ALBERT GLEIZES (1881-1953)
ALBERT GLEIZES (1881-1953)
ALBERT GLEIZES (1881-1953)
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Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY OF AN AMERICAN MIDWESTERN GENTLEMAN
ALBERT GLEIZES (1881-1953)

Paysage à Meudon

ALBERT GLEIZES (1881-1953)
Paysage à Meudon
signed and dated 'Albert Gleizes 11' (lower right)
oil on canvas
27 7/8 x 36 in. (70.8 x 91.5 cm.)
Painted in 1911
Jan Streep, New York.
Mr. & Mrs. Morton G. Neumann, Chicago, by September 1964; sale, Christie’s, New York, 15 May 1985, lot 39.
Private collection, United Kingdom, by whom acquired at the above sale.
(Probably) Galerie Applicat, Paris.
Anonymous sale, Hôtel Drouot, Paris, 21 Oct 1993, lot 31.
François Odermatt, Montreal, by whom acquired at the above sale.
Acquired from the above by the present owner in December 1994.
"Show Weird Work of Cubist Artists," Cleveland Plain Dealer, 17 June 1913, p. 7 (illustrated).
A. Sheon, "1913: Forgotten Cubist Exhibitions in America," Arts Magazine, March 1983, p. 97 (illustrated fig. 5, p. 97).
A. Varichon, Albert Gleizes: catalogue raisonné, vol. I, Paris, 1998, no. 370, p. 135 (illustrated).
Exh. cat., Albert Gleizes, le cubisme en majesté, Barcelona, 2001, pp. 162, 221 (illustrated).
Barcelona, Galeries J. Dalmau, Exposició d'Art Cubista, April - May 1912, no. 16 (illustrated on the frontispiece).
Milwaukee, Gimbel Brothers, Exhibition of "Cubist" and "Futuris" Pictures, May - June 1913; this exhibition later travelled to Cleveland, William Taylor, Son & Co., June - July 1913; Pittsburgh, Boggs & Buhl, July 1913; New York, Gimbel Brothers, July 1913; Philadelphia, Gimbel Brothers, August 1913, and Milwaukee, Art Society Gallery, August 1913.
New York, Solomon R. Guggenheim Mueseum, Albert Gleizes, September - November 1964, no. 22, p. 28 (illustrated, p. 40); this exhibition later travelled to San Francisco, Museum of Art, September - November 1964; St. Louis, City Art Museum, November - December 1964; Champaign, Krannert Art Museum, January - February 1965; Columbus, Gallery of Fine Arts, March - April 1965; Ottawa, National Gallery of Canada, April - May 1965; Buffalo, Albright-Knox Gallery, June - September 1965; Chicago, The Arts Club, September - October 1965.
Special notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
Post lot text
Anne Varichon has confirmed the authenticity of this work.
Sale room notice
Please note the correct dimensions for this work are 27 7/8 x 36 in. (70.8 x 91.5 cm.), and not as stated in the printed gallery guide.

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Lot Essay

Paysage à Meudon is a large and important painting completed by Albert Gleizes in 1911, at the height of his new friendship and collaboration with fellow Cubist Jean Metzinger. One of his largest and most ambitious paintings from this period, made in direct response to the inspiration of Metzinger, Paysage à Meudon has been widely exhibited, not least of all at the first major retrospective of Gleizes’ work at the Solomon R. Guggenheim Museum in New York, in 1964.
With its prismatic Cubism, shifting multiple perspective points and its holistic integration of trees, hills, houses and bridges this work represents a radical extension of Gleizes' Cubism into an entirely new integrated and simultaneous style of composition. In this it reflects and in fact depicts the importance of the influence of what Gleizes himself later termed his 'rodage' with Metzinger at this time when the two artists, living in Meudon, were in almost daily contact with one another and developed an intimate understanding of each other’s art practice and ideas.
The Parisian suburb of Meudon marked one of the borderlines between the city and the country. A familiar sight for Gleizes on his walk through the woods would have been the burgeoning factories then springing up on the other side of the river Seine. In Paysage à Meudon Gleizes has consciously repressed such urbanised imagery in favour of creating a deliberately more idealised and even classical sense of landscape as if he were championing the values of traditionalism, the pastoral and the classical against those of the city and modernity. Indeed, in this scene we see this idealised version of the landscape through which Gleizes walked almost every day on his journey to and from Metzinger's house. In his attempt to grasp the rhythms of a panorama, Gleizes presents a complex and harmonious geometry of diverging planes and forms that overlap, innovating a fresh and dynamic sense of movement of the landscape subject.
In 1912, Gleizes and Metzinger co-authored a ground-breaking treatise on the nature of Cubism, Du Cubisme. They were the first to propose that Cubism was based on principles of relativity, simultaneity, and four-dimensionality. These ideas would soon become widely accepted in critical circles and still form the basis of our understanding of Cubist art. In this treatise, Gleizes and Metzinger refer to Gustave Courbet and Paul Cézanne as the spiritual ancestors of Cubism, in that they were the first artists to wish to obliterate from their art all symbolic, literary and historical dimensions. As did Courbet and Cézanne before him, in the present work Gleizes chose a subject matter that was nearly emptied of symbolic content: the landscape. This allowed Gleizes to focus on qualities of form, rather than those of texture and colour.

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