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Albert Gleizes

Downtown, 1916

Watercolour and gouache on cardboard
14 1/5 × 10 3/5 in
36 × 27 cm
This is a unique work.
Contact For Price
location
London, New York
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About the work
Exhibition history
Bibliography
Provenance
Signature
Signed, dated and inscribed, lower right Albert Gleizes / New-York 1916 / Downtown; inscribed lower left Pr. Hilla, Paris 1938
Image rights
© Simon C Dickinson ltd
Albert Gleizes
French, 1881–1953
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A major exponent of Cubism, Albert Gleizes was driven by his social ideals to produce art that opposed the bourgeois canon. Under the influence of Pablo Picasso and other Cubist-inspired artists, Gleizes’s work became increasingly characterized by dynamic intersections of geometric planes, and alongside Jean Metzinger and Robert Delaunay he participated in the first exhibition of Cubism in 1911. In 1912, he co-authored a book, Du Cubisme, with Metzinger, but in a later publication, La peinture et ses lois (Painting and its laws) (1923), which theorized abstract art, he rejected both representation and geometric forms. Towards the end of his career, Gleizes turned to Romanesque, Gothic, Byzantine, and Arabic art as sources of inspiration, and to producing murals for public spaces.

Save
Save
view
View in room
share
Share
Save
Save
view
View in room
share
Share
About the work
Exhibition history
Bibliography
Provenance
Signature
Signed, dated and inscribed, lower right Albert Gleizes / New-York 1916 / Downtown; inscribed lower left Pr. Hilla, Paris 1938
Image rights
© Simon C Dickinson ltd
Albert Gleizes
French, 1881–1953
Follow

A major exponent of Cubism, Albert Gleizes was driven by his social ideals to produce art that opposed the bourgeois canon. Under the influence of Pablo Picasso and other Cubist-inspired artists, Gleizes’s work became increasingly characterized by dynamic intersections of geometric planes, and alongside Jean Metzinger and Robert Delaunay he participated in the first exhibition of Cubism in 1911. In 1912, he co-authored a book, Du Cubisme, with Metzinger, but in a later publication, La peinture et ses lois (Painting and its laws) (1923), which theorized abstract art, he rejected both representation and geometric forms. Towards the end of his career, Gleizes turned to Romanesque, Gothic, Byzantine, and Arabic art as sources of inspiration, and to producing murals for public spaces.

Albert Gleizes

Downtown, 1916

Watercolour and gouache on cardboard
14 1/5 × 10 3/5 in
36 × 27 cm
This is a unique work.
Contact For Price
location
London, New York
Have a question? Read our FAQ.
Want to sell a work by this artist? Consign with Artsy.
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