''Man on a Balcony'' (also known as ''Portrait of Dr. Théo Morinaud'' and L'Homme au balcon''), is a large oil painting created in 1912 by the French artist, theorist and writer

Albert Gleizes 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 ...

(1881–1953). The painting was exhibited in Paris at the

Salon d'Automne The Salon d'Automne (; en, Autumn Salon), or Société du Salon d'automne, is an art exhibition held annually in Paris, France. Since 2011, it is held on the Champs-Élysées, between the Grand Palais and the Petit Palais, in mid-October. The ...

of 1912 (no. 689). The Cubist contribution to the salon created a controversy in the

French Parliament The French Parliament (french: Parlement français) is the bicameral legislature of the French Republic, consisting of the Senate () and the National Assembly (). Each assembly conducts legislative sessions at separate locations in Paris ...

about the use of public funds to provide the venue for such 'barbaric art'. Gleizes was a founder of Cubism, and demonstrates the principles of the movement in this monumental painting (over six feet tall) with its projecting planes and fragmented lines.The Armory Show at 100, Albert Gleizes, ''Man on a Balcony (Portrait of Dr. Théo Morinaud)''
/ref> The large size of the painting reflects Gleizes's ambition to show it in the large annual salon exhibitions in Paris, where he was able with others of his entourage to bring Cubism to wider audiences.Michael R. Taylor, from Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art (2007) In February 1913, Gleizes and other artists introduced the new style of

modern art Modern art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the styles and philosophies of the art produced during that era. The term is usually associated with art in which the tradi ...

known as

Cubism Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. In Cubist artwork, objects are analyzed, broken up and reassemble ...

to an American audience at the

Armory Show The 1913 Armory Show, also known as the International Exhibition of Modern Art, was a show organized by the Association of American Painters and Sculptors in 1913. It was the first large exhibition of modern art in America, as well as one of ...

in New York City, Chicago and Boston. In addition to ''Man on a balcony'' (no. 196), Gleizes exhibited his 1910 painting '' Femme aux Phlox'' (

Museum of Fine Arts, Houston The Museum of Fine Arts, Houston (MFAH), is an art museum located in the Houston Museum District of Houston, Texas. With the recent completion of an eight-year campus redevelopment project, including the opening of the Nancy and Rich Kinder Buil ...

).Armory Show entry, Albert Gleizes' painting ''La Femme aux Phlox'', 1910, Walt Kuhn family papers, and Armory Show records, Archives of American Art, Smithsonian Institution
/ref>Catalogue of International Exhibition of Modern Art
Exhibition held at the Armory of the 69th Infantry, New York, from Feb. 15 to March 15, 1913 ''Man on a Balcony'' was reproduced in L'Excelsior, ''Au Salon d'Automne, Les Indépendants'', 2 October 1912. It was then reproduced in '' Les Peintres Cubistes, Méditations Esthétiques'', a collection of essays by

Guillaume Apollinaire Guillaume Apollinaire) of the Wąż coat of arms. (; 26 August 1880 – 9 November 1918) was a French poet, playwright, short story writer, novelist, and art critic of Polish descent. Apollinaire is considered one of the foremost poets of t ...

published in 1913 The painting was completed around the same time as Albert Gleizes co-authored with Jean Metzinger a major treatise titled ''

Du "Cubisme" ''Du "Cubisme"'', also written ''Du Cubisme'', or ''Du « Cubisme »'' (and in English, ''On Cubism'' or ''Cubism''), is a book written in 1912 by Albert Gleizes and Jean Metzinger. This was the first major text on Cubism, predating ''The Cubist P ...

'' (the first and only manifesto on Cubism). ''Man on a Balcony'' was purchased at the 1913 Armory Show by the lawyer, author, art critic, private art collector, and American proponent of Cubism

Arthur Jerome Eddy Arthur Jerome Eddy (November 5, 1859 - July 21, 1920 in New York City, New York) was an American lawyer, author, art collector, and a prominent member of the first generation of American Modern art collectors. His book ''Cubists and Post-Impressi ...

for $540. Gleizes' ''Man on a Balcony'' was the frontispiece of Arthur Jerome Eddy's book ''Cubists and Post-Impressionism'', March 1914. The painting later formed part of the Louise and

Walter Conrad Arensberg Walter Conrad Arensberg (April 4, 1878 – January 29, 1954) was an American art collector, critic and poet. His father was part owner and president of a crucible steel company. He majored in English and philosophy at Harvard University. With his w ...

Collection, 1950. It is currently in the permanent collection of the

Philadelphia Museum of Art The Philadelphia Museum of Art (PMoA) is an art museum originally chartered in 1876 for the Centennial Exposition in Philadelphia. The main museum building was completed in 1928 on Fairmount, a hill located at the northwest end of the Benjamin ...

Description

''Man on a Balcony'' is a large oil painting on canvas with dimensions 195.6 x 114.9 cm (77 by 45.25 inches) signed and dated ''Albert Gleizes 12'', lower left. Studies for this work began in the spring of 1912 while the full-figure portrait was probably completed during the late summer of 1912. A study for ''L'Homme au balcon'' was exhibited at the 1912

Salon des Indépendants Salon may refer to: Common meanings * Beauty salon, a venue for cosmetic treatments * French term for a drawing room, an architectural space in a home * Salon (gathering), a meeting for learning or enjoyment Arts and entertainment * Salon (Pa ...

and reproduced in ''Du "Cubisme"''.Peter Brooke, ''Albert Gleizes: For and Against the Twentieth Century'', New Haven and London, Yale University Press, 2001
Gleizes deliberately contrasts angular and curved shapes, while the tubular, block-like forms of the figure and head are derived directly from the principled of Cubism, as laid out in ''

''. Daniel Robbins in ''Albert Gleizes 1881–1953, A Retrospective Exhibition'', The Solomon R. Guggenheim Museum, New York, writes of Gleizes' ''Man on a Balcony'':

This second portrait of Dr. Morinaud, probably from his office on Avenue de l'Opera, shows Gleizes again giving prominence to the curvilinear elements that had been important in his style in 1907-09. The painting became the subject of a lively debate between
Marinetti Filippo Tommaso Emilio Marinetti (; 22 December 1876 – 2 December 1944) was an Italian poet, editor, art theorist, and founder of the Futurist movement. He was associated with the utopian and Symbolist artistic and literary community Abbaye ...
and Lhote (La Vie des Lettres et des Arts, no. 16, 1922, p. 10,) in which the Futurist leader insisted that a Futurist painter would have attempted to "give the ensemble of visual sensations capable of being experienced by the person on the balcony". Lhote replied that such preoccupations were "literary" and "psychological", and outside the interests of the French Cubists. He was wrong for, although not primarily concerned with the reality of visual sensations, Gleizes was, nevertheless, deeply committed to symbolic and psychological relationships. (Daniel Robbins, 1964)

The figure of Dr. Théo Morinaud is intentionally still identifiable, unlike the degree of abstraction present within

Marcel Duchamp Henri-Robert-Marcel Duchamp (, , ; 28 July 1887 – 2 October 1968) was a French painter, sculptor, chess player, and writer whose work is associated with Cubism, Dada, and conceptual art. Duchamp is commonly regarded, along with Pablo Picasso ...

’s '' Nude Descending a Staircase No. 2'', on view in the same gallery at the Armory Show, and unlike ''The Dance at the Spring'' or ''The Procession, Seville'' by

Francis Picabia Francis Picabia (: born Francis-Marie Martinez de Picabia; 22January 1879 – 30November 1953) was a French avant-garde painter, poet and typographist. After experimenting with Impressionism and Pointillism, Picabia became associated with Cubism ...

, or

Robert Delaunay Robert Delaunay (12 April 1885 – 25 October 1941) was a French artist who, with his wife Sonia Delaunay and others, co-founded the Orphism art movement, noted for its use of strong colours and geometric shapes. His later works were more abstra ...

's, ''Window on the City, No. 4''. Essentially, the emphasis on simplified form—particularly those that comprise the Dr. Théo Morinaud—does not overwhelm the representational interest of the painting. In this painting the simplification of the representational form gives way to a new complexity in which foreground and background are united, and yet the subject of the painting is not obscured entirely by the network of interlocking geometrical elements. That is not to say that Gleizes sought to make a portrait of the Doctor Morinaud as he actually appeared. Neither in this portrait of Morinaud, ''Portrait of Igor Stravinsky'', 1914 (The Museum of Modern Art, MoMA) or Gleizes' Portrait of Jacques Nayral, nor Picasso's portraits of Vollard, Uhde or Kahnweiler, had the artists sought as a primary goal resemblance with the sitters. In ''Du "Cubisme"'', Gleizes and Metzinger attempted to clarify the distinction between the ''picture'' and ''decorative painting''. And Gleizes, writing in ''The Epic, From immobile form to mobile form'' (first published in 1925), explains the key to the relationship that develops between the artwork and the viewer, between representation or abstraction of from:

The plastic results are determined by the technique. As we can see straightaway, it is not a matter of describing, nor is it a matter of abstracting from, anything that is external to itself. There is a concrete act that has to be realised, a reality to be produced - of the same order as that which everyone is prepared to recognise in music, at the lowest level of the esemplastic scale, and in architecture, at the highest. Like any natural, physical reality, painting, understood in this way, will touch anyone who knows how to enter into it, not through their opinions on something that exists independently of it, but through its own existence, through those inter-relations, constantly in movement, which enable us to transmit life itself. (Albert Gleizes)

Every artist of the

Section d'Or The Section d'Or ("Golden Section"), also known as Groupe de Puteaux or Puteaux Group, was a collective of Painting, painters, sculptors, poets and critics associated with Cubism and Orphism (art), Orphism. Based in the Parisian suburbs, the grou ...

agreed that painting no longer had to be imitative. Gleizes there was no exception. All were in agreement too that the great value of modern art lay in that conception synthesized from experience could be recreated in the mind of the observer. However, there was diversity in defining the constituents of the experience to be synthesized. For Gleizes, then, principles needed to be formulated and derived out of the internal necessity of particular subjects. Important was not just the outward physical aspects or traits of a subject. Gleizes would incorporate 'penetrations', 'recollections' and 'correspondences' (to use his terms) between the subject and the environment. What he knew or felt about the subject became just as fundamental to the outcome of the painting as what he saw in the subject. His conception involved the search for qualities and equivalencies that would relate seemingly disparate phenomena, comparing and identifying one property with another—for example, the elements of the urban background appear as an extension of the pensive Dr. Morinaud. "This is a fundamentally synthetic notion", as pointed out art historian Daniel Robbins, "that points to the unity or compatibility of things. Ironically", he continues, "it is this idea that Kahnweiler was to shape much later as Cubist metaphor in his monograph on Juan Gris". After John Quinn, the largest buyer at the

was

. Following his purchase of Gleizes' ''Man on a Balcony'' and of Jacques Villon's ''Jeune femme (Young Girl)'', he returned to the exhibition the following day and bought four more works, including

's ''Danse à la source (Dances at the Spring)'',

's ''Le Roi et la Reine entourés de nus vites'',

André Derain André Derain (, ; 10 June 1880 – 8 September 1954) was a French artist, painter, sculptor and co-founder of Fauvism with Henri Matisse. Biography Early years Derain was born in 1880 in Chatou, Yvelines, Île-de-France, just outside Paris. In ...

's ''La forêt (Forest at Martigues)'', and

Maurice de Vlaminck Maurice de Vlaminck (4 April 1876 – 11 October 1958) was a French painter. Along with André Derain and Henri Matisse, he is considered one of the principal figures in the Fauve movement, a group of modern artists who from 1904 to 1908 we ...

's ''Rueil''. Eddy writes of ''Man on a Balcony'' in his ''Cubists and Post-Impressionism'', March 1914:

Of all the Cubist pictures exhibited, most people liked "The Man on the Balcony" best. Why?
Because it looked like a good painting of a man in armour.
"I like the 'Man in Armour,'" was an expression frequently heard.
All of which goes to show that appreciation is largely a matter of association rather than of knowledge and taste.
Tell the people it is not a man in armour, and immediately they ask, in a tone of disgust, "Then what is he?" and the picture they liked a moment before becomes ridiculous in their eyes. (Eddy, 1914)

''Man on a Balcony'', with its monumental architecture of semi-abstract elements, is an open declaration of the principles of Cubist painting. The composition exemplifies the Cubist style of reverberating lines and fractured planes as applied to the traditional format of the full-length portraiture. The treatment of the subject is sufficiently representational to permit the identification of the tall, elegant figure as Dr. Théo Morinaud, a dental surgeon in Paris.Albert Gleizes, l'Homme au Balcon, 1912, oil on canvas, 195.6 x 114.9 cm, Philadelphia Museum of Art
/ref> After the completion of both this work and the publication of ''

'', Gleizes became convinced that artists could explain themselves as well as or better than critics. He wrote and granted interviews during the following years when ''Du "Cubisme"'' was enjoying wide circulation and considerable success. While still 'readable' in the figurative or representational sense, ''Man on a Balcony'' demonstrates the mobile, dynamic fragmentation of form characteristic of

at the artistic movements peak of 1912. Highly sophisticated both physically and in theory, this aspect of visualizing objects from several successive viewpoints called multiple perspective—different from illusion of motion associated with

Futurism Futurism ( it, Futurismo, link=no) was an artistic and social movement that originated in Italy, and to a lesser extent in other countries, in the early 20th century. It emphasized dynamism, speed, technology, youth, violence, and objects suc ...

—would soon become ubiquitously identified with the practices of the Groupe de Puteaux. The ''Man on a Balcony'' leans nonchalantly against a balustrade occupying the foreground of the composition. At first glance he appears bathed in natural light. But upon close examination there is no clear light source or direction from which the light emanates, giving the overall work the theatrical feeling of a stage set. Aimed at a wide audience, the models monumental three-dimensional presence 'gazes' at the spectator, while the spectator contemplates the painting in return. Just as in Gleizes' '' Le Chemin, Paysage à Meudon'' (1911) and '' Les Baigneuses (The Bathers)'' of the same year, there is present throughout an interplay of perpendicular lines and hyperbolic arcs that produce a rhythm that permeate the complex urban backdrop; here of smokestacks, train tracks, windows, bridge girders and clouds (the view from the balcony of the doctors office on the avenue de l'Opéra).

"Suggestive of the air, the space, and even the passage of time between these places are bubblelike shapes that emanate from the man to the animated urban panorama behind him. Gleizes's vocabulary becomes more experimental as he captures the cacophony and simultaneity of modern city life using a vocabulary of abbreviated, invented signs. The gray, ocher, beige, and brown colors, often identified with the rigor of Cubist thought, suggest the grimy, smoky city atmosphere, although Gleizes has enlivened this neutral palette by including bright greens and reds as well as creamy white highlights. The large size of the painting contrasts with the intimately scaled Cubist works of Picasso and Braque, reflecting the destination Gleizes envisioned for his work: the public salons of Paris, where he exhibited in the hope of bringing Cubism to wider audiences.Twentieth Century Painting and Sculpture in the Philadelphia Museum of Art (2000), p. 33. Albert Gleizes, l'Homme au Balcon, 1912, oil on canvas, 195.6 x 114.9 cm, Philadelphia Museum of Art
/ref>

Salon d'Automne, 1912

The Salon d'Automne of 1912, held in Paris at the Grand Palais from 1 October to 8 November, saw the Cubists (listed below) regrouped into the same room XI. For the occasion, ''Danseuse au café'' was reproduced in a photograph published in an article entitled ''Au Salon d'Automne "Les Indépendants"'' in the French newspaper ''Excelsior'', 2 Octobre 1912.

Excelsior Excelsior, a Latin comparative word often translated as "ever upward" or "even higher", may refer to: Arts and entertainment Literature and poetry * "Excelsior" (Longfellow), an 1841 poem by Henry Wadsworth Longfellow * ''Excelsior'' (Macedo ...

was the first publication to privilege photographic illustrations in the treatment of news media; shooting photographs and publishing images in order to tell news stories. As such ''L'Excelsior'' was a pioneer of

photojournalism Photojournalism is journalism that uses images to tell a news story. It usually only refers to still images, but can also refer to video used in broadcast journalism. Photojournalism is distinguished from other close branches of photography (such ...

. The history of the Salon d'Automne is marked by two important dates: 1905, bore witness to the birth of

Fauvism Fauvism /ˈfoʊvɪzm̩/ is the style of ''les Fauves'' (French language, French for "the wild beasts"), a group of early 20th-century modern artists whose works emphasized painterly qualities and strong colour over the Representation (arts), repr ...

(with the participation of Metzinger), and 1912, the xenophobe and anti-modernist quarrel (with the participation of both Metzinger and Gleizes). The 1912 polemic leveled against both the French and non-French avant-garde artists originated in ''Salle XI'' where the Cubists exhibited their works. The resistance to avant-garde artists and foreigners (dubbed "apaches") was just the visible face of a more profound crises: that of defining modern French art, centered in Paris, and the dwindling of an artistic system crystallized around the heritage of

Impressionism Impressionism was a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passa ...

. Burgeoning was a new avant-garde system, the international logic of which—''mercantile'' and ''médiatique''—put into question the modern ideology elaborated upon since the late 19th century. What had begun as a question of ''aesthetics'' quickly turned ''political'', and as in the 1905 Salon d'Automne, with his infamous "Donatello chez les fauves", the critic

Louis Vauxcelles Louis Vauxcelles (born Louis Meyer; 1 January 187021 July 1943) was a French art critic. He is credited with coining the terms '' Fauvism'' (1905) and ''Cubism'' (1908). He used several pseudonyms in various publications: Pinturrichio, Vasari, ...

(Les Arts..., 1912) was most implicated in the deliberations. It was Vauxcelles who, on the occasion of the 1910 Salon des Indépendants, wrote disparagingly of 'pallid' cubes with reference to the paintings of Metzinger, Gleizes, Le Fauconnier, Léger and Delaunay. On 3 December 1912 the polemic reached the

Chambre des députés Chamber of Deputies (french: Chambre des députés) was a parliamentary body in France in the nineteenth and twentieth centuries: * 1814–1848 during the Bourbon Restoration and the July Monarchy, the Chamber of Deputies was the lower house o ...

and was debated at the Assemblée Nationale in Paris.Journal officiel de la République française. Débats parlementaires. Chambre des députés, 3 December 1912, pp. 2924-2929. Gallica, Bibliothèque et Archives de l'Assemblée nationale, 2012-7516

(The Art of Measure: The Salon d'Automne Exhibition (1903-1914), the Avant-Garde, its Foreigners and the French Nation), electronic distribution Caim for Éditions de l'EHESS (in French) *

, exhibited ''l'Homme au Balcon'' (Man on a Balcony), (Portrait of Dr. Théo Morinaud) 1912 (Philadelphia Museum of Art), also exhibited at the

Armory show The 1913 Armory Show, also known as the International Exhibition of Modern Art, was a show organized by the Association of American Painters and Sculptors in 1913. It was the first large exhibition of modern art in America, as well as one of ...

, New York, Chicago, Boston, 1913. * Jean Metzinger entered three works: '' Dancer in cafe (Danseuse au café)'', ''La Plume Jaune'' (''The Yellow Feather''), ''Femme à l'Éventail'' (Woman with a Fan) (now at the Solomon R. Guggenheim Museum, New York), hung in the decorative arts section inside ''La Maison Cubiste'' (the ''Cubist House''). *

Fernand Léger Joseph Fernand Henri Léger (; February 4, 1881 – August 17, 1955) was a French painter, sculptor, and filmmaker. In his early works he created a personal form of cubism (known as " tubism") which he gradually modified into a more figurative, p ...

exhibited ''La Femme en Bleu'' (''Woman in Blue''), 1912 (Kunstmuseum, Basel) and ''Le passage à niveau'' (''The Level Crossing''), 1912 (Fondation Beyeler, Riehen, Switzerland) *

Roger de La Fresnaye Roger de La Fresnaye (; 11 July 1885 – 27 November 1925) was a French Cubist painter. Early years and education La Fresnaye was born in Le Mans where his father, an officer in the French army, was temporarily stationed. The La Fresnayes were ...

, ''Les Baigneuse'' (''The bathers'') 1912 (The National Gallery, Washington) and ''Les joueurs de cartes'' (Card Players) * Henri Le Fauconnier, ''The Huntsman'' (Haags Gemeentemuseum, The Hague, Netherlands) and ''Les Montagnards attaqués par des ours'' (''Mountaineers Attacked by Bears'') 1912 (Museum of Art, Rhode Island School of Design). *

André Lhote André Lhote (5 July 1885 – 24 January 1962) was a French Cubist painter of figure subjects, portraits, landscapes and still life. He was also active and influential as a teacher and writer on art. Early life and education Lhote was born ...

, ''Le jugement de Paris'', 1912 (Private collection) *

František Kupka František Kupka (23 September 1871 – 24 June 1957), also known as ''Frank Kupka'' or ''François Kupka,'' was a Czech Republic, Czech Painting, painter and graphic artist. He was a pioneer and co-founder of the early phases of the Abstract ...

, ''Amorpha, Fugue à deux couleurs'' (''Fugue in Two Colors''), 1912 (Narodni Galerie, Prague), and ''Amorpha Chromatique Chaude''. *

, 1912, ''La Source'' (''The Spring'') (Museum of Modern Art, New York) *

Alexander Archipenko Alexander Porfyrovych Archipenko (also referred to as Olexandr, Oleksandr, or Aleksandr; uk, Олександр Порфирович Архипенко, Romanized: Olexandr Porfyrovych Arkhypenko; February 25, 1964) was a Ukrainian and American ...

, ''Family Life'', 1912, sculpture *

Amedeo Modigliani Amedeo Clemente Modigliani (, ; 12 July 1884 – 24 January 1920) was an Italian painter and sculptor who worked mainly in France. He is known for portraits and nudes in a modern style characterized by a surreal elongation of faces, necks, and ...

, exhibited four elongated and highly stylized heads, sculptures * Joseph Csaky exhibited the sculptures ''

Groupe de femmes ''Groupe de femmes'', also called ''Groupe de trois femmes'', or ''Groupe de trois personnages'', is an early Cubist sculpture created circa 1911 by the Hungarian avant-garde, sculptor, and graphic artist Joseph Csaky (1888–1971). This sculptu ...

'', 1911-1912 (location unknown), ''Portrait de M.S.H.'', no. 91 (location unknown), and '' Danseuse (Femme à l'éventail, Femme à la cruche)'', no. 405 (location unknown) Albert Gleizes, Man on a Balcony, Walt Kuhn scrapbook of press clippings documenting the Armory Show, vol

Albert Gleizes, Man on a Balcony, Walt Kuhn scrapbook of press clippings documenting the Armory Show, vol

This exhibition also featured ''La Maison cubiste''.

Raymond Duchamp-Villon Raymond Duchamp-Villon (5 November 1876 – 9 October 1918) was a French sculptor. Life and art Duchamp-Villon was born Pierre-Maurice-Raymond Duchamp in Damville, Eure, in the Normandy region of France, the second son of Eugène and Lucie Duch ...

designed facade of a 10 meter by 3 meter house, which included a hall, a living room and a bedroom. This installation was placed in the Art Décoratif section of the Salon d'Automne. The major contributors were André Mare, a decorative designer,

, Jacques Villon and

Marie Laurencin Marie Laurencin (31 October 1883 – 8 June 1956) was a French painter and printmaker. She became an important figure in the Parisian avant-garde as a member of the Cubists associated with the Section d'Or. Biography Laurencin was born in Paris ...

. In the house were hung cubist paintings by

, Roger de La Fresnaye, and Jean Metzinger (Woman with a Fan, 1912). Though in the Deco section of the Parisian salon, the installation would soon find its way into the Cubist room at the 1913 Armory Show in New York City.

Armory Show

The International Exhibition of Modern Art, known today as the

was a landmark event in the history of art. This monumental series of exhibitions showcased the works of the most radical European artists of the time alongside those of their progressive American contemporaries. This massive exhibition was presented in varying forms at three venues—New York (69th Regiment Armory, February 17–March 15), Chicago (Art Institute of Chicago, March 24–April 16), and Boston (Copley Society, April 23–May 14). The exhibition introduced the visual language of European modernism to a wide spectrum of the American public, changing the aesthetic outlook for American artists, collectors, critics, galleries and museums. In 1913, Archipenko, Gleizes, Picabia, Picasso, the Duchamp brothers and others introduced

to an American audience at the

in three major cities,

New York City New York, often called New York City or NYC, is the List of United States cities by population, most populous city in the United States. With a 2020 population of 8,804,190 distributed over , New York City is also the L ...

Chicago (''City in a Garden''); I Will , image_map = , map_caption = Interactive Map of Chicago , coordinates = , coordinates_footnotes = , subdivision_type = List of sovereign states, Count ...

and

Boston Boston (), officially the City of Boston, is the state capital and most populous city of the Commonwealth of Massachusetts, as well as the cultural and financial center of the New England region of the United States. It is the 24th- mo ...

. In addition to ''Man on a balcony'' (no. 196), Gleizes exhibited his 1910 painting (no. 195 of the catalogue) '' Femme aux Phlox'' (

), an example of early Cubism.

Literature

* Guillaume Apollinaire, ''Les Peintres Cubistes, Méditations Esthétiques'', Eugène Figuière Éditeurs, 1913 * Jerome Eddy, ''Cubists and Post-Impressionism'', A.C. McClurg & Co., Chicago, 1914 * Willard Huntington Wright, ''Modern painting, its tendency and meaning'', 3 editions, first published in 1915 * Bulletin, Art Institute of Chicago, 1922 * Ozenfant and jeanneret, ''La Peinture Moderne'', Paris, 1924 * Albert Gleizes, 'L'Epopée', Le Rouge et le Noir, 1929 * Frank Jewett Mather, ''Modern Painting: A Study of Tendencies'', 1931 * René Édouard-Joseph, ''Dictionnaire biographique des artistes contemporains, 1910-1930'', Published 1931 * Arts Magazine, Volume 7, Art Digest Incorporated, 1932 * Quarterly, Art Institute of Chicago, 1933 * Charles Terrasse, André Gloeckner and Eveline Byam Shaw, ''La Peinture Française au XXe siècle (French Painting in the Twentieth Century)'', 1939 * ''Bulletin of the Art Institute of Chicago'', 1948 * 20th Century Art, from the Louise and Walter Arensberg Collection, The Art Institute of Chicago, October 20 to December 18, 1949 * André Lhote, ''Figure painting'', 1953 * Philadelphia Museum or Art, Arensberg Catalogue, 1954 * Madeleine Vincent, ''La peinture des XIXe et XXe siècles'', 1956 * François Fosca, ''Bilan du cubisme'', 1956 * Frank Trapp, ''The 1913 Armory Show in Retrospect'', 1958 * Guy Habasque, ''Cubism: Biographical and Critical Study'', 1959 * José Pierre, ''Le Futurisme Et Le Dadaïsme'', 1966 * José Pierre, ''Cubism'', 1969 * Albert Gleizes, ''Puissances Du Cubisme'', 1969 (Collection of articles published between 1925 and 1946) * Daniel Robbins, ''Albert Gleizes, 1881-1953: A Retrospective Exhibition Solomon R. Guggenheim Museum'', 1964 * Calvin Tomkins, ''The world of Marcel Duchamp, 1887-'', Time-Life Books, 1966 * Douglas Cooper, ''The Cubist epoch'', 1971 *

George Heard Hamilton George Heard Hamilton (1910 – March 29, 2004) was an American art historian, educator, and curator. Hamilton taught art history at Yale University and Williams College, as well as acting as Director of the Yale University Art Gallery and the ...

, ''Painting and sculpture in Europe, 1880-1940'', 1972 * Richard H. Axsom, ''"Parade", Cubism as theater'', 1974 * John Malcolm Nash, ''Cubism, Futurism and Constructivism'', 1974 * Carl Zigrosser, ''A world of art and museums'', Albert Gleizes, L'Homme au Balcon (sturdy crusader), 1975 * Angelica Zander Rudenstine, ''The Guggenheim Museum collection: paintings, 1880-1945'', 1976 * Philip Alan Cecchettini, Don Whittemore, ''Art America: A Resource Manual'', 1977 * Patricia E. Kaplan, Susan Manso, ''Major European art movements, 1900-1945: a critical anthology'', 1977 * Edward F. Fry, ''Cubism'', 1978 * Revue de l'art, Issues 43-46, Flammarion, 1979 * Anne D'Harnoncourt, Germano Celant, ''Futurism and the international avant-garde'', Philadelphia Museum of Art, 1980 * Cahiers du Musée national d'art moderne, 1981 * Pierre Alibert, ''Albert Gleizes, Naissance Et Avenir Du Cubisme'', 1982 * Milton A. Cohen, ''E.E. Cummings paintings: the hidden career'', 1982 * Pierre Cabanne, ''Le cubisme'', 1982 * L'art sacré d'Albert Gleizes: 22 mai-31 août 1985, Musée des beaux-arts, Caen, 1985 * Dewey F. Mosby, Vivian Endicott Barnett, ''Abstraction, Non-objectivity, Realism: Twentieth-century Painting'', Solomon R. Guggenheim Museum, 1987 * Milton A. Cohen, ''Poet and painter: the aesthetics of E.E. Cummings's early work'', 1987 * John Golding, ''Cubism: A History and an Analysis, 1907-1914'', 1959, 1988 * Milton Wolf Brown, ''The Story of the Armory Show'', 1988 * Pierre Alibert, ''Gleizes: biographie'', 1990 * Adele Heller, Lois Palken Rudnick, ''1915, the cultural moment: the new politics, the new woman, the new psychology, the new art & the new theatre in America'', 1991 * Jean Jacques Lévêque, ''Les années de la Belle Époque: 1890-1914'', 1991 * Guillaume Apollinaire, Michel Décaudin, Pierre Caizergues, 1991 *

, ''Painting and Sculpture in Europe: 1880-1940'', 1993 * Abraham A. Davidson, ''Early American modernist painting, 1910-1935'', 1994 * Bruce Altshuler, ''The avant-garde in exhibition: new art in the 20th century'', 1994 * Philadelphia Museum of Art, ''Paintings from Europe and the Americas in the Philadelphia Museum of Art: a concise catalogue'', 1994 * Francis M. Naumann, ''New York Dada, 1915-23'', 1994 * Helen Topliss, ''Modernism and Feminism: Australian Women Artists, 1900-1940'', 1996 * Dietrich Schubert, Kunstmuseum Winterthur, Dieter Schwarz, ''Lehmbruck, Brâncuși, Léger, Bonnard, Klee, Fontana, Morandi...'', 1997 * Anne Varichon, Daniel Robbins, ''Albert Gleizes: catalogue raisonné'', 1998 * Diego Rivera, Juan Coronel Rivera, Luis-Martín Lozano, ''Diego Rivera: Art & Revolution'', 1999 * Emmanuel Bénézit, Jacques Busse, ''Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs'', 1999 * Ann Temkin, Susan Rosenberg, ''Twentieth Century painting and sculpture in the Philadelphia Museum of Art'', 2000 * Pierre Daix, ''Pour une histoire culturelle de l'art moderne: De David à Cézanne'', 2000 * Allan Antliff, ''Anarchist Modernism: Art, Politics, and the First American Avant-Garde'', 2001 * Martin Klepper, Joseph C. Schöpp, ''Transatlantic Modernism'', 2001 * Guillaume Apollinaire, LeRoy C. Breunig, ''Apollinaire on art: essays and reviews, 1902-1918'', 2001 * Peter Brooke, ''Albert Gleizes: For and Against the Twentieth Century'', 2001 * Русский авангард: проблемы репрезентации и интерпретации И. Н. Карасик, Йосеф Киблицкий, Государственный русский музей (Саинт Петерсбург, Руссиа), 2001 'Russian Avant-garde: The Problem of Representation and Interpretation'', I. Karasik, Joseph Kiblitsky, State Russian Museum, Saint Petersbourg, 2001* David Cottington, ''Cubism and Its Histories'', 2004 * Laura Mattioli Rossi, ''Boccioni's materia: a futurist masterpiece and the avant-garde in Milan and Paris'', Solomon R. Guggenheim Museum, New York, February 6 - May 9, 2004, Volume 3 * Anisabelle Berès, Galerie Berès, ''Au temps des cubistes: 1910-1920'', 2006 * Gregory Galligan, ''The Cube in the Kaleidoscope: The American Reception of French Cubism, 1918 –1938'', 2007 * Mark Antliff, Patricia Dee Leighten, ''A cubism reader: documents and criticism, 1906-1914'', 2008 * Khédija Laouani, ''Manuel d'histoire de la peinture: du classicisme aux mouvements''..., 2008 * Françoise Levaillant, Dario Gamboni, Jean-Roch Bouiller, ''Les bibliothèques d'artistes: XXe-XXIe siècles'', 2010 * Nancy Hopkins Reily, ''Georgia O'Keeffe, A Private Friendship, Part I: Walking the Sun Prairie Land'', 2011

References

External links

Fondation Albert Gleizes

Réunion des Musées Nationaux, Grand Palais, Agence photographique

''Albert Gleizes 1881–1953, a retrospective exhibition'', by Daniel Robbins. The Solomon R. Guggenheim Museum, New York, in collaboration with Musée national d'art moderne, Paris; Museum am Ostwall, Dortmund, published 1964

Arthur Jerome Eddy, ''Cubists and Post-Impressionism'', A.C. McClurg & Co., Chicago, 1914, second edition 1919

The Art Institute of Chicago Exhibition of Paintings from the Collection of the Late Arthur Jerome Eddy, 1922
(PDF) {{Cubism Paintings by Albert Gleizes Cubist paintings 1912 paintings 20th-century portraits Paintings in the collection of the Philadelphia Museum of Art Painting controversies