Albert Gleizes , French painter born the December 8th 1881 with Paris, dead the June 23rd 1953 with Saint-Rémy-of-Provence is one of the initiators of the Cubisme and its perpetual representing.

First tables

Albert Gleizes is the nephew of the painter of portraits Leon Comerre, Grand Prix of Rome in 1875. The first figurative fabrics of Albert Gleizes are " impressionnistes". But its admiration for Paul Cézanne pushes it to break with descriptive painting to privilege the plan, volumes, the multiplicity from the points of view. It directs towards a painting known as " cubiste" that the public discovers in 1911 with the Living room of the Independent ones.

The exposure of 1911

This exposure considered to be scandalous, greeted in its time by Guillaume Apollinaire, starts the movement cubist in which take part Jean Metzinger, Roger of Fresnaye, Jacques Villon, the Falconer, André Lhote, Fernand Leger.

One agrees to recognize like true starting point of the cubism the work of Pablo Picasso “ the Young ladies of Avignon ”, " inachevée" in 1907. Picasso and Braque are generally regarded as the principal representatives of the cubism. Without entering the polemic on the paternity of the movement, one will note that the group of artists to which Gleizes and Villon belonged had a certain autonomy compared to Picasso, Braque, Gris, which belonged to the Kahnweiler gallery.

Cubism with crowned

The initial cubism of Gleizes gives the good share to volumes (“ the woman with the phloxes ”, 1910). Some fabrics treat the figurative object in a way déstructurée like Picasso (“ the lady with the animals ”, 1914), however the cubism of Gleizes keeps a certain originality by the realistic and diagrammatic expression of its characters within a landscape with the geometrical and déstructurées forms (“ the Man with the balcony ”, 1912).

The dark pallet of Gleizes of its beginnings cleared up and it does not hesitate to employ broad flat tints of bright colors and frank (“ Parisian the ”, 1915). As from 1917, it returns to déstructurées representations (“ the Woman with the glove ”). The composition of its tables respects a grammar as rigorous as stable invented by the painter: seek rate/rhythm, taste for the Géométrie (rotation and translation of the plan), abstraction of the subject (“ Peinture with seven given rhythm elements and rates/rhythms ”).
It adheres in 1931 to the movement " Abstraction-Création" . In its last years, Gleizes turns to crowned painting and is devoted to mystical inclinations which he assumes by illustrating a republication of the Pensées of Blaise Pascal and by recognizing its membership of Catholicism (1941).

Theoretical and social activity

Gleizes wrote a certain number of theoretical works relating to painting: “ Homocentrisme ”, “ the form and the history ”, “ painting and its laws ” and, in collaboration with Metzinger “ Of the cubism ” (1912).

Very young person, it takes part in groupings of artists, and in particular in the Abbaye of Creteil, and founds in 1927 a community of artist-craftsmen with Moly-Sabata with Sablons (Isere), where it accommodate in particular André Lhote but also the potière Anne Dangar, the tisserande Lucie Deveyle, the painter Jean Chevalier etc

See too

• To paint the Century 101 major Portraits 1900-2000

External bond

FOUNDATION ALBERT GLEIZES PARIS
A biography of Albert Gleizes.

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