Cubism Albert Gleizes

Albert Gleizes ( 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).






In Du "Cubisme" Gleizes and Metzinger wrote: "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." Cubism itself, then, was not based on any geometrical theory, but corresponded better to non-Euclidean geometry than classical or Euclidean geometry. The essential was in the understanding of space other than by the classical method of perspective; an understanding that would include and integrate the fourth dimension. Cubism, with its new geometry, its dynamism and multiple view-point perspective, not only represented a departure from Euclid's model, but it achieved, according to Gleizes and Metzinger, a better representation of the real world: one that was mobile and changing in time. For Gleizes, Cubism represented a "normal evolution of an art that was mobile like life itself." In contrast to Picasso and Braque, Gleizes' intent was not to analyze and describe visual reality. Gleizes had argued that we cannot know the external world, we can only know our sensations. Objects from daily life⎯guitar, pipe or bowl of fruit⎯ did not satisfy his complex idealistic concepts of the physical world. His subjects were of vast scale and of provocative social and cultural meaning. Gleizes' iconography (as of Delaunay, Le Fauconnier and Léger) helps to explain why there is no period in his work corresponding to analytic Cubism, and how it was possible for Gleizes to become an abstract painter, more theoretically in tune with Kandinsky and Mondrian than Picasso and Braque, who remained associated with visual reality






 Gleizes' intent was to reconstitute and synthesize the real world according to his individual consciousness (sensations), through the use of volumes to convey the solidity and structure of objects. Their weight, placement and effects upon each other, and the inseparability of form and color, was one of the principal lessons of Cézanne. Forms were simplified and distorted, each shape and color modified by another, rather than splintered. His concern was to establish weight, density and volumetric relationships among sections of a broad subject. Gleizes himself characterized the 1910–11 phase of his work as an "analysis of volume relationships," though it bears little relation to the traditional use of the word "analytical" in our understanding of Cubism.
  "We laugh out loud when we think of all the novices who expiate their literal understanding of the remarks of a cubist and their faith in absolute truth by laboriously placing side by side the six faces of a cube and both ears of a model seen in profile." (Albert Gleizes, Jean Metzinger)Wikipedia





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