| painting, writing|
| Albert Leon Gleizes|
8 December 1881 (1881-12-08) Paris
Cubism, Abstract art, Abstraction-Creation
June 23, 1953, Saint-Remy-de-Provence, France
Jean Metzinger, Robert Delaunay, Daniel Robbins
Cubism, Section d'Or, Impressionism, Abstract art
Man on a Balcony, Portrait of Jacques Nayral, Woman with animals, Le Chemin - Paysage a Meudon, Harvest Threshing
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 Creteil. Gleizes exhibited regularly at Leonce Rosenberg’s Galerie de l’Effort Moderne in Paris; he was also a founder, organizer and director of Abstraction-Creation. 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).
Albert Gleizes Wikipedia
Born Albert Leon Gleizes and raised in Paris, he was the son of a fabric designer who ran a large industrial design workshop. He was also the nephew of Leon Comerre, a successful portrait painter who won the 1875 Prix de Rome. The young Albert Gleizes did not like school and often skipped classes to idle away the time writing poetry and wandering through the nearby Montmartre cemetery. Finally, after completing his secondary schooling, Gleizes spent four years in the 72nd Infantry Regiment of the French army (Abbeville, Picardie) then began pursuing a career as a painter. Gleizes began to paint self-taught around 1901 in the Impressionist tradition. His first landscapes from around Courbevoie appear particularly inspired by Sisley or Pissarro. Although clearly related to Pissarro in technique, Gleizes' particular view-points as well as the composition and conception of early works represent a clear departure from the style of late Impressionism. The density with which these works are painted and their solid framework suggest affinities with Divisionism which were often noted by early critics.
Gleizes was only twenty-one years of age when his work titled La Seine a Asnieres was exhibited at the Societe Nationale des Beaux-Arts in 1902. The following year Gleizes exhibited two paintings at the Salon d'Automne. In 1905 Gleizes was among the founders of l'Association Ernest-Renan, a union of students opposed to military propaganda. Gleizes was in charge of the Section litteraire et artistique, organizing theater productions and poetry readings. At the Musee des Beaux-Arts de Lyon (Salon de la Societe Nationale des Beaux-Arts, 1906), Gleizes exhibited Jour de marche en banlieue. Tending towards 1907 his work evolved into a Post-Impressionist style with strong Naturalist and Symbolist components.
Gleizes and others decide to create an association fraternelle d'artistes and rent a large house in Creteil. The Abbaye de Creteil was a self-supporting community of artists that aimed to develop their art free of any commercial concerns. For nearly a year, Gleizes along with other painters, poets, musicians and writers, gathered to create. A lack of income forced them to give up their cherished Abbaye de Creteil in early 1908 and Gleizes moved to rue du Delta near Montmartre, Paris. In 1908 Gleizes exhibited at the Toison d'Or in Moscow. The same year, showing a great interest in color and reflecting the transient influence of Fauvism, the work of Gleizes became more synthetic with a proto-Cubist component.
Gleizes' Fauve-like period was very brief, lasting several months, and even when his paint was thickest and color brightest, his concern for structural rhythms and simplification was dominant. His geometric simplifications at this time were more akin to Pont-Aven School and Les Nabis principles than to Paul Cezanne. His landscapes of 1909 are characterized by the reducing of forms of nature to primary shapes.
During the summer of the same year his style became linear and stripped, broken down into multiple forms and facets with attenuated colors, close to that of the painter Henri Le Fauconnier. In 1910 a group began to form which included Gleizes, Metzinger, Fernand Leger and Robert Delaunay. They met regularly at Henri le Fauconnier's studio on rue Notre-Dame-des-Champs, near the Boulevard de Montparnasse. These soirees would often included writers such as Guillaume Apollinaire, Roger Allard, Rene Arcos, Paul Fort, Pierre-Jean Jouve, Alexandre Mercereau, Jules Romains and Andre Salmon. Together with other young painters, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color. From 1910 onwards, Albert Gleizes was directly involved with Cubism, both as an artist and principle theorist of the movement.
Gleizes' evolvement in Cubism saw him exhibit at the twenty-sixth Salon des Independants in 1910. He showed his Portrait de Rene Arcos and L'Arbre, two paintings in which the emphasis on simplified form had already begun to overwhelm the representational interest of the paintings. The same tendency is evident in Jean Metzinger's Portrait of Apollinaire in the same Salon. When Louis Vauxcelles wrote his initial review of the Salon he made a passing and imprecise reference to Gleizes, Jean Metzinger, Robert Delaunay, Fernand Leger and Henri le Fauconnier, as "ignorant geometers, reducing the human body, the site, to pallid cubes." Guillaume Apollinaire, in his account of the same salon at the Grand Palais (in L'Intransigeant, 18 March 1910) remarked "with joy" that the general sense of the exhibition signifies "La deroute de l'impressionnisme," in reference to the works of a conspicuous group of artists (Gleizes, Delaunay, Le Fauconnier, Metzinger, Andre Lhote and Marie Laurencin). In Gleizes' paintings of the crucial year 1910, writes Daniel Robbins, "we see the artist's volumetric approach to Cubism and his successful union of a broad field of vision with a flat picture plane. [...] The effort to grasp the intricate rhythms of a panorama resulted in a comprehensive geometry of intersecting and overlapping forms which created a new and more dynamic quality of movement.
Gleizes then exhibited at the 1910 Salon d'Automne with the same artists, followed by the first organized group showing by Cubists, in Salle 41 of the 1911 Salon des Independants (La Femme aux Phlox (Woman with Phlox)) together with Metzinger, Delaunay, Le Fauconnier and Leger. The result was a public scandal which brought Cubism for the first time to the attention of the general public (Picasso and Braque were exhibiting in a private gallery selling to a small circle of connoisseurs). In a review of the 1911 Independants published in Le Petit Parisien (23 April 1911), critic Jean Claude writes:
Then there is Le Fauconnier, who, jealous of the Cubist Metzinger, became trapezoid… and painted something of the sort he titled, I think, L’Abondance
… Metzinger himself painted nudes that look like puzzles, the pieces of which are cubes of various sizes; F. Leger lacking originality, adopted stove pipes [tuyau de poele] as a means of reproduction of the human figure… The other, which I have never been able to guess the name, uses small checkerboards, gray and white, white and black, gray and brown, pink and black, and painted an Eiffel Tower flanked on the ground undoubtedly to crush houses, which, while dancing the cancan, stuffed their chimneys through the windows.
A talented artist, Albert Gleizes, also allowed himself to try a trianguliste representation of the human figure. This is sad, deeply.
At the 1911 Salon d'Automne (room 8) Gleizes exhibited his Portrait de Jacques Nayral and La Chasse (The Hunt), with, in addition to the group of Salle 41, Andre Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye and Andre Dunoyer de Segonzac. In the fall of that year, though the intermediary of Apollinaire, he met Pablo Picasso for the first time and joined the Puteaux Group which held meetings in the studio of Jacques Villon (Gaston Duchamp) and also included Villon's brothers, Raymond Duchamp-Villon and Marcel Duchamp, amongst others. Many of these artists also frequented the cafes Le Dome, La Closerie des Lilas, La Rotonde, Le Select, and La Coupole in Montparnasse.
People crowded into our room, they shouted, they laughed, they got worked up, they protested, they luxuriated in all kinds of utterances. (Albert Gleizes, on the Salon d'Automne exhibition of 1911)
Gleizes exhibited his Les Baigneuses (The Bathers) at the 1912 Salon des Independants; a show marked by Marcel Duchamp's Nude Descending a Staircase, No. 2, which itself caused a scandal even amongst the Cubists. This was followed by a group show at the Gallery Dalmau in Barcelona, another exhibit in Moscow (Valet de Carreau), the Salon de la Societe Normande in Rouen, and the Salon de la Section d'Or, October 1912 at the Galerie de la Boetie in Paris.
1911 through 1912, drawing to some extent on theories of Henri Poincare, Ernst Mach, Charles Henry and Henri Bergson, Gleizes began to represent the object, no longer considered from a specific point of view, but rebuilt following a selection of successive viewpoints (i.e., as if viewed simultaneously from numerous viewpoints, and in four-dimensions). This technique of relative motion is pushed to a its highest degree of complexity in the monumental Le Depiquage des Moissons (Harvest Threshing) (1912). This ambitious work, with Delaunay's City of Paris, is one of the largest paintings in the history of Cubism.
At the Salon d'Automne of 1912 Gleizes exhibited L'Homme au Balcon (Man on a Balcony), now at the Philadelphia Museum of Art. The Cubist contribution to the 1912 Salon d'Automne created a controversy in the Municipal Council of Paris, leading to a debate in the Chambre des Deputes about the use of public funds to provide the venue for such barbaric art. The Cubists were defended by the Socialist deputy, Marcel Sembat. Albert Gleizes and Jean Metzinger, in preparation for the Salon de la Section d'Or, published a major defence of Cubism, resulting in the first theoretical essay on the new movement, entitled 'Du "Cubisme" (published by Eugene Figuiere in 1912, translated to English and Russian in 1913).
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 Leger) 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 Cezanne. 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)
A central theme of Du "Cubisme" was that access to the true essence of the world could be gained by sensations alone. The sensation offered by classical painting was very limited: to only one point of view, from a single point in space and frozen in time. But the real world is mobile, both spatially and temporally. Classical perspective and the formulations of Euclidean geometry were only conventions (to use Poincare's term) that distance us from the truth of our sensations, from the truth of our own human nature. Man sees the world of natural phenomena from a multitude of angles that form a continuum of sensations in perpetual and continuous change. The Cubists' aim was to completely eschew absolute space and time in favor of relative motion, to grasp through sensory appearances and translate onto a flat canvas the dynamical properties of the four-dimensional manifold (the natural world). Only then could one achieve a better representation of the mobile reality of our living experience. If Gleizes and Metzinger write in Du "Cubisme" that we can only know our sensations, it is not because they wish to disregard them, but, on the contrary, to understand them more deeply as the primary source for their own work. In reasoning this way, Gleizes and Metzinger demonstrate that they are successors to Cezanne, who insists that everything must be learnt from nature: "Nature seen and nature felt... both of which must unite in order to endure."
In February 1913, Gleizes and other artists introduced the new style of European modern art to an American audience at the Armory Show (International Exhibition of Modern Art) in New York City, Chicago and Boston. In addition to Man on a balcony (l'Homme au Balcon) no. 196, Gleizes exhibited at the Armory Show his 1910 Femme aux Phlox (Woman with Phlox), Museum of Fine Arts, Houston.
Gleizes published an article in Ricciotto Canudo's Montjoie entitled Cubisme et la tradition. It was through the intermediary of Canudo that Gleizes would meet the artist Juliette Roche; a childhood friend of Jean Cocteau and daughter of Jules Roche, an influential politician of the 3rd Republic.
With the outbreak of World War I, Albert Gleizes re-enlisted in the French army. He was put in charge of organizing entertainment for the troops and as a result was approached by Jean Cocteau to design the set and costumes for the William Shakespeare play, A Midsummer Night's Dream, along with Georges Valmier.
Discharged from the military in the fall of 1915, Gleizes and his new wife, Juliette Roche, moved to New York, where they would meet regularly with Francis Picabia, Man Ray, Marcel Duchamp and Jean Crotti (who would eventually marry Suzanne Duchamp). It is at this time that Gleizes witnessed, with a critical eye, the readymades of Marcel Duchamp. After a short stay at the Albemarle Hotel Gleizes and his wife settled at 103 West Street, where Gleizes painted a series of works inspired by jazz music, skyscrapers, luminous signs and the Brooklyn Bridge. Here Gleizes met Stuart Davies, Max Weber, Joseph Stella, and participated in a show at Montross Gallery with Duchamp, Crotti and Metzinger (who remained in Paris)
From New York City, the couple sailed to Barcelona where they were joined by Marie Laurencin, Francis Picabia and his wife. The group spent the summer painting at the resort area of Tossa del Mar and in December Gleizes had the first solo exhibition of his works at the Galeria Dalmau in Barcelona. Returning to New York city in 1917, Gleizes began writing poetic sketches in verse and in prose, some of which were published in Picabia's Dada periodical 391. Both Gleizes and his wife traveled from New York to Bermuda in September 1917, where he painted a number of landscapes. When the war in Europe ended they returned to France where his career evolved more towards teaching through writing and he became involved with the committee of the Unions Intellectuelles Francaises.
During the winter of 1918 at the Gleizes' rented house in Pelham New York, writes Daniel Robbins, Albert Gleizes came to his wife and said, "A terrible thing has happened to me: I believe I am finding God." This new religious conviction resulted not from any mystical visions but instead from Gleizes' rational confrontation of three urgent problems: collective order, individual differences and the painter's role. Although Gleizes did not join the Church until 1941, his next twenty-five years were spent in a logical effort not only to find God but also to have faith.
From 1914 and extending to the end of the New York period, Gleizes' nonrepresentational paintings and those with an apparent visual basis existed side by side, differing only, writes Daniel Robbins, in "the degree of abstraction hidden by the uniformity with which they were painted and by the constant effort to tie the plastic realization of the painting to a specific, even unique, experience." Gleizes approached abstraction conceptually rather than visually and in 1924 his intricate dialectic caused him to produce two amusing paintings which departed from his usual subject matter: the Imaginary Still Lifes, Blue and Green. In effect, writes Robbins, "Gleizes would have inverted Courbet's "Show me an angel and I will paint you an angel" to be "As long as an angel remains an unembodied ideal and cannot be shown to me, I'll paint it."
By 1919 the pre-war sense of the Cubist movement had been virtually shattered. Paris was overshadowed by a strong reaction against those visions of common effort and revolutionary construction which Gleizes continued to embrace, while the avant-garde was characterized by the anarchic and, to him, destructive spirit of Dada. Neither alternative held any appeal for him and, with the Salons dominated by a return to classicism, his old hostility to Paris was constantly nourished. Gleizes' attempt to resuscitate the spirit of the Section d'Or was met with great difficulty, despite support by Alexander Archipenko, Georges Braque and Leopold Survage. His own organizational efforts were directed towards the re-establishment of a European-wide movement of abstract artists in the form of a large travelling exhibition, the Exposition de la Section d’Or, in 1920; it was not the success he had hoped for. Cubism was passe for younger artists, although Gleizes, on the contrary, felt that only its preliminary phase had been investigated.
It was the revival of the Section d'Or which ensured that Cubism in general and Gleizes in particular would become Dada's preferred target. Similarly, an effort to organize an artists' cooperative received the support of Robert Delaunay, but of no other major artists. The polemic resulted in the publication of Du cubisme et des moyens de le comprendre by Albert Gleizes, followed in 1922 by La Peinture et ses lois, within which appear the notion of translation and rotation that would ultimately characterize both the pictorial and theoretical aspects of Gleizes' art. His post-Cubist style of the twenties—flat, forthright, uncompromising—is virtually Blaise Pascal's "Spirit of Geometry."
Gleizes was in nearly every sense a maverick Cubist, perhaps the most unyielding of them all; both in his paintings and writings (which had a big impact on the image of Cubism in Europe and the United States). He developed a single-minded, thoroughly uncompromising Cubism without the diversion of a classical alternative. During the 1920s Gleizes worked on a highly abstract brand of Cubism. In addition to his shows at Leonce Rosenberg's L'Effort Moderne, the dealer-publisher Povolozky printed his writings. His art was indeed backed by a prodigious theoretical effluence, most notably in La Peinture et ses lois (first published in La Vie des Lettres, October 1922). Gleizes fused aesthetic, metaphysical, moral and social priorities to describe the status and function of art.
In La Peinture et ses lois writes Robbins, "Gleizes deduced the rules of painting from the picture plane, its proportions, the movement of the human eye and the laws of the universe. This theory, later referred to as translation-rotation, ranks with the writings of Mondrian and Malevich as one of the most thorough expositions of the principles of abstract art, which in his case entailed the rejection not only of representation but also of geometric forms." Flat planes were set in motion simultaneously to evoke space by shifting across one another, as if rotating and tilting on oblique axes. Diagrams entitled "Simultaneous movements of rotation and shifting of the plane on its axis" were published to illustrate the concept. His painting of 1920–1922, submitted to the same rigor, were not Cubist in any conventional sense; but they were Cubist in their concern with planimetric space, and in their relationship (synthesis) with subject-matter. Indeed, the abstract appearance of these compositions is misleading. Gleizes had always remained committed to synthesis. He described how artists had freed themselves from the 'subject-image' as a pretext to work from the 'subjectless-image' (nebulous forms) until they came together. The images known from the natural world combined with those nebulous forms were made 'spiritually human'. Though Gleizes considered his works as initially nonrepresentational and only afterwards as denotational.
Before World War I, Gleizes had always been identified as a Cubist avant-garde. And during the twenties he continued to hold a prominent position, but he was no longer identified with the avant-garde since Cubism had already been replaced by Dada and Surrealism. Even after historians began their attempts to analyze the vital role played by Cubism, the name of Albert Gleizes was always mentioned because of his early and important participation in the movement. Gleizes had never ceased to call himself a Cubist and theoretically a Cubist he remained. In many ways his theories were close to those developed by Mondrian, though his paintings never submitted to the discipline of primary colors and the right angle; they were not Neo-Plastic (or De Stijl) in character. In fact, his works from the late 1920s through the 1940s looked like nothing else that was being done, and indeed, they were rarely seen in the art world because Gleizes deliberately distanced himself from extensive participation in the Parisian scene.
Gleizes realized that his evolution towards 'purity' carried with it the risk of alienation from the 'mentality of the milieu', but he saw it as the sole means of arriving at a new type of art that could reach a mass audience (just as the French murals of the 11th and 12th centuries). In Du Cubisme et les moyens de comprendre (1920), Gleizes went so far as to envisage the mass-production of painting; as a means of undermining the market system and thus the status of artworks as commodities. 'The multiplication of pictures,' Gleizes wrote, 'strikes at the heart of the understanding and the economic notions of the bourgeois.'
After World War I, with the support given by the dealer Leonce Rosenberg, Cubism returned as a central issue for artists. With the Salons dominated by a return to classicism, Gleizes attempted to resuscitate the spirit of the Section d'Or in 1920 but was met with great difficulty, despite support by Fernand Leger, Alexander Archipenko, Georges Braque, Constantin Brancusi, Henri Laurens, Jacques Villon, Raymond Duchamp-Villon, Louis Marcoussis and Leopold Survage. Gleizes' organizational efforts were directed towards the establishment of a European-wide movement of Cubist and abstract art in the form of a large traveling exhibition; the Exposition de la Section d’Or. The idea was to bring together a collection of works that revealed the complete process of transformation and renewal that had taken place. It was not the success he had hoped for. Cubism was seen as passe for emerging artists and other established artists such as Marcel Duchamp and Picabia, although Gleizes, on the contrary, felt that only its preliminary phase had been investigated.
In addition to Cubists works (which already represented a wide variety of styles), the second edition of the Section d'Or held at the Galerie La Boetie from 5 March 1920 included De Stijl, Bauhaus, Constructivism and Futurism. It was the revival of the Section d'Or which ensured that Cubism in general would become Dada's preferred target. The new polemic resulted in the publication of Du cubisme et des moyens de le comprendre by Gleizes, followed in 1922 by La Peinture et ses lois.
Following the death of Jules Roche, the Gleizes' had enough independent income and real estate to pursue their goals without bowing to material considerations, unlike many other artists. The Gleizes' spent more and more time at the family home in Serrieres, in Cavalaire, and an even quieter location on the French Riviera, both associating with people more sympathetic to their social ideas. Gleizes became active in the Union Intellectuelle and lectured extensively in France, Germany, Poland and England, while continuing to write. In 1924–25 the Bauhaus (where certain ideals analogous to his own were practiced) requested a new book on Cubism (as part of a series which included Wassily Kandinsky's Point and Line to Plane, Paul Klee's Pedagogical Notebooks, and Kasimir Malevich's The Non-Objective World). Gleizes, in response, would write Kubismus (published in 1928) for the collection of Bauhausbucher 13, Munich. The publication of Kubismus in French the following year would bring Gleizes closer to Delaunay. In 1924 Gleizes, Leger and Amedee Ozenfant opened Academie Moderne.
In 1927, still dreaming of the communal days at the Abbaye de Creteil, Gleizes founded an artist's colony at a rented house called the Moly-Sabata in Sablons near his wife's family home in Serrieres in the Ardeche departement in the Rhone Valley.
Leonce Rosenberg, in 1929, commissioned Gleizes (replacing Gino Severini) to paint decorative panels for his Parisian residence, which would be installed in 1931. The same year Gleizes was part of the committee of Abstraction-Creation (founded by Theo van Doesburg, Auguste Herbin, Jean Helion and Georges Vantongerloo) that acted as a forum for international non-representational art, and counteracted the influence of the Surrealist group led by Andre Breton. By this time, his work reflected the strengthening of his religious convictions and his 1932 book, Vers une conscience plastique, La Forme et l’histoire examines Celtic, Romanesque, and Oriental art. On tour in Poland and Germany, he gave lectures titled Art et Religion, Art et Production and Art et Science and wrote a book on Robert Delaunay but it was never published.
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 Creation. Leonce 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 Delaunay in the Pavillon de l'Air and with Leopold Survage and Fernand Leger 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 Ecole des Arts et Metiers; 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.).
In the late 1930s, the wealthy American art connoisseur Peggy Guggenheim purchased a great deal of the new art in Paris including works by Albert Gleizes. She brought these works to the United States which today form part of the Peggy Guggenheim Collection.
During World War II, Gleizes and his wife remained in France under the German occupation. In 1942 Gleizes began the series of Supports de Contemplation, large scale, entirely non-representational paintings that are both very complex and very serene. Materials being difficult to obtain during the war, Gleizes painted on burlap, sizing the porous material with a mixture of glue and paint. He had used burlap in some of his earliest paintings and now found it favorable to his vigorous touch, for it took the most powerful strokes even while preserving the matte surface he so valued. In 1952, Gleizes realized his last major work, a fresco titled Eucharist that he painted for a Jesuit chapel in Chantilly.
Albert Gleizes died in Avignon in the Vaucluse departement on 23 June 1953 and was interred in his wife's family mausoleum in the cemetery at Serrieres.
In 2010, Le Chemin (Paysage a Meudon) (1911), oil on canvas, 146.4 x 114.4 cm, sold for 1,833,250 GBP ($2,683,878, or 2,198,983 Euros) at Christie's, London.
"Gleizes' individual development, his unique struggle to reconcile forces," writes Daniel Robbins, "made him one of the few painters to come out of Cubism with a wholly individual style, undeflected by later artistic movements. Although he occasionally returned to earlier subjects... these later works were treated anew, on the basis of fresh insights. He never repeated his earlier styles, never remained stationary, but always grew more intense, more passionate. [...] His life ended in 1953 but his paintings remain to testify to his willingness to struggle for final answers. His is an abstract art of deep significance and meaning, paradoxically human even in his very search for absolute order and truth." (Daniel Robbins, 1964)
In celebration of the 100th anniversary of the publication of Du "Cubisme" by Albert Gleizes and Jean Metzinger, the Musee de La Poste in Paris presented a show entitled Gleizes – Metzinger. Du cubisme et apres, from 9 May to 22 September 2012. Over 80 paintings and drawings, along with documents, films and 15 works by other members of the Section d'Or group (Villon, Duchamp-Villon, Kupka, Le Fauconnier, Lhote, La Fresnaye, Survage, Herbin, Marcoussis, Archipenko...) were included in the show. A catalogue in French and English was published for the event. A French postage stamp is issued representing works by Gleizes (Le Chant de Guerre, 1915) and Metzinger (L'Oiseau Bleu, 1913). This is the first time that a museum has organized an exhibit showcasing both Gleizes and Metzinger together.Du "Cubisme", Albert Gleizes and Jean Metzinger, Paris, Figuiere, 1912 (published in English and Russian in 1913, a new edition was published in 1947)
Du Cubisme et des moyens de le comprendre, Paris, La Cible, Povolozky, 1920 (published in German in 1922).
La Mission creatrice de l’Homme dans le domaine plastique, Paris, La Cible, Povolozky, 1921 (published in Polish in 1927).
La Peinture et ses lois, ce qui devait sortir du Cubisme, Paris, 1924 (published in English in 2000)
Tradition et Cubisme. Vers une conscience plastique. Articles et Conferences 1912–1924, Paris, La Cible, Povolozky, 1927
Peinture et Perspective descriptive, conference at the Carnegie Foundation for l’Union Intellectuelle francaise, Paris, 22 March 1927. Sablons, Moly-Sabata, 1927
Kubismus, Bauhausbucher 13, Munich, Albert Langen Verlag, 1928 (re-edited by Florian Kupferberg Verlag in 1980).
Vie et Mort de l’Occident Chretien, Sablons, Moly-Sabata, 1930 (published in English in 1947)
Vers une Conscience plastique : La Forme et l’Histoire, Paris, Povolozky, 1932
Art et Science, Sablons, Moly-Sabata, 1933. 2eme edition, Aix-en-Provence, 1961. Conference at Lodz, Poland, 28 April 1932, and Stuttgart, 6 Mai 1932.
Homocentrisme ; Le retour de l’Homme chretien; Le Rythme dans les Arts plastiques, Sablons, Moly-Sabata, 1937
La Signification Humaine du Cubisme, Lecture by Albert Gleizes at the Petit Palais, Paris, 18 July 1938, Sablons, Moly-Sabata, 1938
Du Cubisme, Albert Gleizes and Jean Metzinger, Paris, Compagnie Francaise des Arts Graphiques, 1947 (re-edition of the 1912 book with slight modifications and a new Preface by Albert Gleizes).
Souvenirs, le Cubisme 1908–1914, Lyon, Cahiers Albert Gleizes, L’Association des Amis d’Albert Gleizes, 1957
Puissances du Cubisme, Chambery, editions Presence, 1969. Collection of articles published between 1925 and 1946
Art et religion, Art et science, Art et production, Chambery, editions Presence, 1970 (published in English in 2000)
L'Homme devenu peintre, Paris, Fondation Albert Gleizes and Somogy editions d'Art, 1998
L'Art et ses representants. Jean Metzinger, Revue Independante, Paris, September, 1911, pp. 161–172
Le Fauconnier et son oeuvre, Revue Independante, Paris, October 1911 Unlocated article listed in Le Fauconnier bibliographies
Les Beaux Arts. A propos du Salon d'Automne, Les Bandeaux d'Or, series 4, no. 13, 1911–1912, pp. 42–51
Cubisme devant les Artistes, Les Annales politiques et litteraires, Paris, December, 1912, pp. 473–475. A response to an inquiry
Le Cubisme et la Tradition, Montjoie, Paris, 10 February 1913, p. 4. Reprinted in Tradition et Cubisme, Paris, 1927
[Extracts from O Kubisme], Soyuz Molodezhi, Sbornik, St. Petersburg, no. 3, 1913. With commentary. Reference from gray, Camilla. The Great Experiment: Russian Art, 1893–1922, New York, Abrams, 1962, p. 308
Opinions (Mes Tableaux), Montjoie, Paris, nos. 11–12, November–December, 1913, p. 14
C’est en allant se jeter a la mer que le fleuve reste fidele a sa source, Le Mot, Paris, vol. I, no. 17, 1 Mai 1915
French Artists Spur on American Art, New York Herald, 24 October 1915, pp. 2–3. An interview
Interview with Gleizes (Duchamp, Picabia and Crotti), The Literary Digest, New York, 27 November 1915, pp. 1224–1225
La Peinture Moderne", 391, New York, no. 5, June 1917, pp. 6–7
The Abbey of Creteil, A Communistic Experiment, The Modern School, Stelton, New Jersey, October, 1918. Edited by Carl Zigrosser
The Impersonality of American Art, Playboy, New York, nos. 4 and 5, 1919, pp. 25–26. Translated by Stephen Bourgeois.
Preface to the catalogue of Annual Exhibition of Modern Art at the Bourgeois Galleries, New York, 1919
Vers une epoque de batisseurs", Clarte (Bulletin Francais), Paris, 1920, no. 13, 14, 15, 32
Letter to Herwarth Walden, 30 April 1920], Der Sturm, Berlin, Nationalgalerie, September, 1961, p. 46
L’Affaire dada. Action, Paris, no. 3, April, 1920, pp. 26–32. Re-printed in English in Motherwell, Robert, ed. Dada Painters and Poets, New York, 1951, pp. 298–302
Dieu Nouveau, La Vie des Lettres, Paris, October, 1920, p. 178
Rehabilitation des Arts Plastiques, La Vie des Lettres et des Arts, Paris, series 2, no. 4, April, 1921, pp. 411–122. Reprinted in Tradition et Cubisme, Paris, 1927
L'Etat du Cubisme aujourd'hui, La Vie des Lettres et des Arts, Paris, series 2, no. 15, 1922, pp. 13–17
Tradition und Freiheit, Das Kunstblatt, Berlin, vol. 6, no. 1, 1922, pp. 26–32
Ein Neuer Naturalismus? Eine Rundfrage des Kunstblatts, Das Kunstblatt, Berlin, vol. 6, no. 9, 1922, pp. 387–389
Perle, La Bataille Litteraire, Brussels, vol. 4, no. 2, 25 February 1922, pp. 35–36 [A poem, New York, 1916]
La Peinture et ses Lois : Ce qui devait sortir du Cubisme, La Vie des Lettres et des Arts, Paris, series 2, no. 12, March, 1923, pp. 26–73
Jean Lurcat, Das Kunstblatt, vol. 7, no. 8, 1923, pp. 225–228
L’Art moderne et la Societe nouvelle, Moniteur de l’Academie Socialiste, Moscou, 1923. Reprinted in Tradition et Cubisme, Paris, 1927, pp. 149–161
Ou va la peinture moderne? Bulletin de l’Effort Moderne, Paris, no. 5, May 1924, p. 14. Response to an inquiry
La Renaissance et la peinture d'aujourd'hui, La Vie des Lettres et des Arts, Paris, decembre 1924 (repris dans Tradition et Cubisme, Paris, 1927, p. 179–191)
La Peinture et ses Lois, Bulletin de l’Effort Moderne, Paris, no. 5, May 1924, p. 4–9, no. 13, March 1925, p. 1–4
A propos de la Section d'Or de 1912, Les Arts Plastiques, Paris, no. 1, January,1925, pp. 5–7
Chez les Cubistes: une enquete, Bulletin de la Vie Artistique, Paris, vol. 6, no. 1, January 1925, pp. 15–19. Response to an inquiry
L’inquietude, Crise plastique, La Vie des Lettres et des Arts, Paris, series 2, no. 20, May, 1925, pp. 38–52
A l'Exposition, que pensez-vous du... Pavilion de Russie, Bulletin de la Vie Artistique, vol. 6, no. 11, 1 June 1925, pp. 235–237. Response to an inquiry
Cubisme", La Vie des Lettres et des Arts, Paris, series 2, no. 21, 1926, pp. 51–65. Announced as French text of Kubismus, Bauhausbucher 13, Munich, 1928, written in September, 1925, at Serrieres
Cubisme (Vers une conscience plastique). Bulletin de l'Effort Moderne, Paris, no. 22, February, 1926; no. 23, March, 1926; no. 24, April, 1926; no. 25, May, 1926; no. 26, June, 1926; no. 27, July, 1926; no. 28, October, 1926; no. 29, November, 1926; no. 30, December, 1926; no. 31, January, 1927; no. 32, February, 1927. Extracts, announced as partial contents of Kubismus, Bauhausbucher 13, 1928
L’Epopee. De la Forme immobile a la Forme mobile, Le Rouge et le Noir, Paris, October, 1929, pp. 57–99. The final French text of Kubismus, Bauhausbucher 13, Munich, Albert Langen Verlag, 1928 (re-edited by Florian Kupferberg Verlag in 1980).
Charles Henry et le Vitalisme, Cahiers de l'Etoile, Paris, no. 13, January–February, 1930, pp. 112–128. [Preface to La Forme et l'Histoire], l'Alliance Universelle, Paris, 30 April 1930
Les Attitudes Fondamentales de l'Esprit Moderne, Bulletin de la VIIeme Congres de la Federation Internationale des Unions Intellectuelles, Cracow, October, 1930. [Preface to an Exhibition of Paintings by Gottfried Graf, Berlin, 1931]. Quoted in Chevalier, Le Denouement traditionnel du Cubisme, 2, Confluences, Lyon, no. 8, February, 1942, p. 193
Civilization et Propositions, La Semaine Egyptienne, Alexandria, 31 October 1932, p. 5
Moly-Sabata ou le Retour des Artistes au Village, Sud Magazine, Marseilles, no. 1021, 1 June 1932. [Statement], Abstraction-Creation, Art Non-Figuratif, Paris, no. 1, 1932, pp. 15–16
La Grande Ville et Ses Signes, La Liberte, Paris, 7 May 1933, p. 2
Vers la regeneration intellectuelle, Naturisme du corps: naturisme de l'esprit, Regeneration, Paris, new series, no. 46, July–August, 1933, pp. 117–119. [Statement], Abstraction-Creation, Art Non-Figuratif, Paris, no. 2, 1933, p. 18
Vers une conscience plastique, La Forme et l'Histoire, Sud, magazine mediterraneen, no. 104, 1–16 July 1933, p. 20–21
Propos de peintre, Almanach Vivarois 1933, Sous le signe de July, 1933, p. 30–34. May 2007
Le Retour de l’Homme a sa Vie, Jeunesse, and Jeunesse (suite), Regeneration, Paris, no. 49, 50, 53, 1934. [Expose] Abstraction-Creation, Art Non Figuratif, Paris, no. 3, 1934, p. 18
Agriculture et Machinisme, Regeneration, Paris, no. 53, August–September, 1934, pp. 11–14. Enlarged version of article originally published in Lyon Republicain, 1 January 1932
Le Groupe de l'Abbaye. La Nouvelle Abbaye de Moly-Sabata, Cahiers Americains, Paris, New York, no. 6, Winter, 1934, pp. 253–259
Le Retour a la Terre, Beaux-Arts, Paris, 14 December 1934, p. 2
Peinture et Peinture, Sud Magazine, Marseilles, no. 8, August 1935. Offprint. (In Puissances du Cubisme, 1969, pp. 185–199)
Retour a l’Homme. Mais a quel Homme?, December, 1935. Offprint, Sud Magazine, Marseilles. (In Puissances du Cubisme, 1969, pp. 201–218)
Arabesques, Cahiers du Sud, (special edition), L’Islam et l’Occident, vol. 22, no. 175, August–September, 1935, pp. 101–106. (In Puissances du Cubisme, 1969, pp. 169–175)
Article dated Serrieres d'Ardeche, November, 1934. [Statement], Abstraction-Creation, Art Non-Figuratif, Paris, no. 5, 1936, pp. 7–8
La Question de Metier, Beaux-Arts, Paris, 9 October 1936, p. 1
Art Regional, Tous les Arts a Paris, Paris, 15 December 1936
Le Probleme de la Lumiere, Cahiers du Sud, vol. 24, no. 192, March, 1937, pp. 190–207. (From d'Homocentrisme, also in Puissance du cubisme, 1969, pp. 245–267)
Cubisme et Surrealisme: Deux Tentatives Pour Redecouvrir l'Homme, Deuxieme Congres international d'esthetique et de science de l'art, Paris, 1937, II p. 337. (In Puissances du cubisme, 1969, p. 269–282)
Tradition et Modernisme, l'Art et les Artistes, Paris, no. 37, January, 1939, pp. 109–115
L'Oeuvre de Maurice Garnier, Sud Magazine, Marseille, mars-avril 1939, p. 15–17
Artistes et Artisans, L’Opinion, Cannes, 31 May 1941
Spiritualite, Rythme, Forme, Confluences: Les Problemes de la Peinture, Lyon, 1945, section 6. Special edition, edited by Gaston Diehl. (In Puissance du cubisme, 1969, p. 315–344)
Apollinaire, la Justice et Moi, Guillaume Apollinaire, Souvenirs et Temoignages, Paris, Editions de la Tete Noire, 1946, pp. 53–65. Edited by Marcel Adema
L’Arc en Ciel, cle de l’Art chretien medieval, Les Etudes Philosophiques, new series, no. 2, April–June, 1946. [Statement], Realites Nouvelles, Paris, no. 1, 1947, pp. 34–35 (In Puissances du cubisme, 1969, p. 345–357)
Realites Nouvelles, Paris, no. 1, 1947, p. 34–35. Preliminaires a une etude sur les variations iconographiques de la Croix, Temoignages, Cahiers de la Pierre-qui-Vire, no. 15, October 1947
Life and Death of the Christian West, Londres, Dennis Dobson Ltd., 1947. Preface by H. J. Massingham, translation by Aristide Messinesi
Y a-t-il un Art Traditionnel Chretien ?, Temoignages, Cahiers de la Pierre-qui-Vire, July 1948
L’Art Sacre est Theologique et Symbolique, Arts, Paris, no. 148, 9 January 1948, p. 8
Active Tradition of the East and West, Art and Thought, Londres, February 1948, p. 244–251 (Ananda K. Coomaraswamy, homage)
Pourquoi j'illustre Les Pensees de Pascal, Arts, 24 March 1950, p. 1–2
Introduction au catalogue de l'exposition Les Pensees de Pascal, Chapelle de l’Oratoire, Avignon, 22 July – 31 August 1950
Peinture d’Opinion et Peinture de Metier, L’Atelier de la Rose, Lyon, June 1951
Reflexions sur l’Art dit Abstrait et du Caractere de l’Image dans la Non-Figuration, I, L’Atelier de la Rose, Lyon, October 1951
Reflexions sur l’Art dit Abstrait et du Caractere de l’Image dans la Non-Figuration, II, L’Atelier de la Rose, Lyon, January 1952
L’Esprit fondamental de l’Art roman, L’Atelier de la Rose, Lyon, September 1952
Mentalite Renouvelee, I, L’Atelier de la Rose, Lyon, December 1952
Presence d’Albert Gleizes, Zodiaque, Saint-Leger-Vauban, no. 6-7, January 1952
L’Esprit de ma fresque : L’Eucharistie, L’Atelier de la Rose, Lyon, March 1953.
Mentalite Renouvelee, Il, L’Atelier de la Rose, Lyon, June 1953, pp. 452–460.
Conformisme, Reforme et Revolution, Correspondences, Tunis, no. 2, 1954, p. 39–45. (With a biographical note by Jean Cathelin)
Un potier [sur Anne Dangar ], La belle Journee est passee, Zodiaque, Saint-Leger-Vauban, no. 25, April 1955.
Caracteres de l’Art Celtique, Actualite de l’Art Celtique, Cahiers d’Histoire et de Folklore, Lyon, 1956, pp. 55–97 (extraits de La Forme et l’Histoire, 1932)
Souvenirs, le Cubisme 1908–1914, Lyon, Cahiers Albert Gleizes, L’Association des Amis d’Albert Gleizes, 1957 (from Souvenirs, manuscript conserved at the Kandinsky Library / Centre Pompidou, Paris)
Introduction a Mainie Jellett, The Artists’ Vision, Dundalk, Dundalgan Press, 1958, pp. 25–45 (written in 1948)
Puissances du Cubisme, Chambery, editions Presence, 1969 (articles published between 1925 and 1946)
Art et religion, Art et science, Art et production, Chambery, editions Presence, 1970. (English edition by Peter Brooke, 1999)
Fragments de notes inedites (1946), Zodiaque, n° 100, April 1974, pp. 39–74
Du Cubisme, Jean Metzinger, Aubard (editions Presence), 1980 (re-edition of the 1947 version with an introduction by Daniel Robbins)
Albert Gleizes en 1934, Ampuis, Association des Amis d'Albert Gleizes, 1991. (from Souvenirs, manuscript conserved at the Kandinsky Library / Centre Pompidou, Paris)
Sujet et objet, deux lettres adressees a Andre Lhote, Ampuis, Association des Amis d’Albert Gleizes, 1996