in a Hammock), oil on canvas, 130 x 155.5 cm, Albright-Knox Art Gallery, Buffalo, New York
Albert Gleizes, Broadway (1915), Gleizes in his New York studio with Jazz (1915); Marcel Duchamp's Nude Descending a Staircase, No. 2; Jean Crotti in his studio. "The European Art-Invasion, The Mob as Art Critic", The Literary Digest, Letters and Art, 27 November 1915. pp. 1224-1227
Albert Gleizes, 1920-23, Ecuyère (Horsewoman), oil on canvas, 130 x 93 cm, Musée des Beaux-Arts de Rouen. (Purchased from the artist in 1951. Dépôt du Centre Pompidou, 1998). This 1920 painting was reworked in 1923
Albert Gleizes, study for Femme au gants noirs, drawing (zeichnung), published on the cover of Der Sturm, 5 June 1920
Albert Gleizes, Woman and child (Femme et enfant, Frau und Kind), Der Sturm, 5 October 1921
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