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The Tree (Gleizes)

January 01, 1970

The Tree (French: L'Arbre), is a painting created in 1910 by the French artist 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 it 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.[1]

The Tree
French: L'Arbre
ArtistAlbert Gleizes
Year1910
MediumOil on canvas
Dimensions92 cm × 73.2 cm (36.25 in × 28.6 in)
LocationPrivate collection

Description edit

The Tree is an oil painting on canvas with dimensions 92 by 73.2 cm (36+1⁄4 by 28+5⁄8 inches), signed and dated Albert Gleizes 10, lower right.

Gleizes practically subjugates The Tree in the foreground—its thin trunk slightly off-center and foliage cropped at the top—to a secondary role within a meticulously geometric World landscape. Here, the receding landscape marked by protruding hills and steep cliff-like formations, is perhaps more naturalistic than the core group of Gleizes' subsequent 1911–12 landscapes (e.g., Le Chemin (Paysage à Meudon), 1911, and Les Baigneuses (The Bathers), 1912) yet does not replicate any other known painting (or specific location) in any of its parts. This fact strongly points towards it being an invention born out of Gleizes' studio.

Gleizes' method was fundamentally synthetic. Although the landscape seems persuasively realistic (with its foreground, background and village in between), it is not an existing place somewhere between Paris and his studio at Courbevoie, consistent with Gleizes' method of bringing together various elements from different locations anteriorly observed in nature.

The superposition of hills with a succession of brown, grey and white planes throughout this painting—providing a sense of temporal duration and spatial extension to the immense vista—along with the cubic architectural structures cutting through the center of the canvas, each with its own perspective, are very typical of the core group of Gleizes' landscapes. The divers elements are combined in such a way that avoids symmetry; a characteristic found in several of the artists landscapes, painted before and after L'Arbre, each a unique creation.

Daniel Robbins writes of The Tree (L'Arbre) and related works in the catalogue of the Gleizes Retrospective at the Guggenheim, New York (1964):

In this work, one of Gleizes' most important paintings of the crucial year 1910, we see the artist's volumetric approach to Cubism and his successful union of a broad field of vision with a flat picture plane. Earlier studies, such as By the Seine (Bord de la Seine, Meudon) of 1909, and Road, Trees and Houses (Environs de Meudon) of 1910 (both in the collection of Walter Firpo), clearly anticipate this development.[2]

During his trip to Bagnères sur Bigorre, Gascony, in 1909 Gleizes concentrated exclusively on landscapes, reducing natural forms to primary shapes. His effort to portray the complex rhythms of a panorama resulted in "a comprehensive geometry of intersecting and overlapping forms which created a new and more dynamic quality of movement".[2]

His 1911 Paysage à Meudon followed, in which "Man is reintroduced, but subordinated to the heroic concept of landscape which simultaneously comprehends the close and the distant, the earth's curve, the sun, even the force of wind against trees". (Robbins, 1964)[2]

1910 in brief edit

Gleizes writes in his Souvenirs[3] of the crucial year 1910:

After painting a series of pictures, some of which are still in existence today, I was still dissatisfied and yet better prepared for experiments that would go deeper. It was in 1910 that, for the first time, I showed in the Salon des Indépendants and completely abandoned the salon of the Nationale, where there was nothing more for me to do. I sent to the Cours-la-Reine a full figure, a full sized portrait of the poet René Arcos, as well as two landscapes of the area round Paris, simple collections of masses in restrained colours. From that moment onwards, I can see it clearly now, my researches passed from the surface to the interior of the plastic problem. So 1910 brought another white stone to my life, as it would mark a stage which, if it was not conclusive, would at least be very positive. Above all in the second half of that year, when I painted the canvasses which would appear in the Salon des Indépendants of 1911.[3]

Gleizes met Jean Metzinger and Robert Delaunay in 1910, through Alexandre Mercereau, but had only vague knowledge of the work they showed at the Salon des Indépendants that same year. Gleizes too had exhibited at the same salon. Most importantly, Gleizes had read an article which had struck him, written by Jean Metzinger for the young literary review, Pan,[4] run by two young poets, [Marcel Rieu] and Jean Clary. The anti-Hellenic concept of representing a subject from multiple points of view was a central idea of Jean Metzinger's Note sur la Peinture article of 1910. It was at the Indépendants of 1910 that Metzinger showed a portrait of Guillaume Apollinaire which Apollinaire in his book The Cubist Painters, 1913, claimed was the first Cubist portrait.[5] Gleizes continues writing in his Souvenirs:

1910 was the year in which, in its last months, a more or less coherent group began to form from certain tendencies which were quite clearly present in our generation but had previously been scattered. Painters saw what they had in common, poets joined them, feelings of sympathy were established, a general atmosphere began to form which would soon produce an action whose effects were to be quickly felt in the surrounding world. Painters and writers would support each other, moved as they all were by a single faith. (Albert Gleizes, Souvenirs)[3]

Exhibitions edit

  • Salon des Indépendants, Paris, 1910, no. 2160[6]
  • Salon des Indépendants, Paris, 1911, not mentioned in the catalogue
  • Salon de la Section d'Or, Paris, 1912, no. 34
  • Moderni Umeni, S.V.U. Manes, Prague, 1914, no. 33
  • Trente Ans d'Art Independant, Grand Palais, Paris, 1926
  • Rene Gimpel Galerie, New York, 1937, no. 6
  • Probably Lyon, Chapelle du Lycée Ampère, Albert Gleizes, 50 ans de peinture, November - December 1947 (illustrated in the catalogue)
  • Albert Gleizes Retrospective, Passedoit Gallery, New York, 1949, no. 2
  • Le Cubisme, Musée National d'Art Moderne, Paris, 1953, no. 35
  • Depuis Bonnard, Musée National d'Art Moderne, Paris, 1960-61
  • Von Bonnard bis Heute, Haus der Kunst, Munich, 1961
  • The Solomon R. Guggenheim Museum, New York, Albert Gleizes, 1881-1953, A Retrospective Exhibition, 1964–65, no. 19. This exhibition traveled to Musée National d'Art Moderne, Paris (no. 7), and Museum am Ostwall, Dortmund (no. 7)

Literature edit

  • Jean Metzinger, Albert Gleizes, Du "Cubisme", 1912, Eugène Figuière Editeurs[7]
  • Albert Gleizes, 50 Ans, Lyon, 1947, p. 2.
  • Gray, C. "Gleizes", Magazine of Art, October, 1950, p. 208.
  • Habasque, G. Cubism, Geneva, 1959.
  • P. Alibert, Albert Gleizes, naissance et avenir du cubisme, Saint-Etienne, 1982, p. 30 (illustrated). * A. Varichon, Albert Gleizes, Catalogue raisonné, vol. I, Paris, 1998, no. 345 (illustrated p. 127). * Exh. cat. Albert Gleizes - Le cubisme de majesté, Museu Picasso, Barcelona, 2001, p. 21 (illustrated). * D. Cottington, Cubism and its histories, Manchester, 2004, p. 59.
  • A. Varichon, Albert Gleizes, Catalogue raisonné, vol. I, Paris, 1998, no. 345 (illustrated p. 127).
  • Albert Gleizes - Le cubisme de majesté, Museu Picasso, Barcelona, 2001, p. 21 (illustrated).
  • D. Cottington, Cubism and its histories, Manchester, 2004, p. 59.

See also edit

References edit

  1. ^ Anne Varichon, Daniel Robbins, Albert Gleizes, Catalogue raisonné, volume I, Paris, 1998, no. 345 (illustrated p. 127).
  2. ^ a b c Albert Gleizes 1881–1953, a retrospective exhibition, Daniel Robbins. The Solomon R. Guggenheim Museum, New York, in collaboration with Musée national d'art moderne, Paris; Museum am Ostwall, Dortmund, published 1964
  3. ^ a b c Albert Gleizes, Souvenirs - Le Cubisme, 1908-1914, Cahiers Albert Gleizes, Association des Amis d'Albert Gleizes, Lyon, 1957. Reprinted, Association des Amis d'Albert Gleizes, Ampuis, 1997. Translation and notes by Peter Brooke
  4. ^ Jean Metzinger, Note sur la peinture, Pan (Paris), October–November 1910
  5. ^ Guillaume Apollinaire, Méditations esthétiques. Les peintres cubistes (The Cubist Painters), Edition Figuière, Paris, 1913
  6. ^ Société des artistes indépendants, 26, Catalogue de la 26e exposition, 1910, Albert Gleizes, numbers 2159-2164, Gallica, bibliothèque numérique de France
  7. ^ Albert Gleizes, Jean Metzinger, Du "Cubisme", Edition Figuière, Paris, 1912 (First English edition: Cubism, Unwin, London, 1913)

External links edit

  • Fondation Albert Gleizes
  • Réunion des Musées Nationaux, Grand Palais, Agence photographique

January 01, 1970
tree, gleizes, tree, french, arbre, painting, created, 1910, french, artist, albert, gleizes, executed, advanced, proto, cubist, style, work, exhibited, paris, salon, indépendants, 1910, 2160, following, year, gleizes, chose, exhibit, salon, section, galerie, . The Tree French L Arbre is a painting created in 1910 by the French artist Albert Gleizes Executed in an advanced Proto Cubist style the work was exhibited in Paris at the Salon des Independants 1910 no 2160 the following year Gleizes chose to exhibit it at the Salon de la Section d Or Galerie La Boetie 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 Independants Trente ans d art independant in 1926 L Arbre an important work of 1910 appeared at the decisive Salon des Independants of 1911 where Cubism emerged as a group manifestation and spread across the globe at times shocking the general public 1 The TreeFrench L ArbreArtistAlbert GleizesYear1910MediumOil on canvasDimensions92 cm 73 2 cm 36 25 in 28 6 in LocationPrivate collection Contents 1 Description 2 1910 in brief 3 Exhibitions 4 Literature 5 See also 6 References 7 External linksDescription editThe Tree is an oil painting on canvas with dimensions 92 by 73 2 cm 36 1 4 by 28 5 8 inches signed and dated Albert Gleizes 10 lower right Gleizes practically subjugates The Tree in the foreground its thin trunk slightly off center and foliage cropped at the top to a secondary role within a meticulously geometric World landscape Here the receding landscape marked by protruding hills and steep cliff like formations is perhaps more naturalistic than the core group of Gleizes subsequent 1911 12 landscapes e g Le Chemin Paysage a Meudon 1911 and Les Baigneuses The Bathers 1912 yet does not replicate any other known painting or specific location in any of its parts This fact strongly points towards it being an invention born out of Gleizes studio Gleizes method was fundamentally synthetic Although the landscape seems persuasively realistic with its foreground background and village in between it is not an existing place somewhere between Paris and his studio at Courbevoie consistent with Gleizes method of bringing together various elements from different locations anteriorly observed in nature The superposition of hills with a succession of brown grey and white planes throughout this painting providing a sense of temporal duration and spatial extension to the immense vista along with the cubic architectural structures cutting through the center of the canvas each with its own perspective are very typical of the core group of Gleizes landscapes The divers elements are combined in such a way that avoids symmetry a characteristic found in several of the artists landscapes painted before and after L Arbre each a unique creation Daniel Robbins writes of The Tree L Arbre and related works in the catalogue of the Gleizes Retrospective at the Guggenheim New York 1964 In this work one of Gleizes most important paintings of the crucial year 1910 we see the artist s volumetric approach to Cubism and his successful union of a broad field of vision with a flat picture plane Earlier studies such as By the Seine Bord de la Seine Meudon of 1909 and Road Trees and Houses Environs de Meudon of 1910 both in the collection of Walter Firpo clearly anticipate this development 2 During his trip to Bagneres sur Bigorre Gascony in 1909 Gleizes concentrated exclusively on landscapes reducing natural forms to primary shapes His effort to portray the complex rhythms of a panorama resulted in a comprehensive geometry of intersecting and overlapping forms which created a new and more dynamic quality of movement 2 His 1911 Paysage a Meudon followed in which Man is reintroduced but subordinated to the heroic concept of landscape which simultaneously comprehends the close and the distant the earth s curve the sun even the force of wind against trees Robbins 1964 2 1910 in brief editGleizes writes in his Souvenirs 3 of the crucial year 1910 After painting a series of pictures some of which are still in existence today I was still dissatisfied and yet better prepared for experiments that would go deeper It was in 1910 that for the first time I showed in the Salon des Independants and completely abandoned the salon of the Nationale where there was nothing more for me to do I sent to the Cours la Reine a full figure a full sized portrait of the poet Rene Arcos as well as two landscapes of the area round Paris simple collections of masses in restrained colours From that moment onwards I can see it clearly now my researches passed from the surface to the interior of the plastic problem So 1910 brought another white stone to my life as it would mark a stage which if it was not conclusive would at least be very positive Above all in the second half of that year when I painted the canvasses which would appear in the Salon des Independants of 1911 3 Gleizes met Jean Metzinger and Robert Delaunay in 1910 through Alexandre Mercereau but had only vague knowledge of the work they showed at the Salon des Independants that same year Gleizes too had exhibited at the same salon Most importantly Gleizes had read an article which had struck him written by Jean Metzinger for the young literary review Pan 4 run by two young poets Marcel Rieu and Jean Clary The anti Hellenic concept of representing a subject from multiple points of view was a central idea of Jean Metzinger s Note sur la Peinture article of 1910 It was at the Independants of 1910 that Metzinger showed a portrait of Guillaume Apollinaire which Apollinaire in his book The Cubist Painters 1913 claimed was the first Cubist portrait 5 Gleizes continues writing in his Souvenirs 1910 was the year in which in its last months a more or less coherent group began to form from certain tendencies which were quite clearly present in our generation but had previously been scattered Painters saw what they had in common poets joined them feelings of sympathy were established a general atmosphere began to form which would soon produce an action whose effects were to be quickly felt in the surrounding world Painters and writers would support each other moved as they all were by a single faith Albert Gleizes Souvenirs 3 Exhibitions editSalon des Independants Paris 1910 no 2160 6 Salon des Independants Paris 1911 not mentioned in the catalogue Salon de la Section d Or Paris 1912 no 34 Moderni Umeni S V U Manes Prague 1914 no 33 Trente Ans d Art Independant Grand Palais Paris 1926 Rene Gimpel Galerie New York 1937 no 6 Probably Lyon Chapelle du Lycee Ampere Albert Gleizes 50 ans de peinture November December 1947 illustrated in the catalogue Albert Gleizes Retrospective Passedoit Gallery New York 1949 no 2 Le Cubisme Musee National d Art Moderne Paris 1953 no 35 Depuis Bonnard Musee National d Art Moderne Paris 1960 61 Von Bonnard bis Heute Haus der Kunst Munich 1961 The Solomon R Guggenheim Museum New York Albert Gleizes 1881 1953 A Retrospective Exhibition 1964 65 no 19 This exhibition traveled to Musee National d Art Moderne Paris no 7 and Museum am Ostwall Dortmund no 7 Literature editJean Metzinger Albert Gleizes Du Cubisme 1912 Eugene Figuiere Editeurs 7 Albert Gleizes 50 Ans Lyon 1947 p 2 Gray C Gleizes Magazine of Art October 1950 p 208 Habasque G Cubism Geneva 1959 P Alibert Albert Gleizes naissance et avenir du cubisme Saint Etienne 1982 p 30 illustrated A Varichon Albert Gleizes Catalogue raisonne vol I Paris 1998 no 345 illustrated p 127 Exh cat Albert Gleizes Le cubisme de majeste Museu Picasso Barcelona 2001 p 21 illustrated D Cottington Cubism and its histories Manchester 2004 p 59 A Varichon Albert Gleizes Catalogue raisonne vol I Paris 1998 no 345 illustrated p 127 Albert Gleizes Le cubisme de majeste Museu Picasso Barcelona 2001 p 21 illustrated D Cottington Cubism and its histories Manchester 2004 p 59 See also editList of works by Albert GleizesReferences edit Anne Varichon Daniel Robbins Albert Gleizes Catalogue raisonne volume I Paris 1998 no 345 illustrated p 127 a b c Albert Gleizes 1881 1953 a retrospective exhibition Daniel Robbins The Solomon R Guggenheim Museum New York in collaboration with Musee national d art moderne Paris Museum am Ostwall Dortmund published 1964 a b c Albert Gleizes Souvenirs Le Cubisme 1908 1914 Cahiers Albert Gleizes Association des Amis d Albert Gleizes Lyon 1957 Reprinted Association des Amis d Albert Gleizes Ampuis 1997 Translation and notes by Peter Brooke Jean Metzinger Note sur la peinture Pan Paris October November 1910 Guillaume Apollinaire Meditations esthetiques Les peintres cubistes The Cubist Painters Edition Figuiere Paris 1913 Societe des artistes independants 26 Catalogue de la 26e exposition 1910 Albert Gleizes numbers 2159 2164 Gallica bibliotheque numerique de France Albert Gleizes Jean Metzinger Du Cubisme Edition Figuiere Paris 1912 First English edition Cubism Unwin London 1913 External links editFondation Albert Gleizes Reunion des Musees Nationaux Grand Palais Agence photographique Retrieved from https en wikipedia org w index php title The Tree Gleizes amp oldid 1193078918, wikipedia, wiki, book, books, library,

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