![](https://upload.wikimedia.org/wikipedia/commons/thumb/7/75/Albert_Gleizes%2C_portrait_photograph%2C_published_in_Les_Peintres_Cubistes%2C_1913.jpg/240px-Albert_Gleizes%2C_portrait_photograph%2C_published_in_Les_Peintres_Cubistes%2C_1913.jpg)
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.[1][2][3][4]
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.[5][6][7]
"Gleizes' individual development, his unique struggle to reconcile forces," writes the art historian Daniel Robbins, "made him one of the few painters to come out of Cubism with a wholly individual style, undeflected by later artistic movements. Although he occasionally returned to earlier subjects... these later works were treated anew, on the basis of fresh insights. He never repeated his earlier styles, never remained stationary, but always grew more intense, more passionate. [...] His life ended in 1953 but his paintings remain to testify to his willingness to struggle for final answers. His is an abstract art of deep significance and meaning, paradoxically human even in his very search for absolute order and truth." (Daniel Robbins, 1964)[1]
Paintings
[edit]Image | Title | Year | Dimensions | Museum | Country |
---|---|---|---|---|---|
Paysage | 1902 | 53 × 64 cm | Fondation Albert Gleizes | Paris | |
Le marché d'Abbeville | 1903 | 73 × 60 cm | Private collection | ||
Jour de marché en banlieue, Courbevoie | 1905 | 54 × 65 cm | Musée des Beaux-Arts de Lyon | Lyon | |
Barque dans la Seine | 1908 | 54 × 65 cm | Musée Roybet-Fould | Courbevoie | |
Jour de marché à Bagnères-de-Bigorre | 1908 | 60 × 73 cm | Musée des Beaux-Arts de Lyon | Lyon | |
![]() |
Bords de la Marne | 1909 | 54 × 65 cm | Musée des Beaux-Arts de Lyon | Lyon |
Nu assis | 1909 | 73 × 61 cm | Musée de Petit Palais Geneve | Switzerland | |
Portrait d'homme (Olivier Gleizes) | 1909 | 65 × 53.5 cm | Private collection | ||
Paysage classic | 1910 | 50 × 65 cm | Private collection | ||
![]() |
L'Arbre (The Tree) | 1910 | 92 × 73.2 cm | Private collection | |
![]() |
La Femme aux Phlox (Woman with Phlox) | 1910 | 81 × 100 cm | The Museum of Fine Arts | Houston |
![]() |
Les Arbres | 1910 or 1912 | 41 × 27 cm | Private collection | |
Paris, les quais | 1910 | 54 × 65.2 cm | Private collection | ||
René Arcos | 1910 | 60.3 × 38.3 cm | Private collection | ||
Femme a la cuisine (Woman in the kitchen) | 1911 | 118.5 × 94.5 cm | Gallery ASADA | ||
![]() |
La Chasse (The Hunt) | 1911 | 123.2 × 99 cm | ||
![]() |
Le Chemin (Paysage à Meudon) | 1911 | 146.4 × 114.4 cm | Private collection | |
![]() |
Portrait de Jacques Nayral | 1911 | 161.9 x 114 cm | Tate Modern | London |
![]() |
Paysage (Landscape) | 1911 | 71 × 91.5 cm | Location unknown | |
![]() |
Nature Morte (Stilleben) Still Life | 1911 | Dimensions unknown | Location unknown | |
La Cathédrale de Chartres | 1912 | 73.6 × 60.3 cm | Sprengel Museum | Hannover | |
Landscape (Paysage) | 1912 | 37.5 × 43.3 cm | Solomon R. Guggenheim Museum | New York | |
![]() |
Paysage près de Paris, Paysage de Courbevoie (Landschaft bei Paris) | 1912 | 72.8 × 87.1 cm | Missing from Hannover Germany since 1937 | |
![]() |
Harvest Threshing (Le Dépiquage des Moissons) | 1912 | 269 × 353 cm | National Museum of Western Art | Tokyo |
![]() |
Les Baigneuse (The Bathers) | 1912 | 105 × 171 cm | Musée d'Art Moderne de la Ville de Paris | |
![]() |
Les Pont de Paris (The Bridges of Paris, Passy) | 1912 | 58 × 72.5 cm | Museum Moderner Kunst (mumok) | Vienna |
![]() |
Dessin pour L'Homme au balcon | 1912 | Exhibited Salon des Indépendants 1912 | ||
![]() |
Man on a balcony (l'Homme au Balcon) | 1912 | 195.6 × 114.9 cm | Philadelphia Museum of Art | |
Moissonneurs, Dépiquage des Moissons (Variante) | 1912 | 149 × 89 cm | Private collection | ||
Port marchand | 1912 | 90 × 116.5 cm | Art Gallery of Ontario | Toronto | |
![]() |
Les Joueurs de football | 1912-13 | 225.4 × 183 cm | National Gallery of Art | Washington DC |
Portrait (Head in Landscape) | 1912-13 | 37.6 × 50.4 cm | Solomon R. Guggenheim Museum | New York | |
Femmes cousant | 1913 | 185.5 × 126 cm | Kröller-Müller Museum | Otterlo, the Netherlands | |
Drawing for Head in Landscape (Dessin pour Tête dans un paysage) | 1913 | 12.7 × 15.6 cm | Solomon R. Guggenheim Museum | New York | |
![]() |
L'Homme au Hamac (Man in a Hammock) | 1913 | 130 × 155.5 cm | Albright-Knox Art Gallery | Buffalo, New York |
La Ville en fleuve | 1913 | 76 × 63 cm | Private collection | ||
![]() |
Les Bateaux de pêche (Fischerboote) | 1913 | 165 × 111 cm | Tel Aviv Museum of Art | |
Paysage avec moulin (Paisaje con molino) | 1913 | 101 × 81.6 cm | Museo Nacional Centro de Arte Reina Sofía | Madrid | |
Landscape with a Windmill | 1913 | 56.5 × 39.4 cm | Private collection | ||
![]() |
Portrait de l'éditeur Figuière (The Publisher Eugene Figuiere) | 1913 | 143 × 102 cm | Musée des beaux-arts de Lyon | Lyon |
![]() |
Woman with animals (Madame Raymond Duchamp-Villon, La dame aux bêtes) | 1913-14 | 196.4 × 114.1 cm | Peggy Guggenheim Collection | Venice |
Femmes assises à une fenêtre | 1914 | Private collection | New York | ||
![]() |
Cubist Landscape (Paysage cubiste, Arbre et fleuve) | 1914 | 97 x 130 cm | Public auction, 3 December 2008[8] | Paris |
Paysage cubiste | 1914 | 66 × 81.3 cm | Private collection | ||
Paysage près de Montreuil | 1914 | 73 × 92.5 cm | Saarland Museum | Saarbrücken, Germany | |
Paysage | 1914 | 73.3 × 92.3 cm | Yale University Art Gallery | New Haven | |
Portrait of Igor Stravinsky | 1914 | 129.5 × 114.3 cm | Museum of Modern Art | New York | |
Woman at the piano | 1914 | 146.4 × 113.7 cm | Philadelphia Museum of Art | Philadelphia | |
![]() |
Paysage avec un arbre (Landscape with Tree) | 1914 | 100 × 81 cm | Private collection | |
Paysage (New York) | 1914-15 | 102 × 102 cm | Collection Alain Delon | Switzerland | |
![]() |
Portrait of an Army Doctor (Portrait d'un médecin militaire) | 1914-15 | 119.8 × 95.1 cm | Solomon R. Guggenheim Museum | New York |
![]() |
Portrait de Florent Schmitt (Le Pianiste) | 1914-15 | 36 × 27 cm | Location unknown | |
Portrait de Florent Schmitt | 1914-15 | 200 × 152 cm | Private collection | ||
Le Chant de guerre (Portrait de Florent Schmitt) | 1915 | 101 × 101 cm | Musée National d'Art Moderne | Paris | |
Musician (Florent Schmitt) (Un Musicien [Florent Schmitt]) | 1915 | 59.7 × 44.5 cm | Solomon R. Guggenheim Museum | New York | |
![]() |
Retour de Bois-le-Prêtre | 1915 | 39 x 50 cm | ||
![]() |
Chal Post | 1915 | 101.8 × 76.5 cm | Solomon R. Guggenheim Museum | New York |
![]() |
Broadway | 1915 | 98.5 x 76 cm | Private collection | |
![]() |
Composition for "Jazz" (Composition pour "Jazz") | 1915 | 73 × 73 cm | Private collection | |
Broadway | 1915 | 98.5 × 76 cm | Private collection | New York | |
![]() |
Brooklyn Bridge | 1915 | 102 × 102 cm | Solomon R. Guggenheim Museum | New York |
Brooklyn Bridge | 1915 | 25 × 19 cm | Los Angeles County Museum of Art (LACMA) | California | |
Brooklyn Bridge | 1915 | 148.1 × 120.4 cm | Private collection | ||
Pyrénées | c.1915 | 64 × 80 cm | Israel Museum | Jerusalem | |
The Astor Cup Races (Flags), (Le prix de la coupe Astor, Les Drapeaux) | 1915 | 99.4 × 74.4 cm | Solomon R. Guggenheim Museum | New York | |
New York | 1916 | 92 x 71.4 cm | Private collection | ||
Danseuse | 1916 | 57 × 36 cm | Private collection | ||
Acrobates (Les Acrobates) | 1916 | 120.6 × 84.5 cm | National Gallery of Victoria | Melbourne, Australia | |
Equestrienne (Sur une écuyère de haute école) | 1916 | 101.8 × 76.2 cm | Solomon R. Guggenheim Museum | New York | |
On a Sailboat | 1916 | New Orleans Museum of Art | |||
Portrait de Jean Cocteau | 1916 | 116 × 79.5 cm | Fundación Telefónica | ||
Spanish Dancer (Danseuse espagnole) | 1916 | 101.3 × 76.4 cm | Solomon R. Guggenheim Museum | New York | |
Street Scene in Bermuda | 1917 | 80.6 × 65.4 cm | Metropolitan Museum of Art | New York | |
Bermuda | 1917 | 81 × 64.5 cm | Private collection | ||
Des clowns | oil and sand on canvas | 1917 | 103 × 76 cm | Musée d'Art Moderne de la Ville de Paris | |
Le Port (En el puerto) | 1917 | 153 × 120 cm | Thyssen-Bornemisza Museum | Madrid | |
Paysage (Les Bermudes) | 1917 | 92 × 73 cm | Musée National d'Art Moderne | Paris | |
On Brooklyn Bridge (Sur Brooklyn Bridge) | 1917 | 161.8 × 129.5 cm | Solomon R. Guggenheim Museum | New York | |
To Jacques Nayral | 1917 | 75.8 × 65 cm | Columbus Museum of Art | Columbus Ohio | |
Kelly Springfield | 1919 | 102 × 76.5 cm | Solomon R. Guggenheim Museum | New York | |
![]() |
Femme au gant noir (Woman with Black Glove) | 1920 | 126 × 100 cm | National Gallery of Australia | |
Espace rythmé selon le plan | 1920 | Museum of Grenoble | Grenoble | ||
![]() |
Figure | 1920 | 91.4 x 76.2 cm | Los Angeles County Museum of Art | Los Angeles |
![]() |
Cover of Action, vol. 1, no. 1 | 1920 | |||
![]() |
Ecuyère (Horsewoman) | 1920-1923 | 130 × 93 cm | Musée des Beaux-Arts de Rouen | Rouen |
Busto de mujer | 1920 | 80 × 60 cm | Galería Barbié Barcelona | Spain | |
L’Ecolier | 1920 | 92x 73 cm | Musée Cantini | Marseille | |
![]() |
Figures planes (Trois personnages assis) | c.1920 | 126 × 100 cm (approximate) | ||
![]() |
Femme et enfant (Woman and child, Frau und Kind) | 1920 | Published in Der Sturm, 5 October 1921 | ||
![]() |
Untitled | c.1920 | Published in Broom, An International Magazine Of The Arts, November 1921 | ||
Seated Woman | c.1920 | 92 × 73 cm | The Israel Museum | Jerusalem | |
![]() |
Composition bleu et jaune (Composition jaune) | 1921 | 200.5 × 110 cm | ||
Composition | 1922 | 81 × 59.5 cm | Ursulines Museum | Mâcon | |
Madame Gleizes a la Tocque | 1922 | 73 × 60 cm | Private collection | ||
Peinture à Sept Eléments Rythmés | 1924-34 | 216 × 181 cm | Musée National d'Art Moderne | Paris | |
Figure Imaginaire | 1924 | 160 × 69 cm | Private collection | ||
Composition with Seven Elements (Les sept elements) | 1924–1925 | 143.5 × 103.5 cm | Private collection | ||
Le Centre noir | 1925 | 268.5 × 354 cm | Museum of Fine Arts of Lyon | Lyon | |
Composition | 1928 | 94 × 70 cm | Stolen by the nazis | Poland (missing) | |
Descent from the Cross | 1928 | 30 × 35.6 cm | Cleveland Museum of Art | Ohio | |
Panel for the room of Jacqueline Rosenberg | 1930–1931 | 115 × 90 cm | Musée National d'Art Moderne | Paris | |
Composition | 1930–1931 | 160 × 100.5 cm | Musée d'Art Moderne de la Ville de Paris | Paris | |
Symphony in Violet | 1930–1931 | 196 × 131 cm | Private collection | Switzerland | |
Composition with Seven Elements (Les sept elements) | 1924–1934 | 260 × 108 cm | Musée National d'Art Moderne | Paris | |
Composition for Meditation | 1932–1934 | 75.5 × 124.5 cm | Private collection | ||
Lumière (Light) | 1932–1934 | 112 × 78 cm | Private collection | ||
Composition Rythmique (Les Bleus) | 1932–1934 | 135.9 × 96.5 cm | |||
Femme et Enfant | 1932–1934 | 166 × 105 cm | Private collection | ||
Spiral brun et vert | 1932–1934 | 168.2 × 77.7 cm | Private collection | ||
Support de Contemplation | 1932–1934 | 141 × 111 cm | Musée des Beaux-Arts du Palais Carnolès | Menton | |
Maternité, Mère et enfant | 1934 | 168 × 105 cm | Musée Calvet, Musée des Beaux-Arts et d'Archéologie d'Avignon | Avignon | |
Elément central de Sept Eléments | 1935–1936 | 170 × 85 cm | Private collection | ||
Femme et Enfant | 1935 | 99 × 75 cm | Private collection | ||
Crucifixion | 1935 | 137 × 92 cm | Musée des Beaux-Arts de Dijon | Dijon | |
Terre et Ciel | 1935 | 145 × 145 cm | Musée des Beaux-Arts de Lyon | Lyon | |
Mother and Child | 1936 | 139.4 × 84.5 cm | Private collection | ||
Composition | 1937-38 | 250 × 165 cm | Musée National d'Art Moderne | París | |
Pour l'esprit, Les verts, Composition | 1939 | 183 × 148 cm | Private collection | ||
Contemplation | 1942 | 217 × 132 cm | Private collection | ||
Supports de Contemplation | 1942 | 217 × 132 cm | Musée des Beaux-Arts de Lyon | Lyon | |
Portrait of Mrs. Walter Fleisher | 1943–1944 | 208 × 132 cm | Private collection | ||
Painting with seven elements | 1943 | 300 × 178 cm | Private collection | ||
Contemplation | 1944 | 212 × 132 cm | Musée National d'Art Moderne | Paris | |
Contemplation | 1944 | 212 × 132 cm | Private collection | ||
L'Etrange Musicien | 1944 | 181 × 111 cm | Private collection | ||
Composition | 1945 | 183 × 110 cm | Private collection | ||
L'Etrange musicien, 2eme état | 1945 | 175 × 85 cm | Private collection | ||
Support de contemplation | 1947 | 208.7 × 132.8 cm | Musée des Beaux-Arts de Lyon | Lyon | |
Composition bleue | 1948 | 44.5 × 36.2 cm | Private collection | ||
Arabesques | 1951–1953 | 76 × 60 cm | Musée des Beaux-Arts de Lyon | Lyon | |
Composition, La Libellule | 1952 | 80 × 57 cm | Fondation Albert Gleizes | Paris |
After Albert Gleizes
[edit]-
1. Movements of translation of the plane to one side
-
2. Simultaneous movements of rotation and translation of the plane
-
3. Simultaneous movements of rotation and translation of the plane resulting in the creation of a spatial and rhythmic plastic organism
-
4. Plastic spatial and rhythmic system obtained by the conjugation of simultaneous movements of rotation and translation of the plane and from the movements of translation of the plane to one side
Published writings
[edit]Books
[edit]- Du "Cubisme", Albert Gleizes and Jean Metzinger, Paris, Figuière, 1912 (published in English and Russian in 1913, a new edition was published in 1947)
- Du Cubisme et des moyens de le comprendre, Paris, La Cible, Povolozky, 1920 (published in German in 1922).
- La Mission créatrice de l’Homme dans le domaine plastique, Paris, La Cible, Povolozky, 1921 (published in Polish in 1927).
- La Peinture et ses lois, ce qui devait sortir du Cubisme, Paris, 1924 (published in English in 2000)
- Tradition et Cubisme. Vers une conscience plastique. Articles et Conférences 1912–1924, Paris, La Cible, Povolozky, 1927
- Peinture et Perspective descriptive, conference at the Carnegie Foundation for l’Union Intellectuelle française, Paris, 22 March 1927. Sablons, Moly-Sabata, 1927
- Kubismus, Bauhausbücher 13, Munich, Albert Langen Verlag, 1928 (re-edited by Florian Kupferberg Verlag in 1980).
- Vie et Mort de l’Occident Chrétien, Sablons, Moly-Sabata, 1930 (published in English in 1947)
- Vers une Conscience plastique : La Forme et l’Histoire, Paris, Povolozky, 1932
- Art et Science, Sablons, Moly-Sabata, 1933. 2ème édition, Aix-en-Provence, 1961. Conference at Lodz, Poland, 28 April 1932, and Stuttgart, 6 Mai 1932.
- Homocentrisme ; Le retour de l’Homme chrétien; Le Rythme dans les Arts plastiques, Sablons, Moly-Sabata, 1937
- La Signification Humaine du Cubisme, Lecture by Albert Gleizes at the Petit Palais, Paris, 18 July 1938, Sablons, Moly-Sabata, 1938
- Du Cubisme, Albert Gleizes and Jean Metzinger, Paris, Compagnie Française des Arts Graphiques, 1947 (re-edition of the 1912 book with slight modifications and a new Preface by Albert Gleizes).
- Souvenirs, le Cubisme 1908–1914, Lyon, Cahiers Albert Gleizes, L’Association des Amis d’Albert Gleizes, 1957
- Puissances du Cubisme, Chambéry, éditions Présence, 1969. Collection of articles published between 1925 and 1946
- Art et religion, Art et science, Art et production, Chambéry, éditions Présence, 1970 (published in English in 2000)
- L'Homme devenu peintre, Paris, Fondation Albert Gleizes and Somogy éditions d'Art, 1998
Articles
[edit]- L'Art et ses représentants. Jean Metzinger, Revue Indépendante, Paris, September 1911, pp. 161–172
- Le Fauconnier et son oeuvre, Revue Indépendante, Paris, October 1911 Unlocated article listed in Le Fauconnier bibliographies
- Les Beaux Arts. A propos du Salon d'Automne, Les Bandeaux d'Or, séries 4, no. 13, 1911–1912, pp. 42–51
- "Cubisme devant les Artistes", Les Annates politiques et littéraires, Paris, December 1912, pp. 473–475. A response to an inquiry
- Le Cubisme et la Tradition, Montjoie, Paris, 10 February 1913, p. 4. Reprinted in Tradition et Cubisme, Paris, 1927
- [Extracts from O Kubisme], Soyuz Molodezhi, Sbornik, St. Petersburg, no. 3, 1913. With commentary. Reference from gray, Camilla. The Great Experiment: Russian Art, 1893–1922, New York, Abrams, 1962, p. 308
- Opinions (Mes Tableaux), Montjoie, Paris, nos. 11–12, November–December 1913, p. 14
- C’est en allant se jeter à la mer que le fleuve reste fidèle à sa source, Le Mot, Paris, vol. I, no. 17, 1 Mai 1915
- French Artists Spur on American Art, New York Herald, 24 October 1915, pp. 2–3. An interview
- Interview with Gleizes (Duchamp, Picabia and Crotti), The Literary Digest, New York, 27 November 1915, pp. 1224–1225
- "La Peinture Moderne", 391, New York, no. 5, June 1917, pp. 6–7
- The Abbey of Créteil, A Communistic Experiment, The Modern School, Stelton, New Jersey, October 1918. Edited by Carl Zigrosser
- The Impersonality of American Art, Playboy, New York, nos. 4 and 5, 1919, pp. 25–26. Translated by Stephen Bourgeois. Preface to an exhibition of modern art at the Bourgeois Galleries, New York, 1919
- "Vers une epoque de batisseurs", Clarte (Bulletin Français), Paris, 1920, no. 13, 14, 15, 32
- Letter to Herwarth Walden, 30 April 1920, Der Sturm, Berlin, Nationalgalerie, September, 1961, p. 46
- L’Affaire dada. Action, Paris, no. 3, April 1920, pp. 26–32. Re-printed in English in Motherwell, Robert, ed. Dada Painters and Poets, New York, 1951, pp. 298–302
- Dieu Nouveau, La Vie des Lettres, Paris, October 1920, p. 178
- Réhabilitation des Arts Plastiques, La Vie des Lettres et des Arts, Paris, series 2, no. 4, April 1921, pp. 411–122. Reprinted in Tradition et Cubisme, Paris, 1927
- L'Etat du Cubisme aujourd'hui, La Vie des Lettres et des Arts, Paris, series 2, no. 15, 1922, pp. 13–17
- Tradition und Freiheit, Das Kunstblatt, Berlin, vol. 6, no. 1, 1922, pp. 26–32
- Ein Neuer Naturalismus? Eine Rundfrage des Kunstblatts, Das Kunstblatt, Berlin, vol. 6, no. 9, 1922, pp. 387–389. Reply to an inquiry
- "Perle", La Bataille Littéraire, Brussels, vol. 4, no. 2, 25 February 1922, pp. 35–36 [A poem, New York, 1916]
- La Peinture et ses Lois : Ce qui devait sortir du Cubisme, La Vie des Lettres et des Arts, Paris, series 2, no. 12, March 1923, pp. 26–73
- Jean Lurcat, Das Kunstblatt, vol. 7, no. 8, 1923, pp. 225–228
- L’Art moderne et la Société nouvelle, Moniteur de l’Académie Socialiste, Moscou, 1923. Reprinted in Tradition et Cubisme, Paris, 1927, pp. 149–161
- Où va la peinture moderne? Bulletin de l’Effort Moderne, Paris, no. 5, May 1924, p. 14. Response to an inquiry
- La Renaissance et la peinture d'aujourd'hui, La Vie des Lettres et des Arts, Paris, décembre 1924 (repris dans Tradition et Cubisme, Paris, 1927, p. 179–191)
- La Peinture et ses Lois, Bulletin de l’Effort Moderne, Paris, no. 5, May 1924, p. 4–9, no. 13, March 1925, p. 1–4
- A propos de la Section d'Or de 1912, Les Arts Plastiques, Paris, no. 1, January,1925, pp. 5–7
- Chez les Cubistes: une enquête, Bulletin de la Vie Artistique, Paris, vol. 6, no. 1, January 1925, pp. 15–19. Response to an inquiry
- L’inquiétude, Crise plastique, La Vie des Lettres et des Arts, Paris, series 2, no. 20, May 1925, pp. 38–52
- A l'Exposition, que pensez-vous du... Pavilion de Russie, Bulletin de la Vie Artistique, vol. 6, no. 11, 1 June 1925, pp. 235–237. Response to an inquiry
- "Cubisme", La Vie des Lettres et des Arts, Paris, series 2, no. 21, 1926, pp. 51–65. Announced as French text of Kubismus, Bauhausbücher 13, Munich, 1928, written in September 1925, at Serrieres
- Cubisme (Vers une conscience plastique). Bulletin de l'Effort Moderne, Paris, no. 22, February 1926; no. 23, March 1926; no. 24, April 1926; no. 25, May, 1926; no. 26, June 1926; no. 27, July 1926; no. 28, October 1926; no. 29, November 1926; no. 30, December 1926; no. 31, January 1927; no. 32, February 1927. Extracts, announced as partial contents of Kubismus, Bauhausbücher 13, 1928
- L’Epopée. De la Forme immobile à la Forme mobile, Le Rouge et le Noir, Paris, October 1929, pp. 57–99. The final French text of Kubismus, Bauhausbücher 13, Munich, Albert Langen Verlag, 1928 (re-edited by Florian Kupferberg Verlag in 1980).
- Charles Henry et le Vitalisme, Cahiers de l'Etoile, Paris, no. 13, January–February 1930, pp. 112–128. [Preface to La Forme et l'Histoire], l'Alliance Universelle, Paris, 30 April 1930
- Les Attitudes Fondamentales de l'Esprit Moderne, Bulletin de la VIIème Congrès de la Fédération Internationale des Unions Intellectuelles, Cracow, October 1930. [Preface to an Exhibition of Paintings by Gottfried Graf, Berlin, 1931]. Quoted in Chevalier, Le Dénouement traditionnel du Cubisme, 2, Confluences, Lyon, no. 8, February 1942, p. 193
- Civilization et Propositions, La Semaine Egyptienne, Alexandria, 31 October 1932, p. 5
- Moly-Sabata ou le Retour des Artistes au Village, Sud Magazine, Marseilles, no. 1021, 1 June 1932. [Statement], Abstraction-Creation, Art Non-Figuratif, Paris, no. 1, 1932, pp. 15–16
- La Grande Ville et Ses Signes, La Liberté, Paris, 7 May 1933, p. 2
- Vers la régénération intellectuelle, Naturisme du corps: naturisme de l'esprit, Régénération, Paris, new series, no. 46, July–August 1933, pp. 117–119. [Statement], Abstraction-Creation, Art Non-Figuratif, Paris, no. 2, 1933, p. 18
- Vers une conscience plastique, La Forme et l'Histoire, Sud, magazine méditerranéen, no. 104, 1–16 July 1933, p. 20–21
- Propos de peintre, Almanach vivarois 1933, Sous le signe de July 1933, p. 30–34. May 2007
- Le Retour de l’Homme à sa Vie, Jeunesse, and Jeunesse (suite), Régénération, Paris, no. 49, 50, 53, 1934. [Expose] Abstraction-Création, Art Non Figuratif, Paris, no. 3, 1934, p. 18
- Agriculture et Machinisme, Regeneration, Paris, no. 53, August–September 1934, pp. 11–14. Enlarged version of article originally published in Lyon Republicain, 1 January 1932
- Le Groupe de l'Abbaye. La Nouvelle Abbaye de Moly-Sabata, Cahiers Américains, Paris, New York, no. 6, Winter, 1934, pp. 253–259
- Le Retour à la Terre, Beaux-Arts, Paris, 14 December 1934, p. 2
- Peinture et Peinture, Sud Magazine, Marseilles, no. 8, August 1935. Offprint. (In Puissances du Cubisme, 1969, pp. 185–199)
- Retour à l’Homme. Mais à quel Homme?, December 1935. Offprint, Sud Magazine, Marseilles. (In Puissances du Cubisme, 1969, pp. 201–218)
- Arabesques, Cahiers du Sud, (special edition), L’Islam et l’Occident, vol. 22, no. 175, August–September, 1935, pp. 101–106. (In Puissances du Cubisme, 1969, pp. 169–175)
- Article dated Serrieres d'Ardeche, November, 1934. [Statement], Abstraction-Creation, Art Non-Figuratif, Paris, no. 5, 1936, pp. 7–8
- La Question de Métier, Beaux-Arts, Paris, 9 October 1936, p. 1
- Art Régional, Tous les Arts à Paris, Paris, 15 December 1936
- Le Problème de la Lumière, Cahiers du Sud, vol. 24, no. 192, March 1937, pp. 190–207. (From d'Homocentrisme, also in Puissance du cubisme, 1969, pp. 245–267)
- Cubisme et Surréalisme: Deux Tentatives Pour Redécouvrir l'Homme, Deuxiéme Congrés international d'esthétique et de science de l'art, Paris, 1937, II p. 337. (In Puissances du cubisme, 1969, p. 269–282)
- Tradition et Modernisme, l'Art et les Artistes, Paris, no. 37, January 1939, pp. 109–115
- L'Oeuvre de Maurice Garnier, Sud Magazine, Marseille, mars-avril 1939, p. 15–17
- Artistes et Artisans, L’Opinion, Cannes, 31 May 1941
- Spiritualité, Rythme, Forme, Confluences: Les Problèmes de la Peinture, Lyon, 1945, section 6. Special edition, edited by Gaston Diehl. (In Puissance du cubisme, 1969, p. 315–344)
- Apollinaire, la Justice et Moi, Guillaume Apollinaire, Souvenirs et Témoignages, Paris, Editions de la Tête Noire, 1946, pp. 53–65. Edited by Marcel Adema
- L’Arc en Ciel, clé de l’Art chrétien médiéval, Les Etudes Philosophiques, new series, no. 2, April–June 1946. [Statement], Realites Nouvelles, Paris, no. 1, 1947, pp. 34–35 (In Puissances du cubisme, 1969, p. 345–357)
- Réalités Nouvelles, Paris, no. 1, 1947, p. 34–35. Préliminaires à une étude sur les variations iconographiques de la Croix, Témoignages, Cahiers de la Pierre-qui-Vire, no. 15, October 1947
- Life and Death of the Christian West, Londres, Dennis Dobson Ltd., 1947. Preface by H. J. Massingham, translation by Aristide Messinesi
- Y a-t-il un Art Traditionnel Chrétien ?, Témoignages, Cahiers de la Pierre-qui-Vire, July 1948
- L’Art Sacré est Théologique et Symbolique, Arts, Paris, no. 148, 9 January 1948, p. 8
- Active Tradition of the East and West, Art and Thought, Londres, February 1948, p. 244–251 (Ananda K. Coomaraswamy, homage)
- Pourquoi j'illustre Les Pensées de Pascal, Arts, 24 March 1950, p. 1–2
- Introduction au catalogue de l'exposition Les Pensées de Pascal, Chapelle de l’Oratoire, Avignon, 22 July – 31 August 1950
- Peinture d’Opinion et Peinture de Métier, L’Atelier de la Rose, Lyon, June 1951
- Réflexions sur l’Art dit Abstrait et du Caractère de l’Image dans la Non-Figuration, I, L’Atelier de la Rose, Lyon, October 1951
- Réflexions sur l’Art dit Abstrait et du Caractère de l’Image dans la Non-Figuration, II, L’Atelier de la Rose, Lyon, January 1952
- L’Esprit fondamental de l’Art roman, L’Atelier de la Rose, Lyon, September 1952
- Mentalité Renouvelée, I, L’Atelier de la Rose, Lyon, December 1952
- Présence d’Albert Gleizes, Zodiaque, Saint-Léger-Vauban, no. 6–7, January 1952
- L’Esprit de ma fresque : L’Eucharistie, L’Atelier de la Rose, Lyon, March 1953.
- Mentalité Renouvelée, Il, L’Atelier de la Rose, Lyon, June 1953, pp. 452–460.
- Conformisme, Réforme et Révolution, Correspondences, Tunis, no. 2, 1954, p. 39–45. (With a biographical note by Jean Cathelin)
- Un potier [sur Anne Dangar ], La belle Journée est passée, Zodiaque, Saint-Léger-Vauban, no. 25, April 1955.
- Caractères de l’Art Celtique, Actualité de l’Art Celtique, Cahiers d’Histoire et de Folklore, Lyon, 1956, pp. 55–97 (extraits de La Forme et l’Histoire, 1932)
- Souvenirs, le Cubisme 1908–1914, Lyon, Cahiers Albert Gleizes, L’Association des Amis d’Albert Gleizes, 1957 (from Souvenirs, manuscript conserved at the Kandinsky Library / Centre Pompidou, Paris)
- Introduction à Mainie Jellett, The Artists’ Vision, Dundalk, Dundalgan Press, 1958, pp. 25–45 (written in 1948)
- Puissances du Cubisme, Chambéry, éditions Présence, 1969 (articles published between 1925 and 1946)
- Art et religion, Art et science, Art et production, Chambéry, éditions Présence, 1970. (English edition by Peter Brooke, 1999)
- Fragments de notes inédites (1946), Zodiaque, n° 100, April 1974, pp. 39–74
- Du Cubisme, Jean Metzinger, Aubard (éditions Présence), 1980 (re-edition of the 1947 version with an introduction by Daniel Robbins)
- Albert Gleizes en 1934, Ampuis, Association des Amis d'Albert Gleizes, 1991. (from Souvenirs, manuscript conserved at the Kandinsky Library / Centre Pompidou, Paris)
- Sujet et objet, deux lettres adressées à André Lhote, Ampuis, Association des Amis d’Albert Gleizes, 1996
References
[edit]- ^ a b Daniel Robbins, 1964, Albert Gleizes 1881 – 1953, A Retrospective Exhibition, Published by The Solomon R. Guggenheim Foundation, New York, in collaboration with Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund.
- ^ Ministère de la Culture (France) – Médiathèque de l'architecture et du patrimoine, Albert Gleizes
- ^ Réunion des Musées Nationaux, Grand Palais, Agence photographique, page 1 of 6
- ^ Peter Brooke, Albert Gleizes, Chronology of his life, 1881–1953
- ^ Varichon, Anne, Albert Gleizes – Catalogue Raisonné, 2 volumes, Paris, SOMOGY éditions d'art/Fondation Albert Gleizes, 1998, ISBN 2-85056-286-6
- ^ Musées de France, Collections
- ^ Centre Pompidou – Musée National d'Art Moderne, Paris
- ^ Albert Gleizes, 1914, Paysage Cubiste, Sotheby's Paris, 3 December 2008