Section d'Or

Last updated
Jean Metzinger, 1911-1912, La Femme au Cheval (Woman with a horse), oil on canvas, 162 x 130 cm, Statens Museum for Kunst, National Gallery of Denmark. Published in Apollinaire's 1913 Les Peintres Cubistes; exhibited at the 1912 Salon des Independants. Provenance: Jacques Nayral, Niels Bohr Jean Metzinger, 1911-12, La Femme au Cheval - The Rider.jpg
Jean Metzinger, 1911-1912, La Femme au Cheval (Woman with a horse) , oil on canvas, 162 x 130 cm, Statens Museum for Kunst, National Gallery of Denmark. Published in Apollinaire's 1913 Les Peintres Cubistes ; exhibited at the 1912 Salon des Indépendants. Provenance: Jacques Nayral, Niels Bohr
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. Exhibited at the 1911 Salon d'Automne, Valet de Carreau (Jack of Diamonds), Moscow, 1912, and Galerie de la Boetie, Salon de la Section d'Or, Paris, 1912 Albert Gleizes, La Chasse, 1911, oil on canvas, 123.2 x 99 cm.jpg
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'Amérique, Paris, October 1911. Exhibited at the 1911 Salon d'Automne, Valet de Carreau (Jack of Diamonds), Moscow, 1912, and Galerie de la Boétie, Salon de la Section d'Or, Paris, 1912

The Section d'Or ("Golden Section"), also known as Groupe de Puteaux or Puteaux Group, was a collective of painters, sculptors, poets and critics associated with Cubism and Orphism. Based in the Parisian suburbs, the group held regular meetings at the home of the Duchamp brothers in Puteaux and at the studio of Albert Gleizes in Courbevoie. [1] Active from 1911 to around 1914, members of the collective came to prominence in the wake of their controversial showing at the Salon des Indépendants in the spring of 1911. This showing by Albert Gleizes, Jean Metzinger, Robert Delaunay, Henri le Fauconnier, Fernand Léger and Marie Laurencin (at the request of Apollinaire), created a scandal that brought Cubism to the attention of the general public for the first time.

Contents

The Salon de la Section d'Or, [2] held October 1912—the largest and most important public showing of Cubist works prior to World War I—exposed Cubism to a wider audience still. After the war, with support given by the dealer Léonce Rosenberg, Cubism returned to the front line of Parisian artistic activity. Various elements of the Groupe de Puteaux would mount two more large-scale Section d'Or exhibitions, in 1920 and in 1925, with the goal of revealing the complete process of transformation and renewal that had transpired since the onset of Cubism.

The group seems to have adopted the name "Section d'Or" as both an homage to the mathematical harmony associated with Georges Seurat, and to distinguish themselves from the narrower style of Cubism developed in parallel by Pablo Picasso and Georges Braque in the Montmartre quarter of Paris. In addition, the name was to highlight that Cubism, rather than being an isolated art-form, represented the continuation of a grand tradition; indeed, the golden ratio, or golden section (French : Section d'Or), had fascinated Western intellectuals of diverse interests for at least 2,400 years. [3] [4]

History

The Puteaux Group (an offshoot of la Société Normande de Peinture Moderne ) organized their first exhibition under the name Salon de la Section d'Or at the Galerie La Boétie in Paris, October 1912. Albert Gleizes and Jean Metzinger, in preparation for the Salon de la Section d'Or, published a major defense of Cubism, resulting in the first theoretical essay on the new movement, entitled Du "Cubisme" (published by Eugène Figuière in 1912, translated to English and Russian in 1913). [5] [6] [7] [8]

Following the 1911 Salon exhibitions, the group formed by Le Fauconnier, Metzinger, Gleizes, Léger and R. Delaunay expanded to include several other artists; Alexander Archipenko, Joseph Csaky, Roger de La Fresnaye, Juan Gris, and Jean Marchand, who were virtually unknown to the public before the Salon des Indépendants of 1911, began to frequent Puteaux and Courbevoie. František Kupka had lived in Puteaux for several years in the same complex as Jacques Villon. [9] Francis Picabia was introduced to the circle, perhaps by Guillaume Apollinaire (usually accompanied by Marie Laurencin) with whom he had recently become friendly. Most importantly was the contact established with Metzinger and the Duchamp brothers, who exhibited under the names of Jacques Villon, Marcel Duchamp and Duchamp-Villon. The opening address was given by Apollinaire. The participation of many of these artists in the formation of Les Artistes de Passy in October 1912 was an attempt to transform the Passy district of Paris into yet another art-centre; a further sign of a growing emphasis on communal activity that would culminate in the Section d'Or exhibit. [10]

Origins of the term

Marcel Duchamp, 1912, Nude Descending a Staircase, No. 2, oil on canvas, 147 cm x 89.2 cm (57.9 in x 35.1 in), Philadelphia Museum of Art. Exhibited at the Salon de la Section d'Or, 1912, Armory Show, 1913, New York Duchamp - Nude Descending a Staircase.jpg
Marcel Duchamp, 1912, Nude Descending a Staircase, No. 2 , oil on canvas, 147 cm × 89.2 cm (57.9 in × 35.1 in), Philadelphia Museum of Art. Exhibited at the Salon de la Section d'Or, 1912, Armory Show, 1913, New York

The idea of the Section d'Or originated in the course of conversations between Gleizes, Metzinger and Jacques Villon. The group's title was suggested by Villon, after reading a 1910 translation of Leonardo da Vinci's A Treatise on Painting by Joséphin Péladan. Péladan attached great mystical significance to the golden section (French : nombre d'or), and other similar geometric configurations. For Villon, this symbolized his belief in order and the significance of mathematical proportions, because it reflected patterns and relationships occurring in nature. Jean Metzinger and the Duchamp brothers were passionately interested in mathematics. Jean Metzinger, Juan Gris and possibly Marcel Duchamp at this time were associates of Maurice Princet, [11] an amateur mathematician credited for introducing profound and rational scientific arguments into Cubist discussions. [10] The name 'Section d'Or' represented simultaneously a continuity with past traditions and current trends in related fields, while leaving open future developments in the arts. [12]

Art historian Daniel Robbins argued that in addition to referencing the mathematical golden section, the term associated with the Salon Cubists also refers to the name of the earlier Bandeaux d'Or group, with which Albert Gleizes and other former members of the Abbaye de Créteil had been deeply involved. [13]

Salon de la Section d'Or, 1912

Special issue dedicated to the Exhibition of the Section d'Or, first year, no.1, 9 October 1912 La Section d'Or, numero special, 9 Octobre 1912.jpg
Special issue dedicated to the Exhibition of the Section d'Or, first year, no.1, 9 October 1912

The 1912 Salon de la Section d'Or 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 l'Art Contemporain (rue Tronchet, Paris) under the auspices of the Société Normande de Peinture Moderne . This exhibition had received some attention in the press (l'Autorité and Paris Journal), 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 d'Or, however, was generally accepted as being entirely Cubist in nature. Over 200 works were displayed, and the fact that many of the artists showed artworks representative of their development from 1909 to 1912 gave the exhibition the allure of a Cubist retrospective. [10]

Albert Gleizes, 1912, Harvest Threshing (Le Depiquage des Moissons), oil on canvas, 269 x 353 cm, National Museum of Western Art, Tokyo Albert Gleizes, 1912, Le Depiquage des Moissons, Harvest Threshing, oil on canvas, 269 x 353 cm, National Museum of Western Art, Tokyo, Japan.jpg
Albert Gleizes, 1912, Harvest Threshing (Le Dépiquage des Moissons) , oil on canvas, 269 x 353 cm, National Museum of Western Art, Tokyo

Though the Salle 41 Cubists had been surprised by the highly impassioned reactions generated by the 1911 Salon des Indépendants showing, they appear to have been eager to attract as much attention as possible with the Salon de la Section d'Or. The inauguration was held from nine until midnight, for which the only precedent was the opening of the 1903 Salon d'Automne. Invitations were widely diffused prior to the show, and many of the guests had to be turned away on opening night (9 October 1912). Lectures by Apollinaire, Hourcade and Raynal were advertised, and a review, La Section d'Or, was published to coincide with the Vernissage; with contributions by Guillaume Apollinaire, Roger Allard, René Blum, Olivier Hourcade, Max Jacob, Maurice Raynal, Pierre Reverdy, André Salmon, André Warnod and others. [10] [12]

The fact that the 1912 exhibition had been curated to show the successive stages through which Cubism had transited, and that Du "Cubisme" had been published for the occasion, indicates the artists' intention of making their work comprehensible to a wide audience (art critics, art collectors, art dealers and the general public). Undoubtedly, due to the great success of the exhibition, Cubism became recognized as a tendency, genre or style in art with a specific common philosophy or goal: a new avant-garde movement. [10]

Selected works; 1912 exhibition

Golden ratio

There is some debate on the extent to which works exhibited at the 1912 Salon de la Section d'Or employed the golden ratio, or not. Despite a general interest in mathematical harmony, whether the paintings featured in the celebrated Salon de la Section d'Or exhibition used the golden ratio itself in their compositions is difficult to determine. [14] [15] Analysis by Christopher Green suggests that Juan Gris made use of the golden ratio in composing works that were likely shown at the exhibition. [16] [17]

Art historian David Cottington writes:

It will be remembered that Du "Cubisme", written probably as these paintings were being made, gestured somewhat obscurely to non-Euclidean concepts, and Riemann's theorems; as Linda Henderson has shown, these references betray not an informed understanding of modern mathematics but a shaky hold on some of their principles, culled (indeed plagiarised) from Henri Poincaré's La Science et l'Hypothèse. The authors themselves had little clear idea of how such mathematics related to their art, except as a vague synecdoche for "modern science". [17]

Camfield writes that the use of the golden section at La Section d'Or is rather tentative:

A few of these paintings were moreover based on simple geometrical compositions. Yet, not a single artist there displayed a serious commitment to geometrical proportions with the one exception of Juan Gris. [...] Although all of the Puteaux artists were interested in mathematics (Marcel Duchamp, interview with the author, April 4, 1961), neither Marcel Duchamp nor Jacques Villon, who suggested the title for "La Section d'Or" [18] believes that the golden section was actually used in their paintings. And in Du "Cubisme" Gleizes and Metzinger chastise those painters who would rely on mathematics for certitude. [15]

Camfield says that neither of the paintings he analyses "can be definitively identified with "La Section d'Or" paintings", only that the "stylistic evidence" places them in that period and they "would almost certainly have been shown" there. [15]

From the titles, dates and previous exhibitions listed in the 1912 Salon de la Section d'Or catalogue, many painting have since been identified, for example, Les Baigneuses (The Bathers) and Le goûter (Tea Time) , La Femme au Cheval (Woman with a horse) , and many more works by Gleizes, Metzinger and others. The main exception is for the works of Juan Gris, since no titles are given for his submissions in the catalogue. However, it is now known, from published correspondence between the artist and the dealer Léonce Rosenberg that 13 paintings by Gris were shown, most of which have been identified by their titles, dates, and dimensions. [16]

Albert Gleizes exhibited Les Baigneuses (The Bathers) at the 1912 Salon de la Section d'Or (catalogue no. 40). The proportions of the canvas correspond exactly to the golden rectangle (a ratio of 1 to 1.618 ± 0.01). This work has a rare dimension of 105 x 171 cm. Gleizes, as most artists at the time, generally used standard format chassis (stretchers), which are not golden rectangles. [19]

In Du "Cubisme" it was argued that Cubism itself was not based on any geometrical theory, but that non-Euclidean geometry corresponded better than classical, or Euclidean geometry, to what the Cubists were doing: "If we wished to relate the space of the [Cubist] painters to geometry, we should have to refer it to the non-Euclidean mathematicians; we should have to study, at some length, certain of Riemann's theorems." [6]

The 1912 compositions of Juan gris, according to art historian Christopher Green, were often "modular and regular... easily fitted to the demands of Golden Section composing in the pictures of the summer, such as Man in a Café and The Watch." The "synthetic and analytic were visibly fused. In the Golden Section paintings... he laid the grids like systems of fault-lines across things, faut-lines on either side of which view-points switch. [16]

Homage to Seurat

Marcel Duchamp, Nude Descending a Staircase, No. 2; Tobeen, Pelotaris; Pierre Dumont, Cathedrale de Rouen; Francis Picabia, Musique en procession, Henry Valensi [fr], Moscou la sainte; Juan Gris, Man in a Cafe. Le Cubisme a l'Exposition de la Section d'Or, Excelsior, 18 October 1912 Marcel Duchamp, Tobeen, Pierre Dumont, Francis Picabia, Juan Gris, Le Cubisme a l'Exposition de la Section d'Or, Excelsior, 18 October 1912.jpg
Marcel Duchamp, Nude Descending a Staircase, No. 2 ; Tobeen, Pelotaris; Pierre Dumont, Cathédrale de Rouen; Francis Picabia, Musique en procession, Henry Valensi  [ fr ], Moscou la sainte; Juan Gris, Man in a Café. Le Cubisme à l'Exposition de la Section d'Or, Excelsior, 18 October 1912
La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris. Albert Gleizes' Portrait de Eugene Figuiere, La Chasse (The Hunt), and Les Baigneuses (The Bathers) are seen towards the center. Works by Robert Delaunay and Andre Lhote are seen to the left and right respectively, amidst works by others La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris.jpg
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

The Section d'Or group founded by some of the most prominent Cubists was in effect an homage to Georges Seurat. Within the works by Seurat—of cafés, cabarets and concerts, of which the avant-garde were fond—the Cubists' rediscovered an underlying mathematical harmony: one that could easily be transformed into mobile, dynamical configurations. [20] Whereas Cézanne had been influential to the development of Cubism between 1908 and 1911, during its most expressionistic phase, the work of Seurat would attract attention from the Cubists and Futurists between 1911 and 1914, when flatter geometric structures were being produced. What the Cubists found attractive, according to Apollinaire, was the manner in which Seurat asserted an absolute "scientific clarity of conception." The Cubists observed in his mathematical harmonies, geometric structuring of motion and form, the primacy of idea over nature (something the Symbolists had recognized). In their eyes, Seurat had "taken a fundamental step toward Cubism by restoring intellect and order to art, after Impressionism had denied them" (Robert Herbert, 1968). [20]

The golden section does not govern Georges Seurat's Parade de Cirque (Circus Sideshow) geometric structure. Modern consensus is that Seurat never used the 'divine proportion'. Parade is divided horizontally into fourths and vertically into sixths. The 4 : 6 ratio corresponds to the dimensions of the canvas (one-half times wider than its vertical dimension). The ratio of Seurat's painting/stretcher corresponded to a ratio of 1 to 1.502, ± 0.002 (as opposed to the golden ratio of 1 to 1.618). The compositional axes in the painting correspond to basic mathematical divisions (simple ratios that appear to approximate the golden section). [21]

Section d'Or, 1920, 1925

Theo van Doesburg. Design for an exhibition poster for La Section d'Or, c 1920. Ink on paper, 65 x 62,5 cm, Instituut Collectie Nederland Theo van Doesburg Design for a poster.jpg
Theo van Doesburg. Design for an exhibition poster for La Section d'Or, c 1920. Ink on paper, 65 × 62,5 cm, Instituut Collectie Nederland

After World War I, with the support given by the dealer Léonce Rosenberg, Cubism returned as a central issue for artists. With the Salons dominated by a return to classicism, Albert Gleizes attempted to resuscitate the spirit of the Section d'Or in 1920 but was met with great difficulty, despite support by Fernand Léger, Alexander Archipenko, Georges Braque, Constantin Brâncuși, Henri Laurens, Jacques Villon, Raymond Duchamp-Villon, Louis Marcoussis and Léopold Survage. [22] [23] Gleizes' organizational efforts were directed towards the re-establishment of a European-wide movement of Cubist and abstract art in the form of a large traveling exhibition; the Exposition de la Section d’Or.

The idea was to bring together a collection of works that revealed the complete process of transformation and renewal that had taken place. [24] It was not the success he had hoped for. Cubism was seen as passé for emerging artists and other established artists such as Marcel Duchamp and Picabia, although Gleizes, on the contrary, felt that only its preliminary phase had been investigated. [25]

In addition to Cubists works (which already represented a wide variety of styles), the second edition of the Section d'Or held at the Galerie La Boétie from 5 March 1920 included De Stijl, Bauhaus, Constructivism and Futurism. [26] It was the revival of the Section d'Or which ensured that Cubism in general would become Dada's preferred target. [27] The new polemic resulted in the publication of Du cubisme et des moyens de le comprendre by Albert Gleizes, followed in 1922 by La Peinture et ses lois . [28] [29]

Notable members

Collaborators

See also

Related Research Articles

<span class="mw-page-title-main">Cubism</span> Early-20th-century avant-garde art movement

Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related artistic movements in music, literature, and architecture. In Cubist works of art, the subjects are analysed, broken up, and reassembled in an abstract form—instead of depicting objects from a single perspective, the artist depicts the subject from multiple perspectives to represent the subject in a greater context. Cubism has been considered the most influential art movement of the 20th century. The term cubism is broadly associated with a variety of artworks produced in Paris or near Paris (Puteaux) during the 1910s and throughout the 1920s.

<span class="mw-page-title-main">Jacques Villon</span> French painter

Jacques Villon, also known as Gaston Duchamp, was a French Cubist and abstract painter and printmaker.

<span class="mw-page-title-main">Jean Metzinger</span> French painter (1883-1956)

Jean Dominique Antony Metzinger was a major 20th-century French painter, theorist, writer, critic and poet, who along with Albert Gleizes wrote the first theoretical work on Cubism. His earliest works, from 1900 to 1904, were influenced by the neo-Impressionism of Georges Seurat and Henri-Edmond Cross. Between 1904 and 1907, Metzinger worked in the Divisionist and Fauvist styles with a strong Cézannian component, leading to some of the first proto-Cubist works.

<span class="mw-page-title-main">Albert Gleizes</span> French painter (1881-1953)

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, 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, Vers une conscience plastique: La Forme et l’histoire and Homocentrisme.

<i>La Femme au Cheval</i> Painting by Jean Metzinger

La Femme au Cheval is a large oil painting created toward the end of 1911, early 1912, by the French artist Jean Metzinger (1883–1956). The work was exhibited in Paris at the Salon des Indépendants in 1912 and the Salon de la Section d'Or, 1912. The following year La Femme au Cheval was reproduced in The Cubist Painters, Aesthetic Meditations by Guillaume Apollinaire (1913).

<i>Le goûter</i> Oil painting by Jean Metzinger

Le Goûter, also known as Tea Time (Tea-Time), and Femme à la Cuillère is an oil painting created in 1911 by the French artist and theorist Jean Metzinger (1883–1956). It was exhibited in Paris at the Salon d'Automne of 1911, and the Salon de la Section d'Or, 1912.

<i>Les Baigneuses</i> (Gleizes) Painting by Albert Gleizes

Les Baigneuses 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.

<i>Portrait of Jacques Nayral</i> Painting by Albert Gleizes

Portrait of 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, the Salon de la Section d'Or, 1912, 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.

<i>Du "Cubisme"</i> 1912 book by Albert Gleizes and Jean Metzinger

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 (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).

<i>Man on a Balcony</i> Painting by Albert Gleizes

Man on a Balcony, 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. 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 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.

<i>Le Port</i> (painting) Painting by Jean Metzinger

Le Port, also known as The Harbor, The Port or simply Marine, is a painting by the French artist Jean Metzinger. The work was exhibited in the spring of 1912 at the Salon des Indépendants in Paris, and at the Salon de La Section d'Or, Galerie La Boétie, October 1912, Paris,. Le Port was reproduced a few months later in the first major text on Cubism entitled Du "Cubisme", written in 1912 by Jean Metzinger and Albert Gleizes, published by Eugène Figuière Editeurs the same year. The Harbor was subsequently reproduced in The Cubist Painters, Aesthetic Meditations , written by Guillaume Apollinaire, published by Figuière in 1913. At the Salon des Indépendants of 1912, Apollinaire had noticed the classical Ingresque qualities of Metzinger's Le Port, and suggested that it deserved to be hung in the Musée du Luxembourg's modern art collection. The dimensions and current whereabouts of Le Port are unknown.

<i>La Chasse</i> (Gleizes) Painting by Albert Gleizes

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 ; 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, Le Cubisme, Musée National d'Art Moderne, Paris, 1953, and several major exhibitions during subsequent years.

<i>Passy, Bridges of Paris</i> Painting by Albert Gleizes

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.

<span class="mw-page-title-main">Société Normande de Peinture Moderne</span> Collective of avant-garde artists from the early 20th century

The Société Normande de Peinture Moderne, also known as Société de Peinture Moderne, or alternatively, Normand Society of Modern Painting, was a collective of eminent painters, sculptors, poets, musicians and critics associated with Post-Impressionism, Fauvism, Cubism and Orphism. The Société Normande de la Peinture Moderne was a diverse collection of avant-garde artists; in part a subgrouping of the Cubist movement, evolving alongside the so-called Salon Cubist group, first independently then in tandem with the core group of Cubists that emerged at the Salon d'Automne and Salon des Indépendants between 1909 and 1911. Historically, the two groups merged in 1912, at the Section d'Or exhibition, but documents from the period prior to 1912 indicate the merging occurred earlier and in a more convoluted manner.

<i>Femme à lÉventail</i> Painting by Jean Metzinger

Femme à l'Éventail is an oil painting created in 1912 by the French artist and theorist Jean Metzinger (1883–1956). The painting was exhibited at the Salon d'Automne, 1912, Paris, and De Moderne Kunstkring, 1912, Amsterdam. It was also exhibited at the Musée Rath, Geneva, Exposition de cubistes français et d'un groupe d'artistes indépendants, 3–15 June 1913. A 1912 photograph of Femme à l'Éventail hanging on a wall inside the Salon Bourgeois was published in The Sun, 10 November 1912. The same photograph was reproduced in The Literary Digest, 30 November 1912.

<i>Le Fumeur</i> Painting by Jean Metzinger

Le Fumeur, or Man with Pipe, is a Cubist painting by the French artist Jean Metzinger. It has been suggested that the sitter depicted in the painting represents either Guillaume Apollinaire or Max Jacob. The work was exhibited in the spring of 1914 at the Salon des Indépendants, Paris, Champ-de-Mars, March 1–April 30, 1914, no. 2289, Room 11. A photograph of Le Fumeur was published in Le Petit Comtois, 13 March 1914, for the occasion of the exhibition. In July 1914 the painting was exhibited in Berlin at Herwarth Walden’s Galerie Der Sturm, with works by Albert Gleizes, Raymond Duchamp-Villon and Jacques Villon.

<i>The Cubist Painters, Aesthetic Meditations</i> Book by Guillaume Apollinaire

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 (1912); and André Salmon, Histoire anecdotique du cubisme (1912).

<span class="mw-page-title-main">Crystal Cubism</span> Subgenre of the painting style 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 underlying geometric structure, rooted in the abstract, controls practically all of the elements of the artwork.

<i>La Maison Cubiste</i> 1912 architectural installation

La Maison Cubiste, also called Projet d'hôtel, was an architectural installation in the Art Décoratif section of the 1912 Paris Salon d'Automne which presented a Cubist vision of architecture and design. Critics and collectors present at the exhibition were confronted for the first time with the prospect of a Cubist architecture.

<i>The Spring</i> 1912 painting by Francis Picabia

The Spring is a large oil painting created in 1912 by the French artist Francis Picabia. The work, both Cubist and abstract, was exhibited in Paris at the Salon d'Automne of 1912. The Cubist contribution to the 1912 Salon d'Automne created a controversy in the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such 'barbaric' art. The Cubists were defended by the Socialist deputy, Marcel Sembat. This painting was realized as Albert Gleizes and Jean Metzinger, in preparation for the Salon de la Section d'Or, published a major defence of Cubism, resulting in the first theoretical essay on the new movement, Du «Cubisme». The painting forms part of the permanent collection of the Museum of Modern Art, New York City.

References

  1. ↑ Le Salon de la Section d'Or, Octobre 1912, Mediation Centre Pompidou
  2. ↑ Exhibit catalog for Salon de "La Section d'Or", 1912. Walter Pach papers, Archives of American Art, Smithsonian Institution
  3. ↑ Jeunes Peintres ne vous frappez pas !, La Section d’Or: Numéro spécial consacré à l’Exposition de la "Section d’Or", première année, n° 1, 9 octobre 1912, pp. 1-2.
  4. ↑ Jeunes Peintres ne vous frappez pas !, La Section d’Or: Numéro spécial consacré à l’Exposition de la "Section d’Or", première année, n° 1, 9 octobre 1912, pp. 1-7 Archived 2020-10-30 at the Wayback Machine , Bibliothèque Kandinsky
  5. ↑ Albert Gleizes, Jean Metzinger, Du "Cubisme", Eugène Figuière Editeurs, Collection "Tous les Arts" Paris, 1912 (new edition published in 1947).
  6. 1 2 From Du Cubisme, Paris, 1912, pp. 9-11, 13-14, 17-21, 25-32. In English in Robert L. Herbert, Modern Artists on Art, Englewood Cliffs, 1964, PDF Archived 2013-06-02 at the Wayback Machine Art Humanities Primary Source Reading 46
  7. ↑ Tate, Raymond Duchamp-Villon retrieved February 12, 2010
  8. ↑ Mark Antliff and Patricia Leighten: A Cubism Reader, Documents and Criticism, 1906-1914, University of Chicago Press, 2008
  9. ↑ Peter Brooke, Albert Gleizes, Chronology of his life, 1881-1953, English version of a text which first appeared in C. Briend et al: Le Cubisme en majesté, Albert Gleizes, exhibition catalogue, Musée Picasso, Barcelona; Musée des Beaux-Arts, Lyon, 2001
  10. 1 2 3 4 5 The History and Chronology of Cubism, p. 5
  11. ↑ Peter Brooke, private communication
  12. 1 2 La Section d'Or, Numéro spécial, 9 Octobre 1912
  13. ↑ Roger Allard, Sur quelques peintre, Les Marches du Sud-Ouest, June 1911, pp. 57-64. In Mark Antliff and Patricia Leighten, A Cubism Reader, Documents and Criticism, 1906-1914, The University of Chicago Press, 2008, pp. 178-191, 330
  14. ↑ Livio, Mario (2003) [2002]. The Golden Ratio: The Story of Phi, the World's Most Astonishing Number (First trade paperback ed.). New York City: Broadway Books. ISBN   978-0-7679-0816-0.
  15. 1 2 3 William A. Camfield, Juan Gris and the Golden Section, Art Bulletin, 47, no. 1, March 1965, 128-34. 68
  16. 1 2 3 Christopher Green, Juan Gris, Whitechapel Art Gallery, London, 18 September - 29 November 1992; Staatsgalerie Stuttgart 18 December 1992-14 February 1993; Rijksmuseum Kröller-Müller, Otterlo, 6 March - 2 May 1993, Yale University Press, 1992, pp. 37-38, ISBN   0300053746
  17. 1 2 David Cottington, Cubism and Its Histories, Barber Institute's critical perspectives in art history series, Critical Perspectives in Art History, Manchester University Press, 2004, pp. 112, 142, ISBN   0719050049
  18. ↑ Dora Vallier, Jacques Villon, Paris, 1957, pp. 60-62
  19. ↑ List of standard format stretchers in France, French Wikipedia
  20. 1 2 Robert Herbert, Neo-Impressionism, New York: The Solomon R. Guggenheim Foundation, 1968
  21. ↑ Robert L. Herbert, Georges Seurat, 1859-1891, The Metropolitan Museum of Art, 1991, pp. 340-345, archive.org (full text online)
  22. ↑ 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.
  23. ↑ Section d’Or (Golden Section), 1920
  24. ↑ Albert Gleizes, The Epic, From immobile form to mobile form, in Peter Brooke, Texts by Gleizes
  25. ↑ Daniel Robbins, Museum of Modern Art, New York, MoMA, Albert Gleizes, Grove Art Online, 2009 Oxford University Press
  26. ↑ La Section d'Or, Kubisme.info
  27. ↑ Christopher Green, 1987, Cubism and its Enemies: Modern Movements and Reaction in French Art, 1916-1928. Yale University Press
  28. ↑ Gino Severini, From Cubism to Classicism. Albert Gleizes, Painting and its Laws, Translation, introduction and notes by Peter Brooke, published by Francis Boutle, London, 2001, ISBN   978 1 903427 05 7
  29. ↑ Fondation Gleizes, Chronologie (French) Archived 2008-11-12 at the Wayback Machine

Further reading

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.