Albert Gleizes has works in the collection McNay Art Museum
In 1934 Gleizes began a series of paintings that would continue for several years, in which three levels are identified: static translation, corresponding to his researches of the 1920s; mobile rotation, corresponding to his researches into coloured cadences of the late 1920s and early 1930s; and simple grey arcs which, Gleizes argues, gives the 'form' or unifying 'rhythm' of the painting. The level of 'translation' is generally a geometrical figure evoking a representational image, unlike the work of the early 1930s. These works no longer articulate the strict non-representation of Abstraction Création. Léonce Rosenberg—who had already published Gleizes extensively in his Bulletin de l'Effort Moderne, but had not previously shown much enthusiasm for his painting—was deeply impressed by Gleizes' paintings (which followed from his 1934 research) at the Salon d'Automne. This was the beginning of a close relationship with Gleizes, which continued through the 1930s and is reflected in a stream of correspondence.In 1937, Gleizes was commissioned to paint murals for the Exposition Internationale des Arts et Techniques dans la Vie Moderne at the Paris World's Fair. He collaborated with the Delaunays in the Pavillon de l'Air and with Léopold Survage and Fernand Léger for the Pavillon de l'Union des Artistes Modernes. At the end of 1938, Gleizes volunteered to participate in the free seminars and discussion groups for young painters set up by Robert Delaunay at his Paris studio. Then Gleizes, in collaboration with Jacques Villon, conceived the idea of executing a mural for the auditorium of the École des Arts et Métiers; the latter was rejected by the school authorities as too abstract, but immense panels by Gleizes survive as Four Legendary Figures of the Sky (San Antonio, TX, McNay A. Inst.). Other examples of this ambitious public style include The Transfiguration (1939–41; Lyon, Mus. B.-A.).References and sources
References
SourcesAlbert Gleizes and Jean Metzinger: Du "Cubisme". An English translation is available, together with other writings of Gleizes from the pre-war period, in Mark Antliff and Patricia Leighten (ed): A Cubism Reader – Documents and Criticism, 1906–1914, University of Chicago Press, 2008.
Hourcade, Olivier. Courrier des Arts. Paris-Journal. 10–30 Oct. 1912
Les Beaux-Arts. August 1938
Gray, Cleve. Gleizes. Magazine of Art. vol. 43, no. 6, October 1950
Golding, John. Cubism: A History and an Analysis 1907–1914. New York/London, 1959
Robbins, Daniel. 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, 1964
Kuh, Katharine. Albert Gleizes: Underrated Cubist. Saturday Review. 31 October 1964
Robbins, Daniel. Gleizes as a Way of Life. Art News. No. 63, September 1964
West, Richard V. Painters of Section d'Or: The Alternatives to Cubism (exh. cat.). Albright-Knox Art Gallery, Buffaro, 1967
Golding, John. Cubism: A History and an Analysis 1907–1914. 2nd ed., London, 1968
Cooper, Douglas. The Cubist Epoch. New York, 1970
Robbins, Daniel. The Formation and Maturity of Albert Gleizes, 1881 through 1920. Dissertation, New York University, 1975
Alexandrian, Sarane. Panorama du Cubisme. Paris, 1976
Rudenstine, Angelica Zander. The Guggenheim Museum Collection: paintings, 1880–1945. vol. 1, New York, 1976
Yaegashi, Haruki. Sekai no Bijutsu. Cubism. Vol. 63, Tokyo, Jun. 1979
Yaegashi, Haruki. Kindai no Bijutsu. Cubism. Vol.56, Tokyo, 1980
Daix, Pierre. Journal du Cubisme. Geneve, 1982
Alibert, Pierre. Albert Gleizes: Naissance et avenir du cubisme. Saint-Étienne, 1982
Cottington, David. Cubism and the Politics of Culture in France 1905–1914. Dissertation, Courtauld Institute of Art, University of London, 1985
Green, Christopher. Cubism and its Enemies: Modern Movements and Reaction in French Art, 1916–1928. Yale University Press, 1987
Golding, John. Cubism: A History and an Analysis 1907–1914. 3rd ed., Cambridge, MA, 1988
Gersh-Nesic, Beth S. The Early Criticism of André Salmon, A Study of His Thought on Cubism. Dissertation, City University of New York, 1989
Alibert, Pierre. Gleizes, galerie Michèle Heyraud, Paris, 1990
Antliff, Mark. Inventing Bergson: Cultural Politics and the Parisian Avant-Garde. Princeton, 1993
Franscina, Francis and Harrison, Charles. Realism and Ideology: An Introduction to Semiotics and Cubism. Primitivism, Cubism, Abstraction: The Early Twentieth Century. Chapter 2, New Haven/ London, 1993
Gleizes, Albert. L'Homme devenu peintre, preface by Alain Tapié, Paris, SOMOGY éditions d'art/Fondation Albert Gleizes, 1998, ISBN 2-85056-325-0. Written in 1948, Gleizes's last book-length writing which may be read as his testament.
Varichon, Anne. Albert Gleizes – Catalogue Raisonné, 2 vols, Paris, SOMOGY éditions d'art/Fondation Albert Gleizes, 1998, ISBN 2-85056-286-6. Indispensable work of reference.
Massent, Michel. Albert Gleizes, Paris, SOMOGY éditions d'art/Fondation Albert Gleizes/Fondation Albert Gleizes, 1998, ISBN 2-85056-341-2. Personal reflections by a distinguished French writer and former President of the Fondation Albert Gleizes, Paris, 1998
Cottington, David. Cubism in the Shadow of War: The Avant-garde and Politics in Paris, 1905–1914. New Haven/London, 1998
Gleizes, Albert. Art and Religion, Art and Science, Art and Production, translation, introduction and notes by Peter Brooke, London, Francis Boutle publishers, 1999, ISBN 0-9532388-5-7. Talks given in the 1930s reflecting Gleizes's mature views on the relations of Cubism to other aspects of our intellectual and moral life.
Cox, Neil. Cubism. London, 2000
Green, Christopher. Art in France 1900–1940. New Haven/ London, 2000
Briend, Christian. Albert Gleizes au Salon de la Section d'Or de 1912. La Section d'or 1912, 1920, 1925 (exh. cat.). Paris, 2000
Hourcade, Olivier. Courrier des Arts (reprint). La Section d'or 1912, 1920, 1925 (exh. cat.). Musées de Châteauroux/Musés Fabre, Montpellier, Édition Cercle d'Art, 2000–2001
Antliff, Mark; Leighten, Patricia. Cubism and Culture. London/New York, 2001
Brooke, Peter. Albert Gleizes – For and Against the Twentieth Century, New Haven and London, Yale University Press, 2001, ISBN 0-300-08964-3
Briend, Christian; Brooke, Peter et al. Albert Gleizes: Le cubisme en majesté (exh. cat.). Museu Picasso, Barcelona/Musée des Beaux-Arts, Lyon, 2001
Gleizes, Albert. Painting and its laws, (with Gino Severini: From Cubism to Classicism), translation, introduction and notes by Peter Brooke, London, Francis Boutle publishers, 2001, ISBN 1-903427-05-3. Originally published in 1923–4. The key text in which Gleizes formulated the technique of 'translation' and 'rotation' as the permanent acquisition of Cubism.
Briend, Christian. Between Tradition and Modernity: The Cubist Work of Albert Gleizes. Albert Gleizes: Cubism in Magesty (exh. cat.). Centro Cultural de Belém, Lisbon, 2002–2003
Cox, Neil. Cubism. Tokyo, 2003 (Japanese Translation.)
Cottington, David. Cubism and its Histories. Manchester/ New York, 2004
Annual bulletin of the National Museum of Western Art. No. 39 (Apr. 2004-Mar. 2005), 2006, Tanaka, Masayuki. New Acquisitions.
Kuspit, Donald. A Critical History of 20th-Century Art, Chapter 2, Part 4 – The machine and spirituality in the avant-gardes, 2006
Walter Robinson, Walter and Davis, Ben. The 2008 Revue. "Fly high, fall hard," a motto for the times, 2008
Kuspit, Donald. At the Philadelphia Museum, "Marc Chagall and His Circle" raises questions of modernism, traditionalism and idealism in a harsh world, 2011
holds works in the collection