Explore the 1913 of this artwork, Portrait de l'éditeur Eugène Figuière.
Du "Cubisme" is translated into English: Cubism, Unwin, London, 1913. Gleizes exhibits in the Armory Show in New York, Chicago and Boston, introducing Cubism to an American audience. An essay by him, Le Cubisme et la Tradition, attacking the Italian Renaissance and its influence on French art, is published by the Italian born Riccardo Canudo (1877-1923) in his journal, Montjoie!. Figuière publishes a collection of essays by Apollinaire, Les Peintres Cubistes, Méditations Esthétiques. Apollinaire uses the word 'la majesté' to characterise Gleizes. In the Salon d'Automne Gleizes exhibits Portrait de Figuière and La Ville et le Fleuve, a monumental successor to Le Dépiquage des Moissons (Harvest Threshing) (it has since been lost). At the Salon, Canudo introduces him to Juliette Roche (1884-1982), daughter of a powerful government minister, Jules Roche, and a member of the circle which is portrayed in Proust's A la recherche du temps perdu.Albert Gleizes writes in 1925:
The year 1913 saw the movement continuing to evolve. The changes it had already undergone since the Indépendants of 1911 could leave people in no doubt as to its nature. Cubism was not a school, distinguished by some superficial variation on a generally accepted norm. It was a total regeneration, indicating the emergence of a wholly new cast of mind. Every season it appeared renewed, growing like a living body. Its enemies could, eventually, have forgiven it if only it had passed away, like a fashion; but they became even more violent when they realised that it was destined to live a life that would be longer than that of those painters who had been the first to assume the responsibility for it.At the 1913 Salon des Indépendants could be seen a very large work of Jean Metzinger's - L'Oiseau Bleu; Robert Delaunay showed L'Equipe de Cardiff; two important canvasses from Léger; still lifes and L'Homme au Café from Juan Gris; enthusiastic new work from La Fresnaye and from Marcoussis, and from others again; and finally, from myself, Les Joueurs de Football.
Again, to the Salon d'Automne of 1913 - a salon in which Cubism was now the predominating tendency - Metzinger sent the great picture called En Bâteau (En Canot, Im Boot), La Fresnaye La Conquête de l'Air, myself Les Bâteaux de Pêche and La Ville et le Fleuve. If the first moment of surprise had passed by, the interest Cubism excited was as great as ever. The anger and the enthusiasm had not changed sides, our enemies held to their guns. It is enough for proof to read the diatribes of Louis Vauxcelles in Gil Blas for that year,1913, and the panegyrics of Guillaume Apollinaire in L'Intransigeant.
Albert Gleizes Armory Show Cubism Du "Cubisme" En Canot Guillaume Apollinaire Harvest Threshing Jean Metzinger Juan Gris Juliette Roche Louis Vauxcelles Robert Delaunay Salon d'Automne