Crystal Cubism - Knowledge

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March, Juan Gris April, Gino Severini May, and Pablo Picasso in June, marking the climax of the campaign. This well-orchestrated program showed that Cubism was still very much alive, and it would remain so for at least a half-decade. Missing from this sequence of exhibitions were Jacques Lipchitz (who would exhibit in 1920), and those who had left France during the Great War: Robert Delaunay and Albert Gleizes most obviously. Nonetheless, according to Christopher Green, "this was an astonishingly complete demonstration that Cubism had not only continued between 1914 and 1917, having survived the war, but was still developing in 1918 and 1919 in its "new collective form" marked by "intellectual rigor". In the face of such a display of vigour, it really was difficult to maintain convincingly that Cubism was even close to extinction".

2029: 1414: 2924: 1910: 1724: 1318: 1512:"Csáky, more than anyone else working in sculpture, took Pierre Reverdy's theoretical writings on art and cubist doctrine to heart. "Cubism is an eminently plastic art; but an art of creation, not of reproduction and interpretation." The artist was to take no more than "elements" from the external world, and intuitively arrive at the "idea" of objects made up of what for him constant in value. Objects were not to be analyzed; neither were the experiences they evoked. They were to be re-created in the mind, and thereby purified. By some unexplained miracle the "pure" forms of the mind, an entirely autonomous vocabulary, of (usual geometric) forms, would make contact with the external world." (Balas, 1998, p. 27) 1551: 1589: 1647: 2356:. An admirer of his work, his commanding officer—the regimental surgeon portrayed by Gleizes in this painting—made arrangements so that Gleizes could continue to paint while mobilized at Toul. This work, a precursor to Crystal Cubism, consists of broad, overlapping planes of brilliant color, dynamically intersecting vertical, diagonal, horizontal lines coupled with circular movements. These two works, according to Gleizes, represented a break from 'Cubism of analysis', from the representation of volume of the first period of Cubism. He had now undertaken a path that lead to 'synthesis', with its starting point in 'unity'. 515: 60: 605: 2664:"A general history of Salon Cubism, however, still needs to be written, a history that could be extended to include the wonderful collective phenomenon which Christopher Green has called 'Crystal Cubism' — the highly structured work of the Cubist painters... who remained in Paris during the war, most notably Metzinger and Gris. An opening up of this early Cubism in all its intellectual fullness would... reveal it as being not only the most radical movement in painting of the past century but, still, the most rich in possibilities for the future". (Peter Brooke, 2000) 40: 664: 1993: 690:

its dimensions' , while revealing the "basic elements" of painting, the "true, solid rules – rules which could be generally applied". It was Metzinger and Gris who, again according to Gleizes, "did more than anyone else to fix the basic elements... the first principles of the order that was being born". "But Metzinger, clear-headed as a physicist, had already discovered those rudiments of construction without which nothing can be done." Ultimately, it was Gleizes who would take the synthetic factor furthest of all.

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evolutionary process. The planar surfaces of Fig. VIII are filled with hatching espousing the 'direction' of the planes. What emerges in the inert plane, according to Gleizes, through the movement followed by the eye of the observer, is "a visible imprint of successive stages of which the initial rhythmic cadence coordinated a succession of differing states". These successive stages permit the perception of space. The initial state, by consequence of the transformation, has become a spatial and rhythmic organism.

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forms are built through a reciprocal interplay of internal and external forces ... following the theoretical forms of geometry; and man delights in these arrangements because he finds in them justification for his abstract conceptions of geometry: the spirit of man and nature find a factor of common ground, in the crystal. ... In true Cubism, there something organic that proceeds from the inside to the outside. ... The universality of the work depends on its plastic purity. (Ozenfant and Jeanneret, 1923–25)

2498:(p. 42); "The artist is always in a state of emotion, sentimental exaltation " (p. 43); "The painting in which the idea of abstract creation is realized is no longer an anecdote, but a concrete fact" (p. 56); "Creating a painted artwork is not the emission of an opinion" (p. 59); "The plastic dynamism will be born out of rhythmic relations between objects... establishing novel plastic liaisons between purely objective elements that compose the painting" (p. 22). 1134:, "here is the painter who paints to conceive only new structures, whose aim is to draw or paint nothing but materially pure forms". Apollinaire compares the work of Gris with the "scientific cubism" of Picasso... "Juan Gris is content with purity, scientifically conceived. The conceptions of Juan Gris are always pure, and from this purity parallels are sure to spring". And spring they did. In 1916, drawing from black and white postcards representing works by 345:

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 realized 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". The evolution towards rectilinearity and simplified forms continued through 1909 with greater emphasis on clear geometric principles; visible in the works of

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simultaneous movements of rotation and translation of the rectangle, inclined to the right and to the left. The axis point at which movement is realized is established by the observer. Fig. IV represents the simultaneous movements of rotation and translation of the rectangle plane, with the position of the eye of the observed displaced left of the axis. Displacement toward the right (though not represented) is straightforward enough to imagine.

887: 767:"Direct reference to observed reality" is present, but the emphasis is placed on the "self-sufficiency" of the artwork as objects unto themselves. The priority on "orderly qualities" and the "autonomous purity" of compositions are a prime concern, writes art historian Christopher Green. Crystal Cubism also coincided with the emergence of a methodical framework of theoretical essays on the topic, by Albert Gleizes, Juan Gris, Fernand Léger, 1237: 2656:

laws and its own experience to offer, a category considered above life. It is Cubism in this later period that has most to tell anyone concerned with the problems of Modernism and post-modernism now, because it was only then that issues emerged with real clarity in and around Cubism which are closely comparable with those that emerged in and around Anglo-American Modernism in the sixties and after. (Green, 1987, Introduction, p. 1)

1520:, Balas, pp. 30–41) are made of juxtaposing sequences of rhythmic geometric forms, where light and shadow, mass and the void, play a key role. Though almost entirely abstract, they allude, occasionally, to the structure of the human body or modern machines, but the semblance functions only as "elements" (Reverdy) and are deprived of descriptive narrative. Csaky's polychrome reliefs of the early 1920s display an affinity with 488: 1505:

comparable to the work Csaky produced in the years directly succeeding World War I. These were nonrepresentational freely-standing objects, i.e., abstract three-dimensional constructions combining organic and geometric elements. "Csaky derived from nature forms which were in concordance with his passion for architecture, simple, pure, and psychologically convincing." (Maurice Raynal, 1929)

1333: 1260:(June 1915). The overlapping elemental planar structure of the composition serves as a foundation to flatten the individual elements onto a unifying surface, foretelling the shape of things to come. In 1919 and particularly 1920, artists and critics began to write conspicuously about this 'synthetic' approach, and asserting its importance in the overall scheme of advanced Cubism. 1818:, joining the ranks of Vauxcelles in frontline attacks on Cubism. Allard reproached the visible distancing of Cubism from the dynamism and diversity of lived experience toward a universe of purified objects. Similarly, Cendrars wrote in an article published May 1919 "The formulae of the Cubists' are becoming too narrow, and can no longer embrace the personality of the painters". 2881: 585: 191:, has been linked with an inclination—by those who served the armed forces and by those who remained in the civilian sector—to escape the realities of the Great War, both during and directly following the conflict. The purifying of Cubism from 1914 through the mid-1920s, with its cohesive unity and voluntary constraints, has been linked to a much broader 2285:

never before seen. There was a third principle that followed from the former that came to light during the Crystal period, again according to Green: "the principle that nature should be approached as no more than the supplier of 'elements' to be pictorially or sculpturally developed and then freely manipulated according to the laws of the medium alone".

2417:, Gleizes explained that Cubism was now at a stage of development in which fundamental principles could be deduced from particular facts, applicable to a defined class of phenomena, drawn and taught to students. These basic theoretical postulates could be as productive for future developments of the fine arts as the mathematically based principles of 2964: 2271:

creation, to search for a state of clarification, condensation, firmness, intensity, synthesis; they will arrive at a true virtuosity of the game of shapes and colors, as well as a highly developed science of the composition. Overall and despite the personal coefficients, one can discern a tendency towards what might be imaged in saying:

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begin to imagine what I've found out since the beginning of the war, working outside painting but for painting. The geometry of the fourth space has no more secret for me. Previously I had only intuitions, now I have certainty. I have made a whole series of theorems on the laws of displacement , of reversal etc. I have read

1353: 180:: order and the allegiance to the aesthetically pure remained the prevailing tendency. The collective phenomenon of Cubism once again—now in its advanced revisionist form—became part of a widely discussed development in French culture. Crystal Cubism was the culmination of a continuous narrowing of scope in the name of a 562: 466: 3425: 1451: 655:. Despite the brutal interruption, each found the time to continue making art, sustaining differing types of Cubism. Yet they discovered a ubiquitous link between the Cubist syntax (beyond pre-war attitudes) and that of the anonymity and novelty of mechanized warfare. Cubism evolved as much a result of an 2151:

works that were a direct result of observation; perspectival space only slightly distorted. Ozenfant and Jeanneret, like Lhote, remained faithful to the Cubist idiom that form should not be abandoned. Some of the works exhibited related directly to the Cubism practiced during the war (such as Ozenfant's

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pure. The new Cubism that emerged, the Cubism of Picasso, Laurens, Gris, Metzinger and Lipchitz most obviously of all, has come to be known as "crystal Cubism". It was indeed the end-product of a progressive closing down of possibilities in the name of a "call to order". (Christopher Green, 1987, p. 37)

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Space and rhythm, according to Gleizes, are perceptible by the extent of movement (displacement) of planar surfaces. These elemental transformations modify the position and importance of the initial plane, whether they converge or diverge ('recede' or 'advance') from the eye, creating a series of new

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Certain Cubists have created paintings that can be said to tend toward the perfection of the crystal. These works seem to approach our current needs. The crystal is, in nature, a phenomenon that affects us most because it clearly shows the path to geometric organization. Nature sometimes shows us how

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While Metzinger and Gris were painting in advanced geometric form during the second phase of Cubism, Picasso worked on several projects simultaneously. Between 1915 and 1917, he began a series of paintings depicting highly geometric and minimalist Cubist objects, consisting of either a pipe, a guitar

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If painting was an end in itself it would enter into the category of the minor arts which appeal only to physical pleasure... No. Painting is a language—and it has its syntax and its laws. To shake up that framework a bit to give more strength or life to what you want to say, that isn't just a right,

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was intimately bound up with the second basic principle shared by them all: that the work of art, being not an interpretation of anything else, was something in its own right with its own laws". These same sentiments observable from the outset of Cubism were now essential and prevailing to an extent

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Ozenfant and Jeanneret felt that Cubism had become too decorative, practiced by so many individuals that it lacked unity, it had become too fashionable. Their clarity of subject matter (more figurative, less abstract than the Cubists) had been welcomed by members of the anti-Cubist camp. They showed

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How many times has it been said that the art movement called Cubism is extinguished? Each time that a purge occurs the critics of the other side, who ask only that their desires be taken as facts, shout defection and howl for its death. This is nothing basically but a ruse, because Pinturrichichio ,

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Csaky's works of the early 1920s reflect a distinct form of Crystal Cubism, and were produced in a wide variety of materials, including marble, onyx and rock crystal. They reflect a collective spirit of the time, "a puritanical denial of sensuousness that reduced the cubist vocabulary to rectangles,

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derived in part from a machine-like aesthetic; streamlined with geometric and mechanical affinities. By this time Csaky's artistic vocabulary had evolved considerably from his pre-war Cubism: it was distinctly mature, showing a new, refined sculptural quality. Few works of early modern sculpture are

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From 1915 to late 1916, Gris transited through three different styles of Cubism, writes Green: "starting with a solid extrapolation of the structures and materials of objects, moving into the placement of brilliant coloured dots drifting across flat signs for still-life objects, and culminating in a

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moderne. For Raynal, research into art was based on an eternal truth, rather than on the ideal, on reality, or on certitude. Certitude was nothing more than based on a relative belief, while truth was in agreement with fact. The only belief was in the veracity of philosophical and scientific truths.

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became the starting point for a revaluation of the fundamental principles of painting. Rather than relying on the purely intellectual, the focus now was on the immediate experience of the senses, based on the idea according to Gleizes, that form, 'changing the directions of its movement, will change

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Historically, the first phase of Cubism is identified as much by the inventions of Picasso and Braque (amongst the so-called Gallery Cubists) as it is with the common interests towards geometrical structure of Metzinger, Gleizes, Delaunay and Le Fauconnier (the Salon Cubists). As Cubism would evolve

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The Cubist method leading to 1912 has been considered 'analytical', entailing the decomposition of the subject matter (the study of things), while subsequently 'synthetic', built on geometric construction (free of such primary study). The terms Analytic Cubism and Synthetic Cubism originated through

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Artists at the forefront of the Parisian art scene at the outset of the 20th century would not fail to notice the tendencies toward abstraction inherent in the work of Cézanne, and ventured still further. A reevaluation in their own work in relation to that of Cézanne had begun following a series of

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The Crystal Cubists embraced the stability of everyday life, the enduring and the pure, but too the classical, with all that it signified respecting art and ideal. Order and clarity, right to the core of its Latin roots, was a dominant factor within the circle of Rosenberg's L'Effort moderne. While

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The War over, everything organizes, everything is clarified and purified; factories rise, already nothing remains as it was before the War: the great Competition has tested everything and everyone, it has gotten rid of the aging methods and imposed in their place others that the struggle has proven

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from the Cubist circle, cited by Pinturrichio, proved to be insufficient grounds upon which to base his prediction. Vauxcelles even went as far as organizing a small exhibition at the galerie Blot (late 1918) of artists that appeared to be anti-Cubist; Lhote, Rivera and Favory among them. Allies in

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Gris claimed to manipulate flat abstract planar surfaces first, and only in subsequent stages of his painting process would he 'qualify' them so that the subject-matter became readable. He worked 'deductively' on the global concept first, then consecrated on the perceptive details. Gris referred to

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After two years of study I have succeeded in establishing the basis of this new perspective I have talked about so much. It is not the materialist perspective of Gris, nor the romantic perspective of Picasso. It is rather a metaphysical perspective—I take full responsibility for the word. You can't

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had evolved well beyond the teachings of Cézanne. Where before, the foundational pillars of academicism had been shaken, now they had been toppled. "It was a total regeneration", writes Gleizes, "indicating the emergence of a wholly new cast of mind. Every season it appeared renewed, growing like a

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Cézanne was preoccupied by the means of rendering volume and space, surface variations (or modulations) with overlapped shifting planes. Increasingly in his later works, Cézanne achieves a greater freedom. His work became bolder, more arbitrary, more dynamic and increasingly nonrepresentational. As

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1914 that emerges as most important to the history of Modernism, and especially... Cubism between around 1916 and around 1924... Only after 1914 did Cubism come almost exclusively to be identified with a single-minded insistence on the isolation of the art-object in a special category with its own

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Rhythm and space are for Gleizes the two vital conditions. Rhythm is a consequence of the continuity of certain phenomena, variable or invariable, following from mathematical relations. Space is a conception of the human psyche that follows from quantitative comparisons (pp. 35, 38, 51). This

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Gris's works from late 1916 through 1917, more so than before, exhibit a simplification of geometric structure, a blurring of the distinction between objects and setting, between subject matter and background. The oblique overlapping planar constructions, tending away from equilibrium, can best be

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With these figures Gleizes attempts to present, under the most simple conditions possible (simultaneous movements of rotation and translation of the plane), the creation of a spatial and rhythmic organism (Fig. VIII), with practically no initiative taken on the part of the artist who controls the

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This series of large exhibitions—including works created between 1914 and 1918 by almost all the major Cubists—began 18 December with Cubist sculptures by Henri Laurens, followed in January 1919 with an exhibition of Cubist paintings by Jean Metzinger, Fernand Léger in February, Georges Braque in

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Between 1916 and 1918 Lipchitz and Laurens developed a breed of advanced wartime Cubism (primarily in sculpture) that represented a process of purification. With observed reality no longer the basis for the depiction of subject, model or motif, Lipchitz and Laurens created works that excluded any

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and Picasso—began production in late 1914, and 1915 (respectively), taking Cubist paintings of 1913-14 as a starting point. Both Lipchitz and Laurens retained highly figurative and legible components in their works leading up to 1915-16, after which naturalist and descriptive elements were muted,

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Someone from whom I feel ever more distant is Juan Gris. I admire him but I cannot understand why he wears himself out with decomposing objects. Myself, I am advancing towards synthetic unity and I don't analyze any more. I take from things what seems to me to have meaning and be most suitable to

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Order remained the keynote as post-war reconstruction commenced. It is not surprising, therefore, to find a continuity in the development of Cubist art as the transition was made from war to peace, an unbroken commitment to the Latin virtues along with an unbroken commitment to the aesthetically

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Fig. I and Fig. II obtain mechanically, Gleizes writes; with minimal personal initiative, a "plastic spatial and rhythmic system", by the conjugation of simultaneous movements of rotation and translation of the plane and from the movements of translation of the plane to one side. The result is a

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The choice of position (through translation and/or rotation), though based on the inspiration of the artist, is no longer attributed to the anecdotal. An objective and rigorous method, independent of the painter, replaces emotion or sensibility in the determination the placement of form, that is

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Continuing, Gleizes states that the 'reality' of a painting is not that of a mirror, but of the object... issue of imminent logic (p. 62). "The subject-pretext tending toward numeration, inscribed following the nature of the plane, attains a tangent intersections between known images of the

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had been in New York, Bermuda and Barcelona following a short stint serving the military at the fortress city of Toul, late 1914 early 1915. His arrival in Paris after his self-imposed exile saw the new style already underway. Yet independently, Gleizes had been working in a similar direction as

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and the others know very well that the serious artists of this group are extremely happy to see go... those opportunists who have taken over creations the significance of which they do not even comprehend, and were attracted only by the love of buzz and personal interest. It was predictable that

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I remember in 1915 when I was deeply involved in cubist sculpture but was still in many ways not certain of what I was doing, I had a visit from the writer Jules Romains, and he asked me what I was trying to do. I answered, "I would like to make an art as pure as a crystal." And he answered in a

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If the beauty of a painting solely depends on its pictorial qualities: only retaining certain elements, those that seem to suit our need for expression, then with these elements, building a new object, an object which we can adapt to the surface of the painting without subterfuge. If that object

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of 1904, the Salon d'Automne of 1905 and 1906, followed by two commemorative retrospectives after his death in 1907. By 1907, representational form gave way to a new complexity; subject matter progressively became dominated by a network of interconnected geometric planes, the distinction between

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The clear-cut underlying geometric framework of these works seemingly control the finer elements of the compositions; the constituent components, including the small planes of the faces, become part of the unified whole. Though Gris certainly had planned the representation of his chosen subject

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Another movement is added to the first movement of translation of the plane to one side: Rotation of the plane. Fig. I shows the resulting formation that follows from simultaneous movements of rotation and translation of the initial plane produced on the axis. Fig II and Fig. III represent the

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We see the real cubists continue their work, imperturbable; they are also seen to continue their influence on spirits. ... They will arrive more or less strongly depending on the oscillations of their nature, their tenacity or their concessions and analysis that are characteristic of artistic

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In 1915, while serving on the front line, Raynal suffered a minor shrapnel wound to the knee from exploding enemy artillery fire, though the injury did not necessitate his evacuation. Upon returning from the front line, Raynal served briefly as director for publications of Rosenberg's l'Effort

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Lhote, Rivera, Ozenfant and Le Corbusier attempted to attain a compromise between the abstract and nature in their search for another Cubism, all of the Cubists shared common goals. The first, writes Green: "that art should not be concerned with the description of nature. ... The rejection of

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Gleizes bases these laws both on truisms inherent throughout the history of art, and especially on his own experience since 1912, such as: "The primary goal of art has never been exterior imitation" (p. 31); "Artworks come from emotion... the product of individual sensibility and taste"

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Integral Cubism is crumbling, vanishing, evaporating. Defections, every day, reach the headquarters of pure painting. Soon Metzinger will be the last of his species, representative of an abandoned doctrine. "And if one shall remain, he'll whisper painfully, I'll be the one". (Vauxcelles,

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slightly mocking way, "What do you know about crystals?" At first I was upset by this remark and his attitude, but then, as I began to think about it, I realized that I knew nothing about crystals except that they were a form of inorganic life and that this was not what I wanted to make.

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While Metzinger's process of distillation is already noticeable during the latter half of 1915, and conspicuously extending into early 1916, this shift is signaled in the works of Gris and Lipchitz from the latter half of 1916, and particularly between 1917 and 1918. Metzinger's radical

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of the inconceivable atrocities of war as of nationalistic pressures. Along with the evasion came the need to diverge further and further away from the depiction of things. As the rift between art and life grew, so too came the burgeoning need for a process of distillation.

741:. Raynal, who would become one of the Cubists most authoritative and articulate proponents, endorsed a wide range of Cubist activity and for those who produced it, but his highest esteem was directed toward two artists: Jean Metzinger, whose artistry Raynal equated with 93:

consistent with a shift, between 1915 and 1916, towards a strong emphasis on flat surface activity and large overlapping geometric planes. The primacy of the underlying geometric structure, rooted in the abstract, controls practically all of the elements of the artwork.

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mechanism is the foundation for artistic expression. It is therefore both a philosophical and scientific synthesis. For Gleizes, Cubism was a means to arrive not only at a new mode of expression but above all a new way of thinking. This was, according to art historian

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and of Metzinger's later work in 1912. In the other, the grid is still present but the lines are not stated and their continuity is broken". Art historian Christopher Green writes that the "deformations of lines" allowed by mobile perspective in the head of Metzinger's

3051: 1074:"have seemed tentative to historians of Cubism. In 1911, as the key area of likeness and unlikeness, they more than anything released the laughter." Green continues, "This was the wider context of Gris's decision at the Indépendants of 1912 to make his debut with a 1870:

line that extended from Montmartre to Montparnasse, linking these two focal points of artistic creativity. Reverdy began this project towards the end of 1916, with an art world still under the pressures of war, to show the parallels between the poetic theories of

705:—had now been replaced by a formal reference frame which constituted the second phase of Cubism, based upon an elementary set of principles that formed a cohesive Cubist aesthetic. This clarity and sense of order spread to almost all of the artists exhibiting at 1216:

Gris) were presented as a single, fundamental truth". Gris himself stressed the relativity and ephemerality of "truth" in his paintings (as a function of him) as in the world itself (as a function of society, culture and time); always susceptible to change.

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The following month, Vauxcelles forecast the final demise of Cubism by the fall of 1918. With the fall came the end of the war, and in December, a series of exhibitions at Galerie l'Effort Moderne of Cubist works demonstrated that Cubism was still alive.

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than shown in Fig. VIII; demonstrating through mechanical, purely plastic means, the realization of a material universe independent of intentional intervention by the artist. This is sufficient to demonstrate, according to Gleizes, the

1307:: Maurice Raynal suggested "Crystal Cubism". These "little gems" may have been produced by Picasso in response to critics who had claimed his defection from the movement, through his experimentation with classicism within the so-called 951:

Metzinger's evolution toward synthesis has its origins in the configuration of flat squares, trapezoidal and rectangular planes that overlap and interweave, a "new perspective" in accord with the "laws of displacement". In the case of

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The actual result? A new harmony. Don't take this word harmony in its ordinary everyday sense, take it in its original sense. Everything is number. The mind hates what cannot be measured: it must be reduced and made comprehensible.

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denying the chimerical claim made by Vauxcelles that both Picasso and Gris had defected. Much more poignant and difficult to combat, however, was his second tactical maneuver: a succession of prominent Cubist exhibitions held at the

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had surpassed all rivals in his attacks on the anti-Cubist campaign between 1918 and 1919. He had been in close contact with the Cubists prior to the war, and in 1917 joined forces with two other poets who shared his points of view:

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or a glass, with an occasional element of collage. "Hard-edged square-cut diamonds", notes art historian John Richardson, "these gems do not always have upside or downside". "We need a new name to designate them," wrote Picasso to

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For Metzinger, the Crystal period was synonymous with a return to "a simple, robust art". Crystal Cubism represented an opening up of possibilities. His belief was that technique should be simplified and that the "trickery" of

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Gleizes believed that the Crystal Cubists—specifically Metzinger and Gris—had found the principles on which an essentially non-representational art could be built. He felt that the earlier abstract works of artists such as

1082:. While Metzinger's distillation is noticeable during the latter half of 1915 and early 1916, this shift is signaled in the works of Gris and Lipchitz from the latter half of 1916, and particularly between 1917 and 1918. 1968: 1037:

Juan Gris' late arrival on the Cubist scene (1912) saw him influenced by the leaders of the movement: Picasso, of the 'Gallery Cubists' and Metzinger of the 'Salon Cubists'. His entry at the 1912 Salon des Indépendants,

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Beginning with a central rectangle, taken as an example of elementary form, Gleizes points out two mechanical ways of juxtaposing form to create a painting: (1) either by reproducing the initial form (employing various

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In December 1918 Laurens, a close friend of both Picasso and Braque, inaugurated the series of Cubist exhibitions at L'Effort Moderne (Lipchitz showed in 1920), by which time his works had wholly approached the Cubist

1929:'s imposed exile—Rosenberg purchased works by almost all of the Cubists. His defense of Cubism would prove to be longer-lasting and wider-ranging than Reverdy's. His first tactical maneuver was to address a letter to 282:

was instrumental, as his work marked a shift from a more representational art form to one that was increasingly abstract, with a strong emphasis on the simplification of geometric structure. In a letter addressed to

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dated 15 April 1904, Cézanne writes: "Interpret nature in terms of the cylinder, the sphere, the cone; put everything in perspective, so that each side of an object, of a plane, recedes toward a central point."

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looks like something known, I take it increasingly for something of no use. For me it is enough for it to be "well done", to have a perfect accord between the parts and the whole. (Jean Metzinger, quoted in

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theory via the incorporation of colored dots into his Cubist pictures. This timescale corresponds with the period after which Gris signed a contract with Léonce Rosenberg, following a rally of support by

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such as reflectional, rotational or translational), or by modifying (or not) its dimensions. (2) By displacement of the initial form; pivoting around an imaginary axis in one direction or another.

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that followed, the rift between art and life—and the overt distillation that came with it—had become the canon of Cubist orthodoxy; and it would persist despite its antagonists through the 1920s:

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4. Plastic spatial and rhythmic system obtained by the conjugation of simultaneous movements of rotation and translation of the plane and from the movements of translation of the plane to one side

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in 1917-18 predicted too its demise; claiming it to have been merely a phase leading to a new art-form more closely attuned with nature. Two more former advocates of Cubism had also defected,

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These works, or works by these artists created during the same period, according to Christopher Green, are associated with Crystal Cubism, or were precursors in varying degrees to the style.

306: 1085: 3907: 2028: 1992: 2115:(later called Le Corbusier), who claimed to be successors of pre-war Cubism. The beginnings of a Purist manifesto in book-form had been published to coincided with the exhibition, titled 1317: 514: 2460:

Gleizes deduces the fundamental laws of painting from the picture plane, its proportions, the movement of the human eye and the physical laws. This theory, subsequently referred to as

1413: 2978: 1290:

Gris's open window series of 1921–22 appears to be a response to Picasso's open windows of 1919, painted in St. Raphael. By May 1927, the date of his death, Gris had been considered

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by Gris coincided with his prominence among the Parisian avant-garde. Gris was presented to the public as one of the 'purest' and one of the most 'classical' of the leading Cubists.

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most noticeably of all. The tightening of the compositions, the clarity and sense of order reflected in these works, led to its being referred to by the French poet and art critic

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it's a duty; but you must never lose sight of the End. The End, however, isn't the subject, nor the object, nor even the picture—the End, it is the idea. (Metzinger, 26 July 1916)

2387:

This unity, and the highly crystalline geometricized materialization consisting of superimposed constituent planes of Crystal Cubism would ultimately be described by Gleizes, in

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this distinction. By 1913 Cubism had transformed itself considerably in the range of spatial effects. At the 1913 Salon des Indépendants Jean Metzinger exhibited his monumental

2468:, "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". 2391:(1922–23), as 'simultaneous movements of translation and rotation of the plane'. The synthetic factor was ultimately taken furthest of all from within the Cubists by Gleizes. 791:

about the same December 1915 exhibition described Metzinger's entry as "a very erudite divagation of horizon blue and old red of glory, in the name of which I forgive him" .

1895:, did so perhaps most influentially. With his characteristic preference for offense rather than defense, Reverdy launched an attack against Vauxcelles' anti-Cubist crusade: 1002:

should abandoned, along with the "artifices of the palette". He felt the need to do without the "multiplication of tints and detailing of forms without reason, by feeling":

737:, an early promoter of Cubism and continuous supporter during the war and post-war phase that followed. Raynal had been associated with Cubists since 1910 via the milieu of 1826: 1474: 857:

is never anything more than a mathematical expression of the relations that exist between the internal and the external, the self and the world. (Metzinger, 4 July 1916)

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In April 1919, following exhibitions by Laurens, Metzinger, Léger and Braque, Gris present nearly fifty works at Rosenberg's Galerie de l'Effort moderne. This first

19: 3858:

The Little Review: Quarterly Journal of Art and Letters, Vol. 9, No. 2: Miscellany Number, Anderson, Margaret C. (editor), New York, 1922-12, Winter 1922, pp. 49-60

3597: 1524:—an extreme form of the Cubism aesthetic developing at the time—in their rigorous economy of architectonic symbols and the use of crystalline geometric structures. 4177: 1611:, a group show that featured works by Csaky, Gleizes, Metzinger, Mondrian, Gris, Léger, Picasso, Laurens, Braque, Herbin, Severini, Valmier, Ozenfant and Survage. 3480: 2352:

Gleizes' mobilization was not a major obstacle to his production of artwork, though, working primarily on small scale, he did produce one relatively large piece:

2471:

One of Gleizes's primary objectives was to answer the questions: How will the planar surface be animated, and by what logical method, independent of the artists

2084:

Further evidence to bolster the prediction made by Vauxcelles could have been found in a small exhibition at the Galerie Thomas (in a space owned by a sister of

1055:

As art historian Peter Brooke points out, Gris started painting persistently in 1911 and first exhibited at the 1912 Salon des Indépendants (a painting entitled

745:

and who was 'perhaps the man who, in our epoch, knows best how to paint'. The other was Juan Gris, who was 'certainly the fiercest of the purists in the group'.

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their betters... toward rigor, toward precision, toward the best utilization of forces and materials, with the least waste, in sum a tendency toward purity.

936:

geometrization of form as an underlying architectural basis for his 1915-16 compositions is already visible in his work circa 1912-13, in paintings such as

4523: 7793: 2359: 220: 3804: 2089: 1715:. Rather than descriptive, these works were rooted in geometric abstraction; a species of architectural, polychromed multimedia Cubist constructions. 865:, "was a mathematical relationship between the ideas in his mind and the exterior world". The 'fourth space' for Metzinger was the space of the mind. 3438: 3352:, Published by The Solomon R. Guggenheim Foundation, New York, in collaboration with Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund 4791: 3687: 5094: 2400: 4233: 2192:

For Ozenfant and Jeanneret only Crystal Cubism had conserved the geometric rigor of the early Cubist revolution. In 1915, in collaboration with

964:. But the underlying armature upon which all is built is palpable. Vacating these non-essential features would lead Metzinger on a path towards 904: 4765: 4590:, Cahiers Albert Gleizes, Association des Amis d'Albert Gleizes, Lyon, 1957, p. 15. Reprinted, Ampuis, 1997, written during the First World War 3658: 3398: 1804: 4011:, The Metropolitan Museum of Art Bulletin, New Series, Vol. 30, No. 6 (Jun. - Jul., 1972), published by The Metropolitan Museum of Art, p. 285 480: 458: 9099: 4328: 2570: 1006:"Feeling! It is like the expression of the old-school tragedian in acting! I want clear ideas, frank colors. 'No color, nothing but nuance', 2521:, the foundation of both a new species of painting and an alternative relationship with the world; hence another principle of civilization. 2651:

In terms of a Modernist will to aesthetic isolation and of the broad theme of the separation of culture and society, it is actually Cubism

1078:, which was a portrait, and to do so with a portrait that responded to Picasso's portraits of 1910 through the intermediary of Metzinger's 4816: 4811: 4806: 4801: 4796: 4272: 3601:, 28 décembre 1915 au 15 janvier 1916, Galerie Bernheim-Jeune, 25, boulevard de la Madeleine, published in L'Elan, Number 8, January 1916 1256:

matter, the abstract armature serves as the starting point. The geometric structure of Juan Gris's Crystal period is already palpable in

426:

pictorially, so too would the crystallization of its theoretical framework advance beyond the guidelines set out in the Cubist manifesto

882:

express my thought. I want to be direct, like Voltaire. No more metaphors. Ah those stuffed tomatoes of all the St-Pol-Roux of painting.

5650: 4609: 2589:

3. Simultaneous movements of rotation and translation of the plane resulting in the creation of a spatial and rhythmic plastic organism

1665: 1130: 2643:

More so than the pre-war Cubist period, the Crystal Cubist period has been described by Green as the most important in the history of

2204:, which he edited until late 1916. In 1917 he met Jeanneret, with whom he would join forces between 1918 and 1925 on a venture called 1607:

For the following three years, Rosenberg purchased Csaky's entire artistic production. In 1921 Rosenberg organized an exhibit titled

3661:

Higher Geometries, Precedents: Charles Henry and Peter Lenz, The subjective experience of space, Metzinger, Gris and Maurice Princet

2556: 1535:, employs broad planar surfaces accented by descriptive linear elements comparable to Georges Valmier's work of the following year ( 948:(c.1913). Where before, the perception of depth had been greatly reduced, now, the depth of field was no greater than a bas-relief. 340:, an exhibition which officially introduced "Cubism" to the public as an organized group movement, and extending through 1913, the 129:), was practiced in varying degrees by a multitude of artists; particularly those under contract with the art dealer and collector 173:—had now been vacated, replaced by a purely formal frame of reference that proceeded from a cohesive stance toward art and life. 922:

Some of the ideas expressed in these letters to Gleizes were reproduced in an article written by the writer, poet, and critique

5237: 3819: 2528:

as a starting point for the work of art, by the sole means of using the elements of the painting itself: line, form and color.

1887:, exposed his literary theories, and outlined a coherent theoretical stance on the latest developments in Cubism. His treatise 2236:

A second Purist exhibition was held at the Galerie Druet, Paris, in 1921. In 1924 Ozenfant opened a free studio in Paris with

1747:

had voiced his contempt for Cubism. In June 1918, Vauxcelles, writing under the pseudonym Pinturrichio, continued his attack:

8658: 3458: 3284: 1059:). "He appears with two styles", writes Brooke, "In one of them a grid structure appears that is clearly reminiscent of the 970:(1914–15), and a host of other works created after the artist's demobilization as a medical orderly during the war, such as 203:. In terms of the separation of culture and life, the Crystal Cubist period emerges as the most important in the history of 3721: 5817: 4204: 3216: 1208:"These themes of pictorial architecture and the "constants" of tradition were consolidated and integrated", writes Green 958:

Metzinger filled in these simple shapes with gradations of color, wallpaper-like patterns and rhythmic curves. So too in

651:

At the outset of the First World War many artists were mobilized: Metzinger, Gleizes, Braque, Léger, de La Fresnaye, and

3540: 2631: 1935: 1705:

starting point, based predominantly on the imagination, and continued to do so during the transition from war to peace.

177: 7853: 5381: 5349: 2144: 825:

In a letter written in Paris by Metzinger to Albert Gleizes in Barcelona during the war, dated 4 July 1916, he writes:

2227:, Ozenfant and Jeanneret liken the properties of crystals with the true Cubist, whose œuvre tends toward the crystal. 1573:, and exhibited regularly at the Galerie l'Effort Moderne. By 1920 Rosenberg was the sponsor, dealer and publisher of 8586: 5245: 4699: 4313: 4110: 4055: 3884: 3846: 2259:, published December 1916, Ozenfant writes: "Le Cubisme est un movement de purism" (Cubism is a movement of purism). 1615:

verticals, horizontals," writes Balas, "a Spartan alliance of discipline and strength" to which Csaky adhered in his

422:. In these works, more so than before, can be seen the importance of the geometric plane in the overall composition. 7805: 4361: 3692:, exhibition catalogue, Paris, Galerie Berès, 2006, p. 432. Reproduced in Christie's Paris, 2 May 2012, Lot 23 notes 3198: 1909: 1723: 292:

his color planes acquired greater formal independence, defined objects and structures began to lose their identity.

9094: 4848: 4650: 4497: 4043: 3065: 1287:

this technique as 'synthetic', in contradistinction from the process of 'analysis' intrinsic to his earlier works.

2673:

List of artists including those associated with Crystal Cubism to varying degrees between 1914 and the mid-1920s:

2372: 9104: 4812:

Jacques Lipchitz, Agence Photographique de la Réunion des musées nationaux et du Grand Palais des Champs-Elysées

4549: 4459: 4444: 3822:

Le cubisme "bleu horizon" ou le prix de la guerre. Correspondance de Juan Gris et de Léonce Rosenberg −1915-1917

1044: 8807: 8800: 8622: 5756: 5722: 4777: 4621: 4535: 4408: 4249: 3935: 3747: 3529: 3503: 3481:

Anna Jozefacka, Leonard A. Lauder, Research Center for Modern Art, The Metropolitan Museum of Art, January 2015

3414: 3228: 2465: 862: 8399: 4807:

Jean Metzinger, Agence Photographique de la Réunion des musées nationaux et du Grand Palais des Champs-Elysées

4817:

Gino Severini, Agence Photographique de la Réunion des musées nationaux et du Grand Palais des Champs-Elysées

2627: 1905:

these unrecommendable and compromising people would renounce their endeavors sooner or later. (Reverdy, 1918)

184:; based upon the observation of the artists relation to nature, rather than on the nature of reality itself. 33: 4607:, From Cubism to Classicism by Gino Severini / Painting and its laws by Albert Gleizes, Francis Boutle, 2001 4396: 1550: 7829: 5943: 5301: 5229: 3789: 3517: 2330: 2308: 1791: 506: 453: 405:. At the 1913 Salon d'Automne, a salon in which the predominating tendency was Cubism, Metzinger exhibited 380: 5357: 101:

of painting and sculpture, especially significant between 1917 and 1920 (referred to alternatively as the

8900: 8828: 7877: 7662: 5717: 5373: 5064: 4007: 3857: 2873: 2822: 2266:, 1923–25, with Cubism visibly still alive and in highly crystalline form, Ozenfant and Jeanneret write: 1943: 1443: 1160: 1135: 897: 1588: 9069: 8849: 8758: 5317: 4047: 2868: 2324: 2302: 1842: 1646: 1532: 1486: 1462: 1264: 1097: 1070: 966: 794:

During the year 1916, Sunday discussions at the studio of Lipchitz, included Metzinger, Gris, Picasso,

779:

Even before Raynal coined the term Crystal Cubism, one critic by the name of Aloës Duarvel, writing in

639: 528: 53: 4023:

Henri Laurens, in Celine Arnauld, Tournevire: Roman. Paris: Editions de "L'Esprit nouveau", 1919, p. 6

2660:

Art historian Peter Brooke has commented on Crystal Cubism, and more generally on the Salon Cubists:

9064: 7146: 6232: 5389: 5261: 3646:, The University of Iowa Museum of Art, J. Paul Getty Trust, University of Washington Press, pp. 9–24 2346: 1364: 1249: 3347: 337: 9084: 9079: 7767: 7313: 6705: 6614: 5333: 5162: 4939: 2849: 1384: 6406: 4336: 8907: 8793: 7969: 6504: 5810: 5784: 5705: 5341: 5044: 4964: 3404: 3316:, The University of Iowa Museum of Art, J. Paul Getty Trust, University of Washington Press, 1985 2421: 2418: 2052:

Cubism has not ended, in humanizing itself it holds its promises. (Jean Metzinger, November 1923)

1926: 1279: 1103: 694: 553: 547: 401: 162: 48: 4756:, Paris, 1927. Gleizes outlines what he perceives as the 'decadence' inherent in the modern art. 4039: 3450: 3407:, 18 December 1992 – 14 February 1993: Rijksmuseum Kröller-Müller, Otterlo, 6 March – 2 May 1993 3084: 1025: 9074: 9034: 8991: 8842: 7913: 7194: 6626: 6530: 6427: 5745: 4969: 3992: 1344: 1172: 915: 831: 652: 596: 316: 28: 4265: 3834: 3491: 1496:

enlisted as a volunteer in the French army in 1914, fighting alongside French soldiers during

9114: 9109: 8970: 8893: 8190: 7076: 6915: 6336: 6260: 6057: 5681: 2197: 1872: 1125: 742: 702: 170: 8127: 4599: 3554: 853:

That is the secret. There in nothing more to it . Painting, sculpture, music, architecture,

59: 9027: 8814: 8670: 7523: 5877: 5600: 4984: 4929: 4841: 4567: 4193: 4069: 3868: 3736: 3582: 3099: 3034: 2703: 2678: 2174: 2132: 2108: 1685: 1540: 618: 610: 416: 176:

As post-war reconstruction began, so too did a series of exhibitions at Léonce Rosenberg's

8113: 7558: 3611: 3568: 1939: 1879:

and himself in marking the burgeoning of a new era for poetry and artistic reflection. In

1630: 575:, oil on canvas, 146 × 114 cm, confiscated by the Nazis circa 1936, displayed at the 8: 9089: 8872: 8329: 8322: 7901: 7697: 7611: 7530: 7285: 7278: 7034: 6225: 5927: 5642: 5197: 5137: 5069: 4979: 4911: 4632: 4298: 3364: 2937: 2533: 2094: 928: 644: 428: 362: 98: 7889: 7153: 5711: 5365: 5293: 4479: 1922: 1570: 1010:

used to say; but Verlaine is dead, and Homer is not afraid to handle color". (Metzinger)

706: 333:

foreground and background no longer sharply delineated, and the depth of field limited.

251: 130: 9045: 8856: 8751: 8708: 8646: 8634: 8550: 8225: 8183: 7774: 7509: 7327: 6866: 6852: 6747: 6602: 6578: 6462: 6048: 5803: 5761: 5309: 5285: 5202: 5014: 4994: 3572:, Le Nouveau Spectateur, No. 5, 10 July 1919, Gallica, Bibliothèque nationale de France 2915: 2817: 2155:, 1918), with flattened planar structures and varying degrees of multiple perspective. 932:

in 1919, but the existence of letters themselves remained unknown until the mid-1980s.

839: 329: 8574: 8482: 8336: 5084: 5009: 4934: 4022: 3287:

Cézannes Composition: Analysis of His Form with Diagrams and Photographs of His Motifs

2951: 2778: 2683: 2396: 2341:, 1915 (Solomon R. Guggenheim Museum); and with a much more ambitious subject matter: 1139: 1106:

dated the shift in style of Juan Gris to the summer and autumn of 1916, following the

39: 8779: 8682: 8419: 8371: 8343: 8250: 8211: 8176: 7999: 7467: 7439: 7299: 6992: 6908: 6810: 6775: 6542: 6322: 6288: 5658: 5507: 5477: 4974: 4773: 4695: 4617: 4531: 4404: 4245: 4146: 4051: 3931: 3842: 3743: 3525: 3499: 3454: 3410: 3254: 3224: 2698: 2516: 2241: 1629:

recounted a meeting during the First World War with the poet and writer close to the

1500:, and remained for the duration. Returning to Paris in 1918, Csaky began a series of 1199: 803: 675: 663: 275: 200: 8085: 6169: 3368:, Edition Figuière, Paris, 1912 (First English edition: Cubism, Unwin, London, 1913) 3174:

Cubism and its Enemies, Modern Movements and Reaction in French Art, 1916–1928

9012: 9005: 8744: 8524: 8433: 8426: 8357: 8259: 8169: 8015: 7925: 7817: 7711: 7704: 7537: 7362: 7320: 7139: 7055: 6950: 6859: 6719: 6691: 6306: 6176: 6141: 6134: 6099: 6014: 5907: 5675: 5615: 5533: 5492: 5416: 5408: 5325: 5253: 5207: 5172: 5152: 5099: 5049: 5034: 3908:

Christopher Green, Juan Gris, MoMA, Grove Art Online, Oxford University Press, 2009

3446: 3328: 3011: 2748: 2743: 2405: 1859: 1744: 1693: 1626: 1592: 1554: 1501: 835: 738: 710: 263: 150: 8218: 8120: 6957: 6943: 6936: 6761: 6120: 5029: 4901: 4802:

Albert Gleizes, Culture.gouv.fr, le site du Ministère de la culture - base Mémoire

4792:

Jean Metzinger, Culture.gouv.fr, le site du Ministère de la culture - base Mémoire

3977: 2733: 2237: 1701:

dominated by a synthetic style of Cubism under the influence of Picasso and Gris.

1221:

flattened 'chiaroscoro' realised in planar contrasts of a monochromatic palette".

494: 389: 284: 8998: 8949: 8935: 8928: 8489: 8392: 8204: 8197: 8099: 8071: 8064: 8036: 7988: 7841: 7760: 7732: 7627: 7551: 7502: 7390: 7355: 7243: 7236: 7180: 7132: 7041: 6929: 6782: 6754: 6554: 6476: 6469: 6448: 6385: 6343: 6253: 6246: 6204: 6148: 6039: 5773: 5523: 5472: 5467: 5452: 5212: 5106: 5059: 5019: 4949: 4921: 4891: 4834: 4613: 4484:, oil and sand on cardboard, 153 x 120 cm, Thyssen-Bornemisza Museum, Madrid 4465: 4449:, 1914–15, oil on canvas, 119.8 x 95.1 cm, Solomon R. Guggenheim Museum, New York 4276: 3725: 3676:, by Paul Dermée, SIC, Volume 4, Nos. 42, 43, March 30 and April 15, 1919, p. 336 3089: 2783: 2425: 2376: 2336: 2245: 1815: 1809: 1711: 1308: 980: 843: 819: 758: 472: 366: 259: 181: 157:

as 'crystal' Cubism. Considerations manifested by Cubists prior to the outset of

7634: 7453: 7229: 6733: 6085: 5687: 5442: 4470:, 1915, gouache on paper, 59.7 x 44.5 cm, Solomon R. Guggenheim Museum, New York 4125: 3709: 1800: 1765: 1143: 960: 938: 892: 811: 279: 224: 8956: 8886: 8879: 8821: 8765: 8735: 8598: 8510: 8440: 8385: 8364: 8287: 8280: 8273: 8134: 8092: 8078: 8057: 8008: 7753: 7746: 7725: 7718: 7669: 7648: 7641: 7404: 7215: 7208: 7187: 7171: 7104: 7090: 6978: 6817: 6796: 6789: 6712: 6698: 6684: 6566: 6434: 6315: 6295: 6274: 6211: 6071: 5841: 5767: 5750: 5727: 5699: 5457: 5192: 5111: 5054: 5004: 4989: 4959: 4954: 4906: 4886: 4881: 4876: 4399:

The Architectonic Colour: Polychromy in the Purist Architecture of Le Corbusier

3713: 3057: 2970: 2898:), oil on canvas, 134.5 × 88.5 cm, Museo de Arte Carrillo Gil, Mexico City 2863: 2812: 2788: 2753: 2723: 2708: 2688: 2482: 2438: 2318: 2297: 2281: 2065: 1884: 1850: 1830: 1697: 1304: 807: 784: 734: 718: 634: 576: 542: 448: 358: 354: 350: 232: 154: 142: 134: 23: 7565: 7222: 6887: 6497: 6378: 5142: 5039: 4419:

Judi Freeman, "Ozenfant, Amédée", Grove Art Online. Retrieved 26 November 2012

3946:

Letter from Juan Gris to Maurice Raynal, 23 May 1917, Kahnweiler-Gris 1956, 18

3759: 2738: 2212: 2188:(2ème version), oil on canvas, 100 × 81 cm, Fondation Le Corbusier, Paris 1867: 1855: 923: 877:

Continuing, Metzinger mentions the differences between himself and Juan Gris:

9058: 8977: 8942: 8835: 8517: 8461: 8447: 8294: 8155: 8050: 8043: 8029: 7739: 7620: 7488: 7383: 7341: 7292: 7125: 7118: 7083: 7048: 6999: 6971: 6894: 6490: 6420: 6392: 6364: 6267: 6183: 6127: 6113: 6106: 6092: 6000: 5980: 5898: 5870: 5555: 5528: 5182: 5127: 5079: 5024: 4871: 4797:

Juan Gris, Culture.gouv.fr, le site du Ministère de la culture - base Mémoire

3763:, Michael Taylor, 2010, Philadelphia Museum of Art, 1 Audio Stop 439, Podcast 3615:, L'Homme Enchaîné, Paris, A3, No. 455, Saturday, 8 January 1916 (front page) 3403:

Juan Gris: Whitechapel Art Gallery, London, 18 September – 29 November 1992:

3399:

Christopher Green, Christian Derouet, Karin von Maur, Whitechapel Art Gallery

2992: 2773: 2763: 2758: 2728: 2502:

natural world and unknown images that reside within intuition" (p. 63).

1681: 1669: 1650: 1634: 1574: 1544: 1521: 1508:

The scholar Edith Balas writes of Csaky's sculpture following the war years:

1118: 1007: 799: 768: 730: 726: 714: 698: 346: 271: 255: 166: 146: 63: 7250: 6155: 5918: 5550: 3494:

Cubism in the Shadow of War: The Avant-garde and Politics in Paris 1905–1914

1585:. Csaky's showed a series of works at Rosenberg's gallery in December 1920. 681:

This period of profound reflection contributed to the constitution of a new

8772: 8610: 8503: 8475: 8410: 8378: 8350: 8315: 8308: 8301: 8266: 8232: 8148: 8106: 7957: 7946: 7936: 7865: 7683: 7655: 7593: 7586: 7572: 7544: 7516: 7481: 7474: 7446: 7432: 7418: 7397: 7306: 7264: 7257: 7097: 7069: 7020: 7006: 6880: 6845: 6740: 6726: 6663: 6590: 6483: 6441: 6239: 6064: 5739: 5733: 5620: 5560: 5538: 5502: 5447: 5424: 5269: 5187: 5167: 5157: 5132: 5074: 4999: 4944: 3599:

La Tombola artistique au profit des artistes polonais victimes de la guerre

2887: 2768: 2718: 2693: 2464:, "ranks with the writings of Mondrian and Malevich", writes art historian 2441:

undertook the task of writing the characterizations of these principles in

2162: 2112: 1796:), who would soon become one of the leading post-war supporters of Cubism. 1778: 1761: 1689: 1493: 1478: 795: 722: 693:

The many Cubist considerations manifested prior to World War I—such as the

301: 196: 6985: 5277: 3290:, Foreword by Richard Shiff, University of California Press, 30 April 2006 8984: 8865: 8724: 8715: 8531: 8454: 7495: 7460: 7376: 7369: 7111: 7013: 6901: 6831: 6768: 6645: 6511: 6371: 6329: 6281: 6218: 6197: 6190: 6162: 6078: 6021: 5861: 5779: 5590: 5565: 5543: 5487: 5482: 5462: 4101:, La Rose Rouge, 3 May 1919. Reproduced in Aujourd'hui, Paris 1931, p. 98 2567:

and separate spatial planes appreciable physiologically by the observer.

2085: 1497: 1113: 1108: 999: 248: 244: 158: 1942:, 19, rue de la Baume, located in the elegant and stylishly fashionable 1769:

Vauxcelles ongoing battle against Cubism included Jean-Gabriel Lemoine (

886: 8914: 8468: 8239: 8162: 8141: 8022: 7690: 7676: 7425: 7411: 7348: 7271: 7160: 7027: 6964: 6824: 6654: 6455: 6413: 6350: 6007: 5177: 1052:

persuaded Gris of the importance of mathematics (numbers) in painting.

1921:

Another vigorous supporter of Cubism was the art dealer and collector

436:

would remain the clearest and most intelligible definition of Cubism.

8963: 8921: 8786: 8496: 7579: 7334: 7201: 6922: 6873: 6838: 6399: 5826: 5693: 5625: 5147: 4896: 3022:), gouache and watercolor over charcoal on paper, 45.8 × 24.5 cm 2929: 2837: 2713: 2644: 2193: 1876: 1187: 1089: 954: 944: 910: 868:

In a second letter to Gleizes, dated 26 July 1916, Metzinger writes:

815: 667: 520: 267: 204: 138: 43: 2818:

Woman with animals (La dame aux bêtes) Madame Raymond Duchamp-Villon

1236: 239:

Cubism, from its inception, stems from the dissatisfaction with the

6803: 6670: 6028: 5989: 5973: 5959: 5850: 5610: 5605: 5575: 3176:, Yale University Press, New Haven and London, 1987, pp. 13-47, 215 3079: 1620: 570: 407: 341: 192: 4025:. The International Dada Archive, The University of Iowa Libraries 2575:

2. Simultaneous movements of rotation and translation of the plane

8562: 7600: 7062: 6677: 5966: 5950: 5936: 5497: 3426:

Degenerate Art Database (Beschlagnahme Inventar, Entartete Kunst)

3094: 1124:"Here is the man who has meditated on everything modern", writes 787:

as 'jewellery' ("joaillerie"). Another critic, Aurel, writing in

682: 247:. This dissatisfaction had already been seen in the works of the 4822:

Juan Gris, Joconde, Portail des collections des musées de France

3851: 2211:

In collaboration with the pro-Cubist writer, poet, and critique

5884: 5585: 5570: 5089: 4857: 2979:

Lille Métropole Museum of Modern, Contemporary and Outsider Art

2449:), published by gallery owner Jacques Povolozky in the journal 2205: 2102: 1925:. By the end of 1918—filling in the vacuum left in the wake of 771:, Pierre Reverdy, Daniel-Henry Kahnweiler, and Maurice Raynal. 432:, written by Albert Gleizes and Jean Metzinger in 1912; though 322:

Lille Métropole Museum of Modern, Contemporary and Outsider Art

90: 4694:, Aubin-Visconti, Edition Dumas, Saint-Etienne, October 1982, 4601:

July 09: Futurism at the Tate Modern: a review by Peter Brooke

2379:, 1998). The 1920 version, reproduced in Ozenfant, Jeanneret, 1581:—a collection of writings by Mondrian—and Theo van Doesburg's 4635:

Victor Poznanski and the exhibition L'art d'aujourd'hui, 1925

1341:

Nature morte au compotier (Still Life with Compote and Glass)

1112:

paintings of early 1916; in which Gris brought into practice

733:—leading to the descriptive term 'Crystal Cubism', coined by 328:

retrospective exhibitions of Cézanne's paintings held at the

5795: 4447:

Portrait of an Army Doctor (Portrait d'un médecin militaire)

4240:

Art In Its Time: Theories and Practices of Modern Aesthetics

3881:"Juan Gris, Collection Online, Solomon R. Guggenheim Museum" 3837:

Theories of Modern Art: A Source Book by Artists and Critics

3343: 3341: 3339: 1569:

With this intense flurry of activity, Csaky was taken on by

6357: 5891: 5595: 4735:, La Vie des lettres et des arts, 1922-3, 1924 in book form 4727: 3928:, Knopf Doubleday Publishing Group, Dec 24, 2008, pp. 77-78 2208:: a variation of Cubism in both painting and architecture. 2022:

Léopold Survage, Galerie de L'Effort Moderne, November 1920

1294:

leader of the second phase of Cubism (the Crystal period).

4725: 4723: 4721: 4719: 4717: 4715: 4713: 4711: 4709: 4707: 2046:

Georges Valmier, Galerie de L'Effort Moderne, January 1921

4826: 4070:

Louis Vauxcelles (Pinturrichio), Le Carnet des ateliers,

3336: 2215:, Ozenfant and Jeanneret founded the avant-garde journal 1986:

Fernand Léger, Galerie de L'Effort Moderne, February 1919

1974:

Jean Metzinger, Galerie de L'Effort Moderne, January 1919

4748:, Montjoie, Paris, 10 February 1913, p. 4. Reprinted as 4733:

La Peinture et ses lois, Ce qui devait sortir du cubisme

4504:

La peinture et ses lois, Ce qui devait sortir du Cubisme

3869:

Juan Gris, Biography and Works, Museo Thyssen-Bornemisza

3774:

John Richardson: A Life of Picasso, volume II, 1907–1917

2618:

to serve spatially and rhythmically by its own power. .

2034:

Joseph Csaky, Galerie de L'Effort Moderne, December 1920

4704: 4572:, MoMA, Grove Art Online, Oxford University Press, 2009 4386:. Ann Arbor, Michigan: UMI Research Press. p. 213. 4384:

Ozenfant and Purism: The Evolution of a style 1915–1930

4042:, Phaidon Press Limited, 1970, in association with the 3203:, MoMA, Grove Art Online, Oxford University Press, 2009 2487:

Action, Cahiers Individualistes de philosophie et d'art

1998:

Georges Braque, Galerie de L'Effort Moderne, March 1919

1962:

Auguste Herbin, Galerie de L'Effort Moderne, March 1918

4545: 4543: 4294: 4292: 4290: 4288: 4286: 4284: 4163:, Nord-Sud, Volume 1, Number 1, 15 March 1917, pp. 5-7 3824:, Revue de l'Art, 1996, Vol. 113, Issue 113, pp. 40–64 3805:

Christopher Green, Christian Derouet, Karin Von Maur,

3350:

Albert Gleizes 1881 – 1953, A Retrospective Exhibition

3219:

Inside Modernism: Relativity Theory, Cubism, Narrative

4768:

Albert Gleizes: For and Against the Twentieth Century

4526:

Albert Gleizes: For and Against the Twentieth Century

4435:. Blue Mountain Project, Princeton University Library 4317:, Blue Mountain Project, Princeton University Library 4184:, Blue Mountain Project, Princeton University Library 4165:, Blue Mountain Project, Princeton University Library 4116:, Blue Mountain Project, Princeton University Library 3678:. Blue Mountain Project, Princeton University Library 2997:

Bohémien Jouant de L'Accordéon (The Accordion Player)

1743:

From its first public exhibition in 1911, art critic

783:, referred to Metzinger's entry exhibited at Galerie 640:

Soldat jouant aux échecs (Soldier at a Game of Chess)

3973: 3971: 3969: 3967: 3965: 3963: 3961: 2561:

1. Movements of translation of the plane to one side

7794:

A Sunday Afternoon on the Island of La Grande Jatte

4540: 4375: 4358:"Amédée Ozenfant, Solomon R. Guggenheim Collection" 4281: 4208:, 31 January 1921, p. 2, National Library of France 4194:

Jean Metzinger, Montparnasse, No. 27, November 1923

4182:, Nord-Sud, Volume 2, Number 16, October 1918, p. 4 3839:, University of California Press, 1968, pp. 221-248 1577:, Léger, Lipchitz and Csaky. He had just published 1539:1921). Csaky's influences were drawn more from the 1485:, 1920, relief, limestone, polychrome, 80 cm, 1343:, oil on canvas, 63.5 × 78.7 cm (25 × 31 in), 763:, oil on canvas, 92.4 × 65.1 cm, private collection 4770:, Introduction, p. xi, Yale University Press, 2001 3926:A Life of Picasso: The Triumphant Years, 1917-1932 3513: 3511: 3212: 3210: 372: 3958: 3634: 3632: 3630: 3628: 3626: 3624: 3622: 3331:Albert Gleizes, Chronology of his life, 1881-1953 3324: 3322: 1799:Inversely, once a steadfast supporter of Cubism, 9056: 4605:From Cubism to Classicism, Painting and its Laws 4563: 4561: 4099:Modernités, I, Quelle sera la nouvelle peinture? 3807:Juan Gris: [catalogue of the Exhibition] 3558:, 8 April 1919, p. 3, National Library of France 3522:, Manchester University Press, 2004, pp. 151–153 3303:, The Solomon R. Guggenheim Foundation, New York 2184:Le Corbusier (Charles-Édouard Jeanneret), 1920, 1866:. The title of the magazine was inspired by the 1405:Guitar, Clarinet, and Bottle on a Pedestal Table 1258:Still Life before an Open Window, Place Ravignan 1094:Still Life before an Open Window, Place Ravignan 896:, oil and sand on canvas, 130.4 × 97.1 cm, 709:'s gallery—including Jean Metzinger, Juan Gris, 4519: 4517: 4515: 4513: 4493: 4491: 4331:L'Élan and Amédée Ozenfant: Art for Art's Sake? 4270:, Fondation Le Corbusier, September 2009, p. 10 4084:Louis Vauxcelles (Pinturrichio), De Profundis, 3720:, Tudor Publishing Co., New York, 1934, p. 125 3544:, 9 July 1915, p. 2, National Library of France 3508: 3250: 3248: 3246: 3244: 3242: 3240: 3238: 3236: 3207: 2311:, New York. Reproduced in Ozenfant, Jeanneret, 2010:Juan Gris, Galerie L'Effort Moderne, April 1919 1684:—late adherents to Cubist sculpture, following 49:Arlequin à la Guitare (Harlequin with a Guitar) 4132:, Gallimard, La Pléiade, 1988, note 3, p. 1075 3983:, Philadelphia: American Philosophical Society 3619: 3319: 3168: 3166: 3164: 3162: 3160: 3158: 3156: 3154: 3152: 3150: 3148: 3146: 3144: 3142: 3140: 3138: 3136: 3134: 2912:Seated Woman (Woman with the Body of a Guitar) 2872:, oil and sand on canvas, 115.9 × 81 cm, 2524:The problem set out by Gleizes was to replace 1469: 1401:Guitare, clarinette et bouteille sur une table 5811: 4842: 4558: 4065: 4063: 3919: 3917: 3915: 3903: 3901: 3813: 3436: 3409:, Yale University Press, 1992, pp. 6, 22–60. 3306: 3293: 3132: 3130: 3128: 3126: 3124: 3122: 3120: 3118: 3116: 3114: 2375:(Purchased from the artist in 1951. Dépôt du 685:; a prerequisite for fundamental change. The 8733: 8722: 5916: 5905: 5859: 5848: 4510: 4488: 4299:Amédée Ozenfant, Charles-Édouard Jeanneret, 4234:Amédée Ozenfant, Charles-Édouard Jeanneret, 4219:Amédée Ozenfant, Charles-Édouard Jeanneret, 3705: 3703: 3701: 3699: 3233: 5987: 4686: 4684: 4682: 3980:Joseph Csaky: A Pioneer of Modern Sculpture 3828: 3587:, éditions de L'Effort moderne, Paris, 1919 3437:Green, Christopher; Musgrove, John (2003). 3280: 3278: 3269:The Epic, From immobile form to mobile form 1862:. In March of the same year Reverdy edited 165:, dynamism of modern life, the occult, and 29:Femme au gant noir (Woman with Black Glove) 5818: 5804: 5651:The Cubist Painters, Aesthetic Meditations 4849: 4835: 4680: 4678: 4676: 4674: 4672: 4670: 4668: 4666: 4664: 4662: 4433:, L'élan, Number 10, 1 December 1916, p. 3 4261: 4259: 4257: 4173: 4171: 4060: 3955:Paul Morand, 1996, 19 May 1917, p. 143–144 3912: 3898: 3111: 3064:, gouache on canvas, 91.4 × 76.2 cm, 2107:opened on 21 December 1918, with works by 1276:Arlequin au violon (Harlequin with Violin) 1131:The Cubist Painters, Aesthetic Meditations 4141:Étienne-Alain Hubert, note au tome 1 des 4035: 4033: 4031: 3783: 3696: 3654: 3652: 3451:10.1093/gao/9781884446054.article.T020539 2415:Du Cubisme et les moyens de le comprendre 1421:Arlequin jouant de la guitare (Harlequin) 1361:L'anis del mono (Bottle of Anis del Mono) 4692:Gleizes, Naissance et avenire du cubisme 4554:, Solomon R. Guggenheim Museum, New York 4223:, Éditions des Commentaires, Paris, 1918 3742:, University of California Press, 1994, 3394: 3275: 3263:, 1929. First published under the title 3045:), 31.1 × 23.2 cm, gouache on paper 2958:, oil on canvas, 115.6 × 73 cm 2896:Motherhood, Angelina and the Child Diego 2821:, oil on canvas, 196.4 × 114.1 cm, 2597: 2583: 2569: 2555: 2477: 2431: 2358: 2292: 2179: 2157: 2143:), oil on canvas, 81.28 cm × 100.65 cm, 2127: 2060: 1908: 1825: 1722: 1664: 1645: 1587: 1549: 1473: 1461:, oil on canvas, 204.5 × 188.3 cm, 1383:, oil on canvas, 152.4 × 205.7 cm, 1381:Still-life with Door, Guitar and Bottles 1269: 1235: 1084: 1018: 903: 885: 751: 662: 629: 617:, oil on canvas, 235.9 × 195.6 cm, 505:), oil on burlap, 128.6 × 95.9 cm, 481:Musée d'Art Moderne de la Ville de Paris 459:Musée d'Art Moderne de la Ville de Paris 305: 219: 58: 38: 18: 4659: 4413: 4254: 4168: 4009:Jacques Lipchitz, his life in sculpture 3640:Jean Metzinger: At the Center of Cubism 3392: 3390: 3388: 3386: 3384: 3382: 3380: 3378: 3376: 3374: 1459:Nous autres musiciens (Three Musicians) 1096:, oil on canvas, 115.9 × 88.9 cm, 625: 527:, oil on canvas, 127.6 × 88.3 cm, 9057: 4028: 3761:Picasso Posse: The Mona Lisa of Cubism 3753: 3649: 3194: 3192: 3190: 3188: 3186: 3184: 3182: 2056: 1278:, oil on canvas, 142 × 100.3 cm, 1196:La femme à la mandoline, d'après Corot 893:At the Cycle-Race Track (Au Vélodrome) 552:, oil on canvas, 225.4 × 183 cm, 215: 8659:Six Characters in Search of an Author 5799: 4830: 3997:, 1921, oil on canvas, 97.1 x 74.9 cm 3835:Herschel Browning Chipp, Peter Selz, 3798: 3780:, Jonathan Cape, London, 1996, p. 211 3496:, Yale University Press, 1998, p. 152 2936:, oil on panel, 54.8 × 32.7 cm, 2848:), oil on canvas, 92.1 × 73 cm, 1883:Reverdy, with the help of Dermée and 1676:, 43 cm, reproduced in Život 2 (1922) 1661:, Edition de "L'Esprit nouveau", 1919 1518:Cones and Spheres, Abstract Sculpture 1229:(September 1916) and in its epilogue 16:Subgenre of the painting style cubism 9100:French artist groups and collectives 4381: 3371: 3016:Violon, bouteilles de Marc et cartes 2892:Maternidad, Angelina y et niño Diego 2371:), oil on canvas, 130 × 93 cm, 1363:, oil on canvas, 46 x 54.6 cm, 1042:, was also an homage to Metzinger's 643:, oil on canvas, 81.3 × 61 cm, 595:, oil on canvas, 165 × 111 cm, 479:, oil on canvas, 326 × 208 cm, 457:, oil on canvas, 230 × 196 cm, 243:that had been in practice since the 187:Crystal Cubism, and its associative 5246:Portrait of Daniel-Henry Kahnweiler 3179: 2609:spatial and rhythmic organism more 2165:(Charles-Édouard Jeanneret), 1920, 914:, oil on canvas, 129.7 × 96.68 cm, 861:The 'new perspective' according to 593:Les Bateaux de pêche (Fischerboote) 579:exhibition, and missing ever since. 13: 7854:Nude Descending a Staircase, No. 2 5382:Still Life with Checked Tablecloth 5350:Nude Descending a Staircase, No. 2 4040:Douglas Cooper, "The Cubist Epoch" 3809:, 1992, London and Otterlo, p. 160 2977:, oil on canvas, 92 × 65 cm, 2621: 2307:, oil on canvas, 119.8 × 95.1 cm, 2248:. Ozenfant and Le Corbusier wrote 2173:), oil on canvas, 80.9 × 99.7 cm, 2145:San Francisco Museum of Modern Art 1891:, published in the first issue of 1841:), oil on canvas, 60.1 × 91.5 cm, 1821: 1171:), oil on canvas, 51.4 × 40.3 cm, 320:), oil on canvas, 40.5 x 32.5 cm, 295: 14: 9126: 4785: 4639:Gleizes – ups and downs of Cubism 2630:and the series of exhibitions at 2453:, 1922-3, and as a book in 1924. 2327:(Portrait d'un médecin militaire) 2305:(Portrait d'un médecin militaire) 9041: 9040: 4584:Souvenirs: le Cubisme, 1908–1914 4468:) (Un Musicien, Florent Schmitt) 4333:, DH and Literary Studies, 2011" 4044:Los Angeles County Museum of Art 3690:Au temps des Cubistes, 1910-1920 3362:Albert Gleizes, Jean Metzinger, 3259:, written in 1925, published in 3066:Los Angeles County Museum of Art 3050: 3027: 3004: 2985: 2963: 2944: 2922: 2903: 2880: 2856: 2830: 2805: 2795: 2489:, Volume 1, No. 1, February 1920 2200:, Ozenfant founded the magazine 2039: 2027: 2015: 2003: 1991: 1979: 1967: 1955: 1450: 1440:The Table in front of the Window 1427: 1412: 1392: 1372: 1352: 1332: 1316: 1227:Woman with Mandolin, after Corot 1192:Woman with Mandolin, after Corot 1180: 1153: 991:Au temps des Cubistes, 1910-1920 603: 584: 561: 535: 513: 487: 465: 441: 229:Mardi gras (Pierrot et Arlequin) 4759: 4738: 4644: 4626: 4593: 4576: 4473: 4453: 4438: 4422: 4390: 4350: 4321: 4307: 4303:, Éditions G. Crès et Cie, 1925 4227: 4212: 4198: 4187: 4152: 4135: 4119: 4104: 4091: 4078: 4016: 4001: 3986: 3949: 3940: 3873: 3862: 3767: 3730: 3681: 3666: 3605: 3591: 3576: 3562: 3548: 3534: 3485: 3474: 3430: 3419: 3356: 1327:, lithograph, 47.5 × 36 cm 697:, dynamism of modern life, and 373:Pre-war: analysis and synthesis 52:, oil on panel, 101 × 65.1 cm, 32:, oil on canvas, 126 x 100 cm, 8808:Grosvenor School of Modern Art 8801:Fourth dimension in literature 5757:Douglas Cooper (art historian) 5723:Daniel Robbins (art historian) 3674:Jean Metzinger, Une Esthétique 3585:Quelques Intentions du Cubisme 3267:, 1928. English translation, 3217:Thomas Vargish, Delo E. Mook, 3020:Violin, Marc bottles and cards 2451:La Vie des lettres et des arts 1198:), oil on canvas, 92 × 60 cm, 454:L'Oiseau bleu, (The Blue Bird) 231:, oil on canvas, 102 x 81 cm, 1: 5825: 4528:, Yale University Press, 2001 3312:Daniel Robbins, Joann Moser, 3221:, Yale University Press, 1999 3105: 2628:Armistice of 11 November 1918 2602: 2588: 2574: 2560: 2410:, lacked a solid foundation. 2373:Musée des Beaux-Arts de Rouen 1913:Pablo Picasso, reproduced in 1729:Femme assise dans un fauteuil 1442:), oil on canvas, collection 1029:(left), and Juan Gris, 1912, 210: 34:National Gallery of Australia 5238:Portrait of Ambroise Vollard 4401:010 Publishers, 2009, p. 139 4242:, Routledge, 2003, pp. 77-77 3644:Jean Metzinger in Retrospect 3314:Jean Metzinger in Retrospect 2999:, Museo del Novecento, Milan 2331:Solomon R. Guggenheim Museum 2309:Solomon R. Guggenheim Museum 2080:, Number 9, 12 February 1916 1917:, Number 10, 1 December 1916 1739:, Number 9, 12 February 1916 1733:Woman sitting in an armchair 1718: 926:, published in the magazine 774: 761:(Lady at her Dressing Table) 756:Jean Metzinger, April 1916, 507:Solomon R. Guggenheim Museum 7: 8901:List of avant-garde artists 7878:The Cabinet of Dr. Caligari 5718:Paul Rosenberg (art dealer) 5374:Still Life with Candlestick 5065:Georges Ribemont-Dessaignes 4750:A Propos du Salon d'Automne 3445:. Oxford University Press. 3073: 2874:Museum of Fine Arts, Boston 2823:Peggy Guggenheim Collection 2632:Galerie de L'Effort Moderne 2273:tendency toward the crystal 1944:8th arrondissement of Paris 1936:Galerie de L'Effort Moderne 1470:Csaky, Laurens and Lipchitz 1161:Jean-Baptiste-Camille Corot 898:Peggy Guggenheim Collection 503:Le modèle nu dans l'atelier 393:Le modèle nu dans l'atelier 199:in both French society and 178:Galerie de L'Effort Moderne 10: 9131: 8759:Classical Hollywood cinema 5318:Portrait of Jacques Nayral 4856: 4746:Le Cubisme et la Tradition 4552:Portrait of an Army Doctor 4238:, quoted in Paul Mattick, 4048:Metropolitan Museum of Art 3778:The Painter of Modern Life 3688:Jean Metzinger, quoted in 3613:Échos, 1915 et la peinture 2869:Fruit and a Jug on a Table 2668: 2616:possibilities of the plane 2354:Portrait of an Army Doctor 2325:Portrait of an Army Doctor 2303:Portrait of an Army Doctor 2288: 1463:Philadelphia Museum of Art 1436:La table devant la fenêtre 1297: 1121:, Lipchitz and Metzinger. 1098:Philadelphia Museum of Art 1071:Portrait of Jacques Nayral 967:Soldier at a Game of Chess 529:Philadelphia Museum of Art 299: 54:Metropolitan Museum of Art 9022: 8700: 8541: 8409: 8249: 7998: 7987: 7830:Les Demoiselles d'Avignon 7784: 7610: 7170: 6653: 6644: 6521: 6305: 6047: 6038: 5833: 5668: 5634: 5516: 5435: 5400: 5358:The Cathedral (Katedrála) 5262:Le pigeon aux petits pois 5230:Les Demoiselles d'Avignon 5221: 5120: 4920: 4864: 4655:, summary by Peter Brooke 3299:Robert L. Herbert, 1968, 2413:In his 1920 publication, 2363:Albert Gleizes, 1920–23, 2347:Thyssen-Bornemisza Museum 2113:Charles-Édouard Jeanneret 1787:Jerzy Waldemar Jarocinski 1583:Classique-Baroque-Moderne 1365:Detroit Institute of Arts 1250:Thyssen-Bornemisza Museum 911:Le Fumeur (Man with Pipe) 262:, in passing through the 89:) is a distilled form of 6615:The Master and Margarita 5163:Stanton Macdonald-Wright 3520:Cubism and Its Histories 3080:De Stijl (Neoplasticism) 2956:Still Life with Red Lamp 2850:Art Institute of Chicago 2552:Schematic illustrations: 2101:The first exhibition of 1785:), and Waldemar George ( 1543:rather than from French 1516:These 1919 works (e.g., 1385:Statens Museum for Kunst 1339:Pablo Picasso, 1914–15, 1325:Composition à la guitare 1231:Portrait of Josette Gris 1128:in his 1913 publication 978:) location unknown, and 908:Jean Metzinger, c.1913, 672:Portrait of Josette Gris 499:Nude Model in the Studio 386:L'équipe du Cardiff F.C. 9095:Art movements in Europe 8908:List of modernist poets 8794:Fourth dimension in art 7970:Meshes of the Afternoon 5785:Fourth dimension in art 5706:Daniel-Henry Kahnweiler 5342:Les Joueurs de football 4086:Le Carnet de la Semaine 4072:Le Carnet de la Semaine 3405:Staatsgalerie Stuttgart 2975:La Joueuse de mandoline 2626:Throughout the war, to 2458:La Peinture et ses lois 2447:La Peinture et ses lois 2389:La Peinture et ses lois 2240:, where he taught with 1931:Le Carnet de la Semaine 1280:Cleveland Museum of Art 1076:Homage to Pablo Picasso 1057:Hommage à Pablo Picasso 1040:Hommage à Pablo Picasso 1031:Hommage à Pablo Picasso 1014: 647:, University of Chicago 615:The Conquest of the Air 554:National Gallery of Art 548:Les Joueurs de football 402:Les Joueurs de football 195:transformation towards 9105:Theories of aesthetics 8992:Second Viennese School 8734: 8723: 6627:The Sound and the Fury 6531:In Search of Lost Time 5988: 5917: 5906: 5860: 5849: 5746:John Quinn (collector) 4970:Raymond Duchamp-Villon 4480:Albert Gleizes, 1917, 4130:Œuvres complètes No. 1 3792:On "Cubism" in context 3718:Modern French Painters 3348:Daniel Robbins, 1964, 2934:Glass and Water Bottle 2658: 2641: 2605: 2591: 2577: 2563: 2490: 2475:, can it be attained? 2384: 2383:, was reworked in 1923 2315: 2277: 2234: 2189: 2177: 2153:Bottle, Pipe and Books 2147: 2126: 2081: 2054: 1918: 1907: 1849:The poet and theorist 1846: 1754: 1740: 1677: 1662: 1644: 1609:Les maîtres du Cubisme 1604: 1597:Instruments de musique 1566: 1514: 1490: 1345:Columbus Museum of Art 1283: 1252: 1173:Saint Louis Art Museum 1100: 1034: 1023:Jean Metzinger, 1911, 995: 984:, private collection. 919: 916:Carnegie Museum of Art 901: 890:Jean Metzinger, 1912, 884: 875: 859: 764: 678: 648: 597:Tel Aviv Museum of Art 591:Albert Gleizes, 1913, 568:Jean Metzinger, 1913, 338:Salon des Indépendants 324: 310:Georges Braque, 1908, 236: 127:second phase of Cubism 75: 56: 36: 8971:Reactionary modernism 8894:List of art movements 5682:Guillaume Apollinaire 4653:Painting and Its Laws 4500:Painting and Its Laws 3739:Visions of the Modern 2890:, after August 1916, 2649: 2636: 2601: 2587: 2573: 2559: 2481: 2443:Painting and its Laws 2433:Painting and its Laws 2362: 2296: 2268: 2229: 2198:Guillaume Apollinaire 2183: 2161: 2131: 2121: 2064: 2050: 1912: 1897: 1873:Guillaume Apollinaire 1843:Kröller-Müller Museum 1829: 1749: 1726: 1668: 1649: 1639: 1591: 1553: 1533:Kröller-Müller Museum 1510: 1487:Kröller-Müller Museum 1477: 1457:Pablo Picasso, 1921, 1434:Pablo Picasso, 1919, 1419:Pablo Picasso, 1918, 1399:Pablo Picasso, 1916, 1379:Pablo Picasso, 1916, 1359:Pablo Picasso, 1916, 1323:Pablo Picasso, 1914, 1274:Pablo Picasso, 1918, 1273: 1239: 1126:Guillaume Apollinaire 1088: 1022: 986: 907: 889: 879: 870: 827: 755: 666: 633: 399:; and Albert Gleizes 309: 223: 62: 42: 22: 8815:Hanshinkan Modernism 8671:The Threepenny Opera 8587:Pelléas et Mélisande 4985:Roger de La Fresnaye 4930:Alexander Archipenko 4754:Tradition et Cubisme 4431:Notes sur le cubisme 4382:Ball, Susan (1981). 4088:, 28 July 1918, p. 6 3100:Constructivism (art) 3085:Abstraction-Création 3035:Alexander Archipenko 2910:Diego Rivera, 1916, 2704:Roger de La Fresnaye 2679:Alexander Archipenko 2462:translation-rotation 2175:Museum of Modern Art 1902:Carnet de la Semaine 1773:), Roland Chavenon ( 1686:Alexander Archipenko 1603:), bas relief, stone 1541:art of ancient Egypt 1225:seen in the artists 1169:Femme à la mandoline 1045:Le goûter (Tea Time) 1026:Le Goûter (Tea Time) 674:, 116 × 73 cm, 626:War years: 1914–1918 619:Museum of Modern Art 611:Roger de La Fresnaye 420:La Conquête de l'Air 417:Roger de La Fresnaye 413:Les Bâteaux de Pêche 8873:International Style 8623:Afternoon of a Faun 7902:Battleship Potemkin 7806:Mont Sainte-Victoir 5198:Alexander Rodchenko 5138:Patrick Henry Bruce 5070:Jeanne Rij-Rousseau 4980:Henri Le Fauconnier 4940:Constantin Brâncuși 4912:Henri Le Fauconnier 4482:Le Port de New York 4301:La peinture moderne 4145:de Pierre Reverdy, 4074:, 9 June 1918, p. 9 3978:Edith Balas, 1998, 3820:Christian Derouet, 3794:, online since 2012 3261:Le Rouge et le Noir 3199:Christopher Green, 3172:Christopher Green, 2938:Ohara Museum of Art 2424:had been since the 2381:La peinture moderne 2343:Le Port de New York 2313:La peinture moderne 2264:La peinture moderne 2250:La Peinture moderne 2221:La peinture moderne 2057:Towards the crystal 645:Smart Museum of Art 477:L'Équipe de Cardiff 363:Henri Le Fauconnier 317:Houses at l'Estaque 216:Beginnings: Cézanne 8752:Buddhist modernism 8709:American modernism 8635:The Rite of Spring 6603:The Sun Also Rises 6579:The Magic Mountain 5762:Arthur Jerome Eddy 5310:La Femme aux Phlox 5286:La Femme au Cheval 5203:Nadezhda Udaltsova 5015:Jean Lambert-Rucki 4995:Natalia Goncharova 4612:2015-06-08 at the 4502:, Albert Gleizes, 4329:"Michelle Parker, 4275:2016-03-03 at the 3724:2015-06-06 at the 3518:David Cottington, 3492:David Cottington, 2916:Frida Kahlo Museum 2840:, September 1915, 2606: 2592: 2578: 2564: 2506:Defining the laws: 2491: 2385: 2322:early as 1914–15: 2316: 2255:In final issue of 2223:, under the title 2190: 2178: 2148: 2082: 1919: 1847: 1741: 1680:Both Lipchitz and 1678: 1663: 1605: 1579:Le Néo-Plasticisme 1567: 1491: 1284: 1253: 1190:, September 1916, 1165:Girl with Mandolin 1101: 1035: 920: 902: 765: 679: 649: 550:(Football Players) 384:; Robert Delaunay 325: 276:Neo-Impressionists 237: 87:Cubisme de cristal 76: 57: 37: 9070:Cubist sculptures 9052: 9051: 8780:Experimental film 8696: 8695: 8683:Waiting for Godot 7983: 7982: 6640: 6639: 6543:The Metamorphosis 5793: 5792: 5659:La Maison Cubiste 5508:Chronophotography 5478:Neo-impressionism 4429:Amédée Ozenfant, 4097:Blaise Cendrars, 3993:Georges Valmier, 3924:John Richardson, 3460:978-1-884446-05-4 3301:Neo-Impressionism 3271:, by Peter Brooke 2699:Theo van Doesburg 2485:, front cover of 2419:three-dimensional 2242:Aleksandra Ekster 2186:Guitare verticale 2076:), reproduced in 1940:Hôtel particulier 1735:), reproduced in 1631:Abbaye de Créteil 1623:." (Balas, 1998) 1621:De Stijl movement 1563:The Guitar Player 1502:Cubist sculptures 1240:Juan Gris, 1917, 1200:Kunstmuseum Basel 804:Amedeo Modigliani 676:Museo Reina Sofia 556:, Washington D.C. 9122: 9065:Cubist paintings 9044: 9043: 9015: 9013:Vulgar modernism 9008: 9006:Underground film 9001: 8994: 8987: 8980: 8973: 8966: 8959: 8952: 8945: 8938: 8931: 8924: 8917: 8910: 8903: 8896: 8889: 8882: 8875: 8868: 8859: 8852: 8845: 8838: 8831: 8829:Hippie modernism 8824: 8817: 8810: 8803: 8796: 8789: 8782: 8775: 8768: 8761: 8754: 8747: 8745:Bloomsbury Group 8740: 8739: 8729: 8728: 8718: 8711: 8689: 8688: 8677: 8676: 8665: 8664: 8653: 8652: 8641: 8640: 8629: 8628: 8617: 8616: 8605: 8604: 8593: 8592: 8581: 8580: 8569: 8568: 8557: 8556: 8534: 8527: 8520: 8513: 8506: 8499: 8492: 8485: 8478: 8471: 8464: 8457: 8450: 8443: 8436: 8429: 8422: 8402: 8395: 8388: 8381: 8374: 8367: 8360: 8353: 8346: 8339: 8332: 8325: 8318: 8311: 8304: 8297: 8290: 8283: 8276: 8269: 8262: 8242: 8235: 8228: 8221: 8214: 8207: 8200: 8193: 8186: 8179: 8172: 8165: 8158: 8151: 8144: 8137: 8130: 8123: 8116: 8109: 8102: 8095: 8088: 8081: 8074: 8067: 8060: 8053: 8046: 8039: 8032: 8025: 8018: 8011: 7996: 7995: 7976: 7975: 7964: 7963: 7952: 7951: 7942: 7941: 7932: 7931: 7926:Un Chien Andalou 7920: 7919: 7908: 7907: 7896: 7895: 7890:Ballet Mécanique 7884: 7883: 7872: 7871: 7860: 7859: 7848: 7847: 7836: 7835: 7824: 7823: 7818:The Starry Night 7812: 7811: 7800: 7799: 7777: 7770: 7763: 7756: 7749: 7742: 7735: 7728: 7721: 7714: 7707: 7700: 7693: 7686: 7679: 7672: 7665: 7658: 7651: 7644: 7637: 7630: 7623: 7603: 7596: 7589: 7582: 7575: 7568: 7561: 7554: 7547: 7540: 7533: 7526: 7519: 7512: 7505: 7498: 7491: 7484: 7477: 7470: 7463: 7456: 7449: 7442: 7435: 7428: 7421: 7414: 7407: 7400: 7393: 7386: 7379: 7372: 7365: 7358: 7351: 7344: 7337: 7330: 7323: 7316: 7309: 7302: 7295: 7288: 7281: 7274: 7267: 7260: 7253: 7246: 7239: 7232: 7225: 7218: 7211: 7204: 7197: 7190: 7183: 7163: 7156: 7149: 7147:Toulouse-Lautrec 7142: 7135: 7128: 7121: 7114: 7107: 7100: 7093: 7086: 7079: 7072: 7065: 7058: 7051: 7044: 7037: 7030: 7023: 7016: 7009: 7002: 6995: 6988: 6981: 6974: 6967: 6960: 6953: 6946: 6939: 6932: 6925: 6918: 6911: 6904: 6897: 6890: 6883: 6876: 6869: 6862: 6855: 6848: 6841: 6834: 6827: 6820: 6813: 6806: 6799: 6792: 6785: 6778: 6771: 6764: 6757: 6750: 6743: 6736: 6729: 6722: 6715: 6708: 6701: 6694: 6687: 6680: 6673: 6666: 6651: 6650: 6633: 6632: 6621: 6620: 6609: 6608: 6597: 6596: 6585: 6584: 6573: 6572: 6561: 6560: 6549: 6548: 6537: 6536: 6514: 6507: 6500: 6493: 6486: 6479: 6472: 6465: 6458: 6451: 6444: 6437: 6430: 6423: 6416: 6409: 6402: 6395: 6388: 6381: 6374: 6367: 6360: 6353: 6346: 6339: 6332: 6325: 6318: 6298: 6291: 6284: 6277: 6270: 6263: 6256: 6249: 6242: 6235: 6228: 6221: 6214: 6207: 6200: 6193: 6186: 6179: 6172: 6165: 6158: 6151: 6144: 6137: 6130: 6123: 6116: 6109: 6102: 6095: 6088: 6081: 6074: 6067: 6060: 6045: 6044: 6031: 6024: 6017: 6010: 6003: 5994: 5993: 5983: 5976: 5969: 5962: 5953: 5946: 5939: 5930: 5923: 5922: 5912: 5911: 5908:Der Blaue Reiter 5901: 5894: 5887: 5880: 5873: 5866: 5865: 5855: 5854: 5844: 5820: 5813: 5806: 5797: 5796: 5712:Léonce Rosenberg 5676:Louis Vauxcelles 5616:Russian Futurism 5534:Cubist sculpture 5493:Symbolism (arts) 5409:Groupe de femmes 5326:Man on a Balcony 5294:Dancer in a café 5254:The Accordionist 5208:Marie Vassilieff 5173:Kazimir Malevich 5153:Lyonel Feininger 5103: 5050:Louis Marcoussis 5035:Jacques Lipchitz 4851: 4844: 4837: 4828: 4827: 4780: 4763: 4757: 4744:Albert Gleizes, 4742: 4736: 4731:Albert Gleizes, 4729: 4702: 4690:Pierre Alibert, 4688: 4657: 4651:Albert Gleizes, 4648: 4642: 4630: 4624: 4597: 4591: 4582:Albert Gleizes, 4580: 4574: 4568:Daniel Robbins, 4565: 4556: 4550:Albert Gleizes, 4547: 4538: 4521: 4508: 4495: 4486: 4477: 4471: 4460:Albert Gleizes's 4457: 4451: 4445:Albert Gleizes, 4442: 4436: 4426: 4420: 4417: 4411: 4394: 4388: 4387: 4379: 4373: 4372: 4370: 4369: 4360:. Archived from 4354: 4348: 4347: 4345: 4344: 4335:. Archived from 4325: 4319: 4311: 4305: 4296: 4279: 4266:Philip Speiser, 4263: 4252: 4236:Après le cubisme 4231: 4225: 4221:Après le cubisme 4216: 4210: 4202: 4196: 4191: 4185: 4178:Pierre Reverdy, 4175: 4166: 4159:Pierre Reverdy, 4156: 4150: 4143:Œuvres complètes 4139: 4133: 4123: 4117: 4111:Pierre Reverdy, 4108: 4102: 4095: 4089: 4082: 4076: 4067: 4058: 4037: 4026: 4020: 4014: 4005: 3999: 3990: 3984: 3975: 3956: 3953: 3947: 3944: 3938: 3921: 3910: 3905: 3896: 3895: 3893: 3892: 3883:. Archived from 3877: 3871: 3866: 3860: 3855: 3849: 3832: 3826: 3817: 3811: 3802: 3796: 3787: 3781: 3771: 3765: 3757: 3751: 3734: 3728: 3707: 3694: 3685: 3679: 3670: 3664: 3656: 3647: 3638:Daniel Robbins, 3636: 3617: 3609: 3603: 3595: 3589: 3583:Maurice Raynal, 3580: 3574: 3566: 3560: 3552: 3546: 3538: 3532: 3515: 3506: 3489: 3483: 3478: 3472: 3471: 3469: 3467: 3443:Grove Art Online 3434: 3428: 3423: 3417: 3396: 3369: 3360: 3354: 3345: 3334: 3326: 3317: 3310: 3304: 3297: 3291: 3282: 3273: 3255:Albert Gleizes, 3252: 3231: 3214: 3205: 3196: 3177: 3170: 3054: 3031: 3012:Louis Marcoussis 3008: 2989: 2967: 2948: 2926: 2907: 2884: 2860: 2846:The Checkerboard 2834: 2809: 2749:Louis Marcoussis 2744:Jacques Lipchitz 2520: 2409: 2217:L'Esprit Nouveau 2119:(After Cubism): 2117:Après le cubisme 2098: 2090:Germaine Bongard 2043: 2031: 2019: 2007: 1995: 1983: 1971: 1959: 1938:, in Rosenber's 1927:D.-H. Kahnweiler 1923:Léonce Rosenberg 1860:Vicente Huidobro 1839:Guitar and Glass 1835:Guitare et verre 1813: 1795: 1745:Louis Vauxcelles 1712:retour à l'ordre 1694:Umberto Boccioni 1657:, reproduced in 1627:Jacques Lipchitz 1593:Jacques Lipchitz 1571:Léonce Rosenberg 1555:Jacques Lipchitz 1454: 1431: 1416: 1396: 1376: 1356: 1336: 1320: 1248:), 116 × 73 cm, 1233:(October 1916). 1184: 1157: 789:L'Homme Enchaîné 739:Le Bateau-Lavoir 711:Jacques Lipchitz 707:Léonce Rosenberg 695:fourth dimension 670:, October 1916, 607: 588: 565: 539: 517: 491: 469: 445: 312:Maisons et arbre 252:Eugène Delacroix 189:rappel à l’ordre 163:fourth dimension 151:Jacques Lipchitz 131:Léonce Rosenberg 123:synthetic Cubism 107:classical Cubism 9130: 9129: 9125: 9124: 9123: 9121: 9120: 9119: 9085:1920s paintings 9080:1910s paintings 9055: 9054: 9053: 9048: 9039: 9031: 9018: 9011: 9004: 8999:Structural film 8997: 8990: 8983: 8976: 8969: 8962: 8955: 8950:New Objectivity 8948: 8941: 8936:Neo-romanticism 8934: 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6630: 6624: 6618: 6612: 6606: 6600: 6594: 6588: 6582: 6576: 6570: 6564: 6558: 6552: 6546: 6540: 6534: 6528: 6517: 6510: 6503: 6496: 6489: 6482: 6475: 6468: 6461: 6454: 6447: 6440: 6433: 6426: 6421:Lowell (Robert) 6419: 6412: 6405: 6398: 6391: 6384: 6377: 6370: 6363: 6356: 6349: 6342: 6335: 6328: 6321: 6314: 6301: 6294: 6287: 6280: 6273: 6266: 6259: 6252: 6245: 6238: 6231: 6224: 6217: 6210: 6203: 6196: 6189: 6182: 6175: 6168: 6161: 6154: 6147: 6140: 6133: 6126: 6119: 6112: 6105: 6098: 6091: 6084: 6077: 6070: 6063: 6056: 6034: 6027: 6020: 6013: 6006: 5999: 5986: 5979: 5972: 5965: 5958: 5949: 5942: 5935: 5926: 5915: 5904: 5897: 5890: 5883: 5876: 5869: 5858: 5847: 5840: 5829: 5824: 5794: 5789: 5774:Blaise Cendrars 5764:(art collector) 5753:(art collector) 5742:(art collector) 5730:(art collector) 5664: 5630: 5512: 5473:Esprit Jouffret 5468:Maurice Princet 5453:Gustave Courbet 5431: 5396: 5390:Three Musicians 5217: 5213:Marie Vorobieff 5116: 5107:Georges Valmier 5097: 5085:Léopold Survage 5060:Francis Picabia 5020:Marie Laurencin 5010:František Kupka 4975:Alexandra Exter 4950:Robert Delaunay 4935:María Blanchard 4916: 4892:Robert Delaunay 4860: 4855: 4788: 4783: 4764: 4760: 4743: 4739: 4730: 4705: 4689: 4660: 4649: 4645: 4631: 4627: 4614:Wayback Machine 4598: 4594: 4581: 4577: 4566: 4559: 4548: 4541: 4522: 4511: 4496: 4489: 4478: 4474: 4466:Florent Schmitt 4458: 4454: 4443: 4439: 4427: 4423: 4418: 4414: 4395: 4391: 4380: 4376: 4367: 4365: 4356: 4355: 4351: 4342: 4340: 4327: 4326: 4322: 4312: 4308: 4297: 4282: 4277:Wayback Machine 4264: 4255: 4232: 4228: 4217: 4213: 4206:L'Intransigeant 4203: 4199: 4192: 4188: 4176: 4169: 4157: 4153: 4140: 4136: 4124: 4120: 4109: 4105: 4096: 4092: 4083: 4079: 4068: 4061: 4038: 4029: 4021: 4017: 4006: 4002: 3991: 3987: 3976: 3959: 3954: 3950: 3945: 3941: 3922: 3913: 3906: 3899: 3890: 3888: 3879: 3878: 3874: 3867: 3863: 3856: 3852: 3833: 3829: 3818: 3814: 3803: 3799: 3788: 3784: 3772: 3768: 3758: 3754: 3735: 3731: 3726:Wayback Machine 3708: 3697: 3686: 3682: 3671: 3667: 3657: 3650: 3637: 3620: 3610: 3606: 3596: 3592: 3581: 3577: 3567: 3563: 3553: 3549: 3542:L'Intransigeant 3539: 3535: 3516: 3509: 3490: 3486: 3479: 3475: 3465: 3463: 3461: 3435: 3431: 3424: 3420: 3397: 3372: 3361: 3357: 3346: 3337: 3327: 3320: 3311: 3307: 3298: 3294: 3283: 3276: 3253: 3234: 3215: 3208: 3197: 3180: 3171: 3112: 3108: 3076: 3069: 3055: 3046: 3032: 3023: 3009: 3000: 2990: 2981: 2968: 2959: 2952:María Blanchard 2949: 2940: 2927: 2918: 2908: 2899: 2885: 2876: 2861: 2852: 2835: 2826: 2810: 2798: 2793: 2784:Georges Valmier 2779:Léopold Survage 2684:María Blanchard 2671: 2624: 2622:The end-product 2604: 2590: 2576: 2562: 2514: 2508: 2496: 2436: 2403: 2397:František Kupka 2377:Centre Pompidou 2337:Florent Schmitt 2291: 2246:Marie Laurencin 2225:Vers le crystal 2133:Amédée Ozenfant 2109:Amédée Ozenfant 2092: 2059: 2047: 2044: 2035: 2032: 2023: 2020: 2011: 2008: 1999: 1996: 1987: 1984: 1975: 1972: 1963: 1960: 1824: 1822:Counter attacks 1816:Blaise Cendrars 1807: 1789: 1771:L'Intransigeant 1727:Pablo Picasso, 1721: 1674:Le Petit boxeur 1472: 1465: 1455: 1446: 1432: 1423: 1417: 1408: 1397: 1388: 1377: 1368: 1357: 1348: 1337: 1328: 1321: 1309:return to order 1300: 1265:solo exhibition 1206: 1205: 1204: 1203: 1202: 1185: 1177: 1176: 1158: 1017: 981:Femme au miroir 820:Blaise Cendrars 777: 759:Femme au miroir 628: 621: 608: 599: 589: 580: 566: 557: 540: 531: 518: 509: 492: 483: 473:Robert Delaunay 470: 461: 446: 397:L'Homme au Café 375: 367:Robert Delaunay 330:Salon d'Automne 304: 298: 296:The first phase 260:Gustave Courbet 218: 213: 182:return to order 115:advanced Cubism 83:Cubisme cristal 17: 12: 11: 5: 9128: 9118: 9117: 9112: 9107: 9102: 9097: 9092: 9087: 9082: 9077: 9072: 9067: 9050: 9049: 9032: 9024: 9023: 9020: 9019: 9017: 9016: 9009: 9002: 8995: 8988: 8981: 8974: 8967: 8960: 8957:Poetic realism 8953: 8946: 8939: 8932: 8925: 8918: 8911: 8904: 8897: 8890: 8887:Late modernity 8883: 8880:Late modernism 8876: 8869: 8862: 8861: 8860: 8853: 8846: 8832: 8825: 8822:High modernism 8818: 8811: 8804: 8797: 8790: 8783: 8776: 8769: 8766:Degenerate art 8762: 8755: 8748: 8741: 8736:Ballets Russes 8730: 8719: 8712: 8704: 8702: 8698: 8697: 8694: 8693: 8691: 8690: 8678: 8666: 8654: 8642: 8630: 8618: 8606: 8594: 8582: 8570: 8558: 8545: 8543: 8539: 8538: 8536: 8535: 8528: 8521: 8514: 8507: 8500: 8493: 8486: 8479: 8472: 8465: 8458: 8451: 8444: 8437: 8430: 8423: 8415: 8413: 8407: 8406: 8404: 8403: 8396: 8389: 8382: 8375: 8368: 8361: 8354: 8347: 8340: 8333: 8326: 8319: 8312: 8305: 8298: 8291: 8284: 8277: 8270: 8263: 8255: 8253: 8247: 8246: 8244: 8243: 8236: 8229: 8222: 8215: 8208: 8201: 8194: 8187: 8180: 8173: 8166: 8159: 8152: 8145: 8138: 8131: 8124: 8117: 8110: 8103: 8096: 8089: 8082: 8075: 8068: 8061: 8054: 8047: 8040: 8033: 8026: 8019: 8012: 8004: 8002: 7993: 7985: 7984: 7981: 7980: 7978: 7977: 7965: 7953: 7943: 7933: 7921: 7909: 7897: 7885: 7873: 7861: 7849: 7837: 7825: 7813: 7801: 7788: 7786: 7782: 7781: 7779: 7778: 7771: 7764: 7757: 7750: 7743: 7736: 7729: 7722: 7715: 7708: 7701: 7694: 7687: 7680: 7673: 7666: 7659: 7652: 7645: 7638: 7631: 7624: 7616: 7614: 7608: 7607: 7605: 7604: 7597: 7590: 7583: 7576: 7569: 7562: 7555: 7548: 7541: 7534: 7527: 7520: 7513: 7506: 7499: 7492: 7485: 7482:Ray (Satyajit) 7478: 7475:Ray (Nicholas) 7471: 7464: 7457: 7450: 7443: 7436: 7429: 7422: 7415: 7408: 7401: 7394: 7387: 7380: 7373: 7366: 7359: 7352: 7345: 7338: 7331: 7324: 7317: 7310: 7303: 7296: 7289: 7282: 7275: 7268: 7261: 7254: 7247: 7240: 7233: 7226: 7219: 7212: 7205: 7198: 7191: 7184: 7176: 7174: 7168: 7167: 7165: 7164: 7157: 7150: 7143: 7136: 7129: 7122: 7115: 7108: 7101: 7094: 7087: 7080: 7073: 7066: 7059: 7052: 7045: 7038: 7031: 7024: 7017: 7010: 7003: 6996: 6989: 6982: 6975: 6968: 6961: 6954: 6947: 6940: 6933: 6926: 6919: 6912: 6905: 6898: 6891: 6884: 6877: 6870: 6863: 6856: 6849: 6842: 6835: 6828: 6821: 6814: 6807: 6800: 6793: 6786: 6779: 6772: 6765: 6758: 6751: 6744: 6737: 6730: 6723: 6716: 6709: 6702: 6695: 6688: 6681: 6674: 6667: 6659: 6657: 6648: 6642: 6641: 6638: 6637: 6635: 6634: 6622: 6610: 6598: 6586: 6574: 6567:The Waste Land 6562: 6550: 6538: 6525: 6523: 6519: 6518: 6516: 6515: 6508: 6501: 6494: 6487: 6480: 6473: 6466: 6459: 6452: 6445: 6438: 6431: 6424: 6417: 6410: 6403: 6396: 6389: 6382: 6375: 6368: 6361: 6354: 6347: 6340: 6333: 6326: 6319: 6311: 6309: 6303: 6302: 6300: 6299: 6292: 6285: 6278: 6271: 6264: 6257: 6250: 6243: 6236: 6229: 6222: 6215: 6208: 6201: 6194: 6187: 6180: 6173: 6166: 6159: 6152: 6145: 6138: 6131: 6124: 6117: 6110: 6103: 6096: 6089: 6082: 6075: 6068: 6061: 6053: 6051: 6042: 6036: 6035: 6033: 6032: 6025: 6018: 6011: 6004: 5997: 5996: 5995: 5977: 5970: 5963: 5956: 5955: 5954: 5940: 5933: 5932: 5931: 5924: 5913: 5895: 5888: 5881: 5878:Constructivism 5874: 5867: 5856: 5845: 5837: 5835: 5831: 5830: 5823: 5822: 5815: 5808: 5800: 5791: 5790: 5788: 5787: 5782: 5777: 5771: 5768:Pierre Reverdy 5765: 5759: 5754: 5751:Leonard Lauder 5748: 5743: 5737: 5731: 5728:Gertrude Stein 5725: 5720: 5715: 5709: 5703: 5702:(poet, critic) 5700:Maurice Raynal 5697: 5691: 5685: 5684:(poet, critic) 5679: 5672: 5670: 5666: 5665: 5663: 5662: 5655: 5647: 5638: 5636: 5632: 5631: 5629: 5628: 5623: 5618: 5613: 5608: 5603: 5601:Constructivism 5598: 5593: 5588: 5583: 5581:Crystal Cubism 5578: 5573: 5568: 5563: 5558: 5553: 5548: 5547: 5546: 5536: 5531: 5526: 5520: 5518: 5514: 5513: 5511: 5510: 5505: 5500: 5495: 5490: 5485: 5480: 5475: 5470: 5465: 5460: 5458:Georges Seurat 5455: 5450: 5445: 5439: 5437: 5433: 5432: 5430: 5429: 5421: 5413: 5404: 5402: 5398: 5397: 5395: 5394: 5386: 5378: 5370: 5362: 5354: 5346: 5338: 5334:Les Baigneuses 5330: 5322: 5314: 5306: 5298: 5290: 5282: 5274: 5266: 5258: 5250: 5242: 5234: 5225: 5223: 5219: 5218: 5216: 5215: 5210: 5205: 5200: 5195: 5193:Morgan Russell 5190: 5185: 5180: 5175: 5170: 5165: 5160: 5155: 5150: 5145: 5140: 5135: 5130: 5124: 5122: 5118: 5117: 5115: 5114: 5112:Jacques Villon 5109: 5104: 5092: 5087: 5082: 5077: 5072: 5067: 5062: 5057: 5055:Jean Metzinger 5052: 5047: 5042: 5037: 5032: 5027: 5022: 5017: 5012: 5007: 5005:Auguste Herbin 5002: 4997: 4992: 4990:Albert Gleizes 4987: 4982: 4977: 4972: 4967: 4962: 4960:Marcel Duchamp 4957: 4955:Sonia Delaunay 4952: 4947: 4942: 4937: 4932: 4926: 4924: 4918: 4917: 4915: 4914: 4909: 4907:Marcel Duchamp 4904: 4899: 4894: 4889: 4887:Albert Gleizes 4884: 4882:Jean Metzinger 4879: 4877:Georges Braque 4874: 4868: 4866: 4862: 4861: 4854: 4853: 4846: 4839: 4831: 4825: 4824: 4819: 4814: 4809: 4804: 4799: 4794: 4787: 4786:External links 4784: 4782: 4781: 4766:Peter Brooke, 4758: 4737: 4703: 4658: 4643: 4633:Peter Brooke, 4625: 4592: 4575: 4570:Albert Gleizes 4557: 4539: 4524:Peter Brooke, 4509: 4498:Peter Brooke, 4487: 4472: 4452: 4437: 4421: 4412: 4389: 4374: 4349: 4320: 4306: 4280: 4268:Villa La Rocca 4253: 4226: 4211: 4197: 4186: 4167: 4161:Sur le Cubisme 4151: 4134: 4118: 4103: 4090: 4077: 4059: 4027: 4015: 4000: 3985: 3957: 3948: 3939: 3911: 3897: 3872: 3861: 3850: 3827: 3812: 3797: 3790:Peter Brooke, 3782: 3766: 3752: 3737:John Golding, 3729: 3714:Maurice Raynal 3710:Jean Metzinger 3695: 3680: 3665: 3659:Peter Brooke, 3648: 3618: 3604: 3590: 3575: 3561: 3547: 3533: 3507: 3484: 3473: 3459: 3429: 3418: 3370: 3355: 3335: 3329:Peter Brooke, 3318: 3305: 3292: 3274: 3232: 3206: 3178: 3109: 3107: 3104: 3103: 3102: 3097: 3092: 3087: 3082: 3075: 3072: 3071: 3070: 3058:Albert Gleizes 3056: 3049: 3047: 3033: 3026: 3024: 3010: 3003: 3001: 2991: 2984: 2982: 2971:Georges Braque 2969: 2962: 2960: 2950: 2943: 2941: 2928: 2921: 2919: 2909: 2902: 2900: 2886: 2879: 2877: 2864:Jean Metzinger 2862: 2855: 2853: 2836: 2829: 2827: 2813:Albert Gleizes 2811: 2804: 2797: 2794: 2792: 2791: 2789:Jacques Villon 2786: 2781: 2776: 2771: 2766: 2761: 2756: 2754:Jean Metzinger 2751: 2746: 2741: 2736: 2731: 2726: 2724:Auguste Herbin 2721: 2716: 2711: 2709:Albert Gleizes 2706: 2701: 2696: 2691: 2689:Georges Braque 2686: 2681: 2675: 2670: 2667: 2666: 2665: 2623: 2620: 2512:Pierre Alibert 2483:Albert Gleizes 2466:Daniel Robbins 2439:Albert Gleizes 2435: 2430: 2319:Albert Gleizes 2298:Albert Gleizes 2290: 2287: 2066:Jean Metzinger 2058: 2055: 2049: 2048: 2045: 2038: 2036: 2033: 2026: 2024: 2021: 2014: 2012: 2009: 2002: 2000: 1997: 1990: 1988: 1985: 1978: 1976: 1973: 1966: 1964: 1961: 1954: 1885:Georges Braque 1851:Pierre Reverdy 1831:Georges Braque 1823: 1820: 1760:Defections by 1720: 1717: 1698:Otto Gutfreund 1655:Céline Arnauld 1617:Tower Figures. 1471: 1468: 1467: 1466: 1456: 1449: 1447: 1444:Paul Rosenberg 1433: 1426: 1424: 1418: 1411: 1409: 1398: 1391: 1389: 1378: 1371: 1369: 1358: 1351: 1349: 1338: 1331: 1329: 1322: 1315: 1305:Gertrude Stein 1299: 1296: 1186: 1179: 1178: 1159: 1152: 1151: 1150: 1149: 1148: 1068:and Gleizes's 1016: 1013: 1012: 1011: 863:Daniel Robbins 808:Pierre Reverdy 785:Bernheim-Jeune 776: 773: 735:Maurice Raynal 719:Auguste Herbin 701:'s concept of 653:Duchamp-Villon 635:Jean Metzinger 627: 624: 623: 622: 609: 602: 600: 590: 583: 581: 577:Degenerate Art 567: 560: 558: 543:Albert Gleizes 541: 534: 532: 519: 512: 510: 493: 486: 484: 471: 464: 462: 449:Jean Metzinger 447: 440: 374: 371: 359:Albert Gleizes 355:Jean Metzinger 351:Georges Braque 336:From the 1911 300:Main article: 297: 294: 272:Impressionists 233:Pushkin Museum 217: 214: 212: 209: 201:French culture 169:'s concept of 155:Maurice Raynal 143:Albert Gleizes 135:Jean Metzinger 103:Crystal Period 97:This range of 79:Crystal Cubism 24:Albert Gleizes 15: 9: 6: 4: 3: 2: 9127: 9116: 9113: 9111: 9108: 9106: 9103: 9101: 9098: 9096: 9093: 9091: 9088: 9086: 9083: 9081: 9078: 9076: 9075:Art movements 9073: 9071: 9068: 9066: 9063: 9062: 9060: 9047: 9037: 9036: 9035:Postmodernism 9030: 9029: 9021: 9014: 9010: 9007: 9003: 9000: 8996: 8993: 8989: 8986: 8982: 8979: 8978:Metamodernism 8975: 8972: 8968: 8965: 8961: 8958: 8954: 8951: 8947: 8944: 8943:New Hollywood 8940: 8937: 8933: 8930: 8926: 8923: 8919: 8916: 8912: 8909: 8905: 8902: 8898: 8895: 8891: 8888: 8884: 8881: 8877: 8874: 8870: 8867: 8863: 8858: 8854: 8851: 8847: 8844: 8840: 8839: 8837: 8836:Impressionism 8833: 8830: 8826: 8823: 8819: 8816: 8812: 8809: 8805: 8802: 8798: 8795: 8791: 8788: 8784: 8781: 8777: 8774: 8770: 8767: 8763: 8760: 8756: 8753: 8749: 8746: 8742: 8738: 8737: 8731: 8727: 8726: 8720: 8717: 8713: 8710: 8706: 8705: 8703: 8699: 8685: 8684: 8679: 8673: 8672: 8667: 8661: 8660: 8655: 8649: 8648: 8643: 8637: 8636: 8631: 8625: 8624: 8619: 8613: 8612: 8607: 8601: 8600: 8595: 8589: 8588: 8583: 8577: 8576: 8571: 8565: 8564: 8559: 8553: 8552: 8547: 8546: 8544: 8540: 8533: 8529: 8526: 8522: 8519: 8515: 8512: 8508: 8505: 8501: 8498: 8494: 8491: 8487: 8484: 8480: 8477: 8473: 8470: 8466: 8463: 8459: 8456: 8452: 8449: 8445: 8442: 8438: 8435: 8431: 8428: 8424: 8421: 8417: 8416: 8414: 8412: 8408: 8401: 8397: 8394: 8390: 8387: 8383: 8380: 8376: 8373: 8369: 8366: 8362: 8359: 8355: 8352: 8348: 8345: 8341: 8338: 8334: 8331: 8327: 8324: 8320: 8317: 8313: 8310: 8306: 8303: 8299: 8296: 8292: 8289: 8285: 8282: 8278: 8275: 8271: 8268: 8264: 8261: 8257: 8256: 8254: 8252: 8248: 8241: 8237: 8234: 8230: 8227: 8223: 8220: 8216: 8213: 8209: 8206: 8202: 8199: 8195: 8192: 8188: 8185: 8181: 8178: 8174: 8171: 8167: 8164: 8160: 8157: 8153: 8150: 8146: 8143: 8139: 8136: 8132: 8129: 8125: 8122: 8118: 8115: 8111: 8108: 8104: 8101: 8097: 8094: 8090: 8087: 8083: 8080: 8076: 8073: 8069: 8066: 8062: 8059: 8055: 8052: 8048: 8045: 8041: 8038: 8034: 8031: 8027: 8024: 8020: 8017: 8013: 8010: 8006: 8005: 8003: 8001: 7997: 7994: 7992: 7986: 7972: 7971: 7966: 7960: 7959: 7954: 7948: 7944: 7938: 7934: 7928: 7927: 7922: 7916: 7915: 7910: 7904: 7903: 7898: 7892: 7891: 7886: 7880: 7879: 7874: 7868: 7867: 7862: 7856: 7855: 7850: 7844: 7843: 7838: 7832: 7831: 7826: 7820: 7819: 7814: 7808: 7807: 7802: 7796: 7795: 7790: 7789: 7787: 7783: 7776: 7772: 7769: 7765: 7762: 7758: 7755: 7751: 7748: 7744: 7741: 7737: 7734: 7730: 7727: 7723: 7720: 7716: 7713: 7709: 7706: 7702: 7699: 7695: 7692: 7688: 7685: 7681: 7678: 7674: 7671: 7667: 7664: 7663:Hundertwasser 7660: 7657: 7653: 7650: 7646: 7643: 7639: 7636: 7632: 7629: 7625: 7622: 7618: 7617: 7615: 7613: 7609: 7602: 7598: 7595: 7591: 7588: 7584: 7581: 7577: 7574: 7570: 7567: 7563: 7560: 7556: 7553: 7549: 7546: 7542: 7539: 7535: 7532: 7528: 7525: 7521: 7518: 7514: 7511: 7507: 7504: 7500: 7497: 7493: 7490: 7486: 7483: 7479: 7476: 7472: 7469: 7465: 7462: 7458: 7455: 7451: 7448: 7444: 7441: 7437: 7434: 7430: 7427: 7423: 7420: 7416: 7413: 7409: 7406: 7402: 7399: 7395: 7392: 7388: 7385: 7381: 7378: 7374: 7371: 7367: 7364: 7360: 7357: 7353: 7350: 7346: 7343: 7339: 7336: 7332: 7329: 7325: 7322: 7318: 7315: 7311: 7308: 7304: 7301: 7297: 7294: 7290: 7287: 7283: 7280: 7276: 7273: 7269: 7266: 7262: 7259: 7255: 7252: 7248: 7245: 7241: 7238: 7234: 7231: 7227: 7224: 7220: 7217: 7213: 7210: 7206: 7203: 7199: 7196: 7192: 7189: 7185: 7182: 7178: 7177: 7175: 7173: 7169: 7162: 7158: 7155: 7151: 7148: 7144: 7141: 7137: 7134: 7130: 7127: 7123: 7120: 7116: 7113: 7109: 7106: 7102: 7099: 7095: 7092: 7088: 7085: 7081: 7078: 7074: 7071: 7067: 7064: 7060: 7057: 7053: 7050: 7046: 7043: 7039: 7036: 7032: 7029: 7025: 7022: 7018: 7015: 7011: 7008: 7004: 7001: 6997: 6994: 6990: 6987: 6983: 6980: 6976: 6973: 6969: 6966: 6962: 6959: 6955: 6952: 6948: 6945: 6941: 6938: 6934: 6931: 6927: 6924: 6920: 6917: 6913: 6910: 6906: 6903: 6899: 6896: 6892: 6889: 6885: 6882: 6878: 6875: 6871: 6868: 6864: 6861: 6857: 6854: 6850: 6847: 6843: 6840: 6836: 6833: 6829: 6826: 6822: 6819: 6815: 6812: 6808: 6805: 6801: 6798: 6794: 6791: 6787: 6784: 6780: 6777: 6773: 6770: 6766: 6763: 6759: 6756: 6752: 6749: 6745: 6742: 6738: 6735: 6731: 6728: 6724: 6721: 6717: 6714: 6710: 6707: 6703: 6700: 6696: 6693: 6689: 6686: 6682: 6679: 6675: 6672: 6668: 6665: 6661: 6660: 6658: 6656: 6652: 6649: 6647: 6643: 6629: 6628: 6623: 6617: 6616: 6611: 6605: 6604: 6599: 6593: 6592: 6587: 6581: 6580: 6575: 6569: 6568: 6563: 6557: 6556: 6551: 6545: 6544: 6539: 6533: 6532: 6527: 6526: 6524: 6520: 6513: 6509: 6506: 6502: 6499: 6495: 6492: 6488: 6485: 6481: 6478: 6474: 6471: 6467: 6464: 6460: 6457: 6453: 6450: 6446: 6443: 6439: 6436: 6432: 6429: 6425: 6422: 6418: 6415: 6411: 6408: 6404: 6401: 6397: 6394: 6390: 6387: 6383: 6380: 6376: 6373: 6369: 6366: 6362: 6359: 6355: 6352: 6348: 6345: 6341: 6338: 6334: 6331: 6327: 6324: 6320: 6317: 6313: 6312: 6310: 6308: 6304: 6297: 6293: 6290: 6286: 6283: 6279: 6276: 6272: 6269: 6265: 6262: 6258: 6255: 6251: 6248: 6244: 6241: 6237: 6234: 6230: 6227: 6223: 6220: 6216: 6213: 6209: 6206: 6202: 6199: 6195: 6192: 6188: 6185: 6181: 6178: 6174: 6171: 6167: 6164: 6160: 6157: 6153: 6150: 6146: 6143: 6139: 6136: 6132: 6129: 6125: 6122: 6118: 6115: 6111: 6108: 6104: 6101: 6097: 6094: 6090: 6087: 6083: 6080: 6076: 6073: 6069: 6066: 6062: 6059: 6055: 6054: 6052: 6050: 6046: 6043: 6041: 6040:Literary arts 6037: 6030: 6026: 6023: 6019: 6016: 6012: 6009: 6005: 6002: 5998: 5992: 5991: 5985: 5984: 5982: 5981:Neoplasticism 5978: 5975: 5971: 5968: 5964: 5961: 5957: 5952: 5948: 5947: 5945: 5944:Functionalism 5941: 5938: 5934: 5929: 5925: 5921: 5920: 5914: 5910: 5909: 5903: 5902: 5900: 5899:Expressionism 5896: 5893: 5889: 5886: 5882: 5879: 5875: 5872: 5871:Ashcan School 5868: 5864: 5863: 5857: 5853: 5852: 5846: 5843: 5839: 5838: 5836: 5832: 5828: 5821: 5816: 5814: 5809: 5807: 5802: 5801: 5798: 5786: 5783: 5781: 5778: 5775: 5772: 5769: 5766: 5763: 5760: 5758: 5755: 5752: 5749: 5747: 5744: 5741: 5738: 5735: 5732: 5729: 5726: 5724: 5721: 5719: 5716: 5713: 5710: 5707: 5704: 5701: 5698: 5695: 5692: 5689: 5686: 5683: 5680: 5677: 5674: 5673: 5671: 5667: 5661: 5660: 5656: 5653: 5652: 5648: 5645: 5644: 5640: 5639: 5637: 5633: 5627: 5624: 5622: 5619: 5617: 5614: 5612: 5609: 5607: 5604: 5602: 5599: 5597: 5594: 5592: 5589: 5587: 5584: 5582: 5579: 5577: 5574: 5572: 5569: 5567: 5564: 5562: 5559: 5557: 5556:Orphism (art) 5554: 5552: 5549: 5545: 5542: 5541: 5540: 5537: 5535: 5532: 5530: 5529:Cubo-Futurism 5527: 5525: 5522: 5521: 5519: 5515: 5509: 5506: 5504: 5501: 5499: 5496: 5494: 5491: 5489: 5486: 5484: 5481: 5479: 5476: 5474: 5471: 5469: 5466: 5464: 5461: 5459: 5456: 5454: 5451: 5449: 5446: 5444: 5441: 5440: 5438: 5434: 5427: 5426: 5422: 5419: 5418: 5414: 5411: 5410: 5406: 5405: 5403: 5399: 5392: 5391: 5387: 5384: 5383: 5379: 5376: 5375: 5371: 5368: 5367: 5363: 5360: 5359: 5355: 5352: 5351: 5347: 5344: 5343: 5339: 5336: 5335: 5331: 5328: 5327: 5323: 5320: 5319: 5315: 5312: 5311: 5307: 5304: 5303: 5302:L'Oiseau bleu 5299: 5296: 5295: 5291: 5288: 5287: 5283: 5280: 5279: 5275: 5272: 5271: 5267: 5264: 5263: 5259: 5256: 5255: 5251: 5248: 5247: 5243: 5240: 5239: 5235: 5232: 5231: 5227: 5226: 5224: 5220: 5214: 5211: 5209: 5206: 5204: 5201: 5199: 5196: 5194: 5191: 5189: 5186: 5184: 5183:Lyubov Popova 5181: 5179: 5176: 5174: 5171: 5169: 5166: 5164: 5161: 5159: 5156: 5154: 5151: 5149: 5146: 5144: 5141: 5139: 5136: 5134: 5131: 5129: 5128:Giacomo Balla 5126: 5125: 5123: 5119: 5113: 5110: 5108: 5105: 5101: 5096: 5095:Henry Valensi 5093: 5091: 5088: 5086: 5083: 5081: 5080:Gino Severini 5078: 5076: 5073: 5071: 5068: 5066: 5063: 5061: 5058: 5056: 5053: 5051: 5048: 5046: 5045:Jean Marchand 5043: 5041: 5038: 5036: 5033: 5031: 5030:Fernand Léger 5028: 5026: 5025:Henri Laurens 5023: 5021: 5018: 5016: 5013: 5011: 5008: 5006: 5003: 5001: 4998: 4996: 4993: 4991: 4988: 4986: 4983: 4981: 4978: 4976: 4973: 4971: 4968: 4966: 4965:Pierre Dumont 4963: 4961: 4958: 4956: 4953: 4951: 4948: 4946: 4943: 4941: 4938: 4936: 4933: 4931: 4928: 4927: 4925: 4923: 4919: 4913: 4910: 4908: 4905: 4903: 4902:Fernand Léger 4900: 4898: 4895: 4893: 4890: 4888: 4885: 4883: 4880: 4878: 4875: 4873: 4872:Pablo Picasso 4870: 4869: 4867: 4863: 4859: 4852: 4847: 4845: 4840: 4838: 4833: 4832: 4829: 4823: 4820: 4818: 4815: 4813: 4810: 4808: 4805: 4803: 4800: 4798: 4795: 4793: 4790: 4789: 4779: 4775: 4771: 4769: 4762: 4755: 4751: 4747: 4741: 4734: 4728: 4726: 4724: 4722: 4720: 4718: 4716: 4714: 4712: 4710: 4708: 4701: 4700:2-85529-000-7 4697: 4693: 4687: 4685: 4683: 4681: 4679: 4677: 4675: 4673: 4671: 4669: 4667: 4665: 4663: 4656: 4654: 4647: 4641: 4640: 4636: 4629: 4623: 4619: 4615: 4611: 4608: 4606: 4602: 4596: 4589: 4585: 4579: 4573: 4571: 4564: 4562: 4555: 4553: 4546: 4544: 4537: 4533: 4529: 4527: 4520: 4518: 4516: 4514: 4507: 4505: 4501: 4494: 4492: 4485: 4483: 4476: 4469: 4467: 4461: 4456: 4450: 4448: 4441: 4434: 4432: 4425: 4416: 4410: 4406: 4402: 4400: 4397:Jan de Heer, 4393: 4385: 4378: 4364:on 2016-03-04 4363: 4359: 4353: 4339:on 2016-03-03 4338: 4334: 4332: 4324: 4318: 4316: 4310: 4304: 4302: 4295: 4293: 4291: 4289: 4287: 4285: 4278: 4274: 4271: 4269: 4262: 4260: 4258: 4251: 4247: 4243: 4241: 4237: 4230: 4224: 4222: 4215: 4209: 4207: 4201: 4195: 4190: 4183: 4181: 4174: 4172: 4164: 4162: 4155: 4148: 4144: 4138: 4131: 4127: 4122: 4115: 4114: 4107: 4100: 4094: 4087: 4081: 4075: 4073: 4066: 4064: 4057: 4056:0-87587-041-4 4053: 4049: 4045: 4041: 4036: 4034: 4032: 4024: 4019: 4012: 4010: 4004: 3998: 3996: 3989: 3982: 3981: 3974: 3972: 3970: 3968: 3966: 3964: 3962: 3952: 3943: 3937: 3933: 3929: 3927: 3920: 3918: 3916: 3909: 3904: 3902: 3887:on 2015-04-29 3886: 3882: 3876: 3870: 3865: 3859: 3854: 3848: 3847:0-520-01450-2 3844: 3840: 3838: 3831: 3825: 3823: 3816: 3810: 3808: 3801: 3795: 3793: 3786: 3779: 3775: 3770: 3764: 3762: 3756: 3749: 3745: 3741: 3740: 3733: 3727: 3723: 3719: 3715: 3711: 3706: 3704: 3702: 3700: 3693: 3691: 3684: 3677: 3675: 3669: 3663: 3662: 3655: 3653: 3645: 3641: 3635: 3633: 3631: 3629: 3627: 3625: 3623: 3616: 3614: 3608: 3602: 3600: 3594: 3588: 3586: 3579: 3573: 3571: 3565: 3559: 3557: 3551: 3545: 3543: 3537: 3531: 3527: 3523: 3521: 3514: 3512: 3505: 3501: 3497: 3495: 3488: 3482: 3477: 3462: 3456: 3452: 3448: 3444: 3440: 3433: 3427: 3422: 3416: 3412: 3408: 3406: 3400: 3395: 3393: 3391: 3389: 3387: 3385: 3383: 3381: 3379: 3377: 3375: 3367: 3366: 3359: 3353: 3351: 3344: 3342: 3340: 3333: 3332: 3325: 3323: 3315: 3309: 3302: 3296: 3289: 3288: 3281: 3279: 3272: 3270: 3266: 3262: 3258: 3251: 3249: 3247: 3245: 3243: 3241: 3239: 3237: 3230: 3226: 3222: 3220: 3213: 3211: 3204: 3202: 3195: 3193: 3191: 3189: 3187: 3185: 3183: 3175: 3169: 3167: 3165: 3163: 3161: 3159: 3157: 3155: 3153: 3151: 3149: 3147: 3145: 3143: 3141: 3139: 3137: 3135: 3133: 3131: 3129: 3127: 3125: 3123: 3121: 3119: 3117: 3115: 3110: 3101: 3098: 3096: 3093: 3091: 3088: 3086: 3083: 3081: 3078: 3077: 3067: 3063: 3059: 3053: 3048: 3044: 3040: 3036: 3030: 3025: 3021: 3017: 3013: 3007: 3002: 2998: 2994: 2993:Gino Severini 2988: 2983: 2980: 2976: 2972: 2966: 2961: 2957: 2953: 2947: 2942: 2939: 2935: 2931: 2925: 2920: 2917: 2913: 2906: 2901: 2897: 2893: 2889: 2883: 2878: 2875: 2871: 2870: 2865: 2859: 2854: 2851: 2847: 2843: 2839: 2833: 2828: 2824: 2820: 2819: 2814: 2808: 2803: 2802: 2801: 2796:Related works 2790: 2787: 2785: 2782: 2780: 2777: 2775: 2774:Gino Severini 2772: 2770: 2767: 2765: 2764:Pablo Picasso 2762: 2760: 2759:Piet Mondrian 2757: 2755: 2752: 2750: 2747: 2745: 2742: 2740: 2737: 2735: 2734:Fernand Léger 2732: 2730: 2729:Henri Laurens 2727: 2725: 2722: 2720: 2717: 2715: 2712: 2710: 2707: 2705: 2702: 2700: 2697: 2695: 2692: 2690: 2687: 2685: 2682: 2680: 2677: 2676: 2674: 2663: 2662: 2661: 2657: 2654: 2648: 2646: 2640: 2635: 2633: 2629: 2619: 2617: 2612: 2600: 2596: 2586: 2582: 2572: 2568: 2558: 2554: 2553: 2549: 2547: 2543: 2537: 2535: 2529: 2527: 2522: 2518: 2513: 2507: 2503: 2499: 2495: 2494:The approach: 2488: 2484: 2480: 2476: 2474: 2469: 2467: 2463: 2459: 2454: 2452: 2448: 2444: 2440: 2434: 2429: 2427: 2423: 2420: 2416: 2411: 2407: 2402: 2401:Henry Valensi 2398: 2392: 2390: 2382: 2378: 2374: 2370: 2366: 2361: 2357: 2355: 2350: 2348: 2344: 2340: 2338: 2332: 2328: 2326: 2320: 2314: 2310: 2306: 2304: 2299: 2295: 2286: 2283: 2276: 2274: 2267: 2265: 2260: 2258: 2253: 2251: 2247: 2243: 2239: 2238:Fernand Léger 2233: 2228: 2226: 2222: 2218: 2214: 2209: 2207: 2203: 2199: 2195: 2187: 2182: 2176: 2172: 2168: 2167:Nature morte 2164: 2160: 2156: 2154: 2146: 2142: 2138: 2134: 2130: 2125: 2120: 2118: 2114: 2110: 2106: 2104: 2096: 2091: 2087: 2079: 2075: 2071: 2067: 2063: 2053: 2042: 2037: 2030: 2025: 2018: 2013: 2006: 2001: 1994: 1989: 1982: 1977: 1970: 1965: 1958: 1953: 1952: 1951: 1947: 1945: 1941: 1937: 1932: 1928: 1924: 1916: 1911: 1906: 1903: 1896: 1894: 1890: 1886: 1882: 1878: 1874: 1869: 1865: 1861: 1857: 1852: 1844: 1840: 1836: 1832: 1828: 1819: 1817: 1811: 1806: 1802: 1797: 1793: 1788: 1784: 1780: 1776: 1775:L'Information 1772: 1767: 1763: 1758: 1753: 1748: 1746: 1738: 1734: 1730: 1725: 1716: 1714: 1713: 1706: 1702: 1699: 1695: 1691: 1687: 1683: 1682:Henri Laurens 1675: 1671: 1670:Henri Laurens 1667: 1660: 1656: 1652: 1651:Henri Laurens 1648: 1643: 1638: 1636: 1635:Jules Romains 1632: 1628: 1624: 1622: 1618: 1612: 1610: 1602: 1598: 1594: 1590: 1586: 1584: 1580: 1576: 1575:Piet Mondrian 1572: 1564: 1560: 1559:Le Guitariste 1556: 1552: 1548: 1546: 1545:Neoclassicism 1542: 1538: 1534: 1530: 1525: 1523: 1519: 1513: 1509: 1506: 1503: 1499: 1495: 1488: 1484: 1480: 1476: 1464: 1460: 1453: 1448: 1445: 1441: 1437: 1430: 1425: 1422: 1415: 1410: 1406: 1402: 1395: 1390: 1386: 1382: 1375: 1370: 1366: 1362: 1355: 1350: 1346: 1342: 1335: 1330: 1326: 1319: 1314: 1313: 1312: 1310: 1306: 1295: 1293: 1288: 1281: 1277: 1272: 1268: 1266: 1261: 1259: 1251: 1247: 1246:Mujer sentada 1243: 1238: 1234: 1232: 1228: 1222: 1218: 1215: 1211: 1201: 1197: 1193: 1189: 1183: 1174: 1170: 1166: 1163:, 1860–1865, 1162: 1156: 1147: 1145: 1141: 1137: 1133: 1132: 1127: 1122: 1120: 1119:Henri Laurens 1115: 1111: 1110: 1105: 1099: 1095: 1091: 1087: 1083: 1081: 1077: 1073: 1072: 1067: 1062: 1058: 1053: 1051: 1047: 1046: 1041: 1032: 1028: 1027: 1021: 1009: 1005: 1004: 1003: 1001: 994: 992: 985: 983: 982: 977: 973: 969: 968: 963: 962: 957: 956: 949: 947: 946: 941: 940: 933: 931: 930: 925: 917: 913: 912: 906: 899: 895: 894: 888: 883: 878: 874: 869: 866: 864: 858: 856: 851: 847: 845: 841: 837: 833: 826: 823: 821: 817: 813: 809: 805: 801: 800:Henri Matisse 797: 792: 790: 786: 782: 772: 770: 769:Gino Severini 762: 760: 754: 750: 746: 744: 740: 736: 732: 731:Pablo Picasso 728: 727:Gino Severini 724: 720: 716: 715:Henri Laurens 712: 708: 704: 700: 699:Henri Bergson 696: 691: 688: 684: 677: 673: 669: 665: 661: 658: 654: 646: 642: 641: 636: 632: 620: 616: 612: 606: 601: 598: 594: 587: 582: 578: 574: 572: 564: 559: 555: 551: 549: 544: 538: 533: 530: 526: 525:Man in a Café 522: 516: 511: 508: 504: 500: 496: 495:Fernand Léger 490: 485: 482: 478: 474: 468: 463: 460: 456: 455: 451:, 1912–1913, 450: 444: 439: 438: 437: 435: 431: 430: 423: 421: 418: 414: 410: 409: 404: 403: 398: 394: 391: 390:Fernand Léger 387: 383: 382: 381:L'Oiseau bleu 370: 368: 364: 360: 356: 352: 348: 347:Pablo Picasso 343: 339: 334: 331: 323: 319: 318: 313: 308: 303: 293: 289: 286: 285:Émile Bernard 281: 277: 273: 269: 265: 261: 257: 253: 250: 246: 242: 234: 230: 226: 222: 208: 206: 202: 198: 194: 190: 185: 183: 179: 174: 172: 168: 167:Henri Bergson 164: 161:—such as the 160: 156: 152: 148: 147:Henri Laurens 144: 140: 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5244: 5236: 5228: 5188:Diego Rivera 5168:August Macke 5158:El Lissitzky 5133:Alice Bailly 5075:Diego Rivera 5000:Henri Hayden 4945:Joseph Csaky 4922:Section d'Or 4767: 4761: 4753: 4749: 4745: 4740: 4732: 4691: 4652: 4646: 4638: 4634: 4628: 4604: 4600: 4595: 4587: 4583: 4578: 4569: 4551: 4525: 4506:, Paris 1924 4503: 4499: 4481: 4475: 4463: 4455: 4446: 4440: 4430: 4424: 4415: 4398: 4392: 4383: 4377: 4366:. 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Retrieved 3442: 3432: 3421: 3402: 3365:Du "Cubisme" 3363: 3358: 3349: 3330: 3313: 3308: 3300: 3295: 3286: 3268: 3264: 3260: 3256: 3218: 3200: 3173: 3090:Section d'Or 3061: 3042: 3039:Femme assise 3038: 3019: 3015: 2996: 2974: 2955: 2933: 2911: 2895: 2891: 2888:Diego Rivera 2867: 2845: 2842:Jeu d'échecs 2841: 2816: 2799: 2769:Diego Rivera 2719:Henri Hayden 2694:Joseph Csaky 2672: 2659: 2652: 2650: 2642: 2637: 2625: 2615: 2610: 2607: 2593: 2579: 2565: 2551: 2550: 2545: 2541: 2538: 2530: 2525: 2523: 2505: 2504: 2500: 2493: 2492: 2486: 2472: 2470: 2461: 2457: 2455: 2450: 2446: 2442: 2437: 2432: 2414: 2412: 2393: 2388: 2386: 2380: 2368: 2364: 2353: 2351: 2342: 2334: 2323: 2317: 2312: 2301: 2278: 2272: 2269: 2263: 2261: 2256: 2254: 2249: 2235: 2230: 2224: 2220: 2216: 2210: 2201: 2191: 2185: 2170: 2166: 2163:Le Corbusier 2152: 2149: 2140: 2137:Nature morte 2136: 2122: 2116: 2100: 2083: 2077: 2073: 2070:L'infirmière 2069: 2051: 1948: 1930: 1920: 1914: 1901: 1898: 1892: 1888: 1880: 1863: 1848: 1838: 1834: 1805:Roger Allard 1801:André Salmon 1798: 1782: 1779:Gustave Kahn 1774: 1770: 1766:André Favory 1762:Diego Rivera 1759: 1755: 1750: 1742: 1736: 1732: 1728: 1710: 1707: 1703: 1690:Joseph Csaky 1679: 1673: 1658: 1654: 1640: 1625: 1616: 1613: 1608: 1606: 1600: 1596: 1582: 1578: 1568: 1562: 1558: 1536: 1529:Deux figures 1528: 1526: 1517: 1515: 1511: 1507: 1494:Joseph Csaky 1492: 1483:Deux figures 1482: 1479:Joseph Csaky 1458: 1439: 1435: 1420: 1404: 1400: 1387:, Copenhagen 1380: 1360: 1340: 1324: 1301: 1291: 1289: 1285: 1275: 1262: 1257: 1254: 1245: 1242:Seated Woman 1241: 1230: 1226: 1223: 1219: 1213: 1209: 1207: 1195: 1191: 1168: 1164: 1129: 1123: 1109:pointilliste 1107: 1102: 1093: 1079: 1075: 1069: 1065: 1060: 1056: 1054: 1049: 1043: 1039: 1036: 1030: 1024: 996: 990: 987: 979: 975: 972:L'infirmière 971: 965: 961:Au Vélodrome 959: 953: 950: 943: 939:Au Vélodrome 937: 934: 927: 921: 918:, Pittsburgh 909: 891: 880: 876: 871: 867: 860: 854: 852: 848: 828: 824: 812:André Salmon 796:Diego Rivera 793: 788: 780: 778: 766: 757: 747: 723:Joseph Csaky 692: 687:flat surface 686: 680: 671: 656: 650: 638: 614: 592: 569: 546: 524: 502: 498: 476: 452: 434:Du "Cubisme" 433: 429:Du "Cubisme" 427: 424: 419: 412: 406: 400: 396: 395:; Juan Gris 392: 385: 379: 376: 335: 326: 315: 311: 302:Proto-Cubism 290: 280:Paul Cézanne 241:idea of form 240: 238: 228: 225:Paul Cézanne 197:conservatism 188: 186: 175: 126: 122: 118: 114: 110: 106: 102: 96: 86: 82: 78: 77: 71: 67: 47: 27: 9028:Romanticism 8985:Remodernism 8866:Incoherents 8725:Avant-garde 8716:Armory Show 8323:Maeterlinck 8226:Villa-Lobos 8212:Szymanowski 8191:Stockhausen 8128:Lutosławski 7846:(1909–1910) 6646:Visual arts 6619:(1928–1940) 6535:(1913–1927) 6058:Apollinaire 6022:Synchromism 5862:Art Nouveau 5780:Armory Show 5654:(1913 book) 5646:(1912 book) 5591:Suprematism 5566:Synchromism 5544:Rondocubism 5488:Divisionism 5483:Pointillism 5463:Paul Signac 5305:(Metzinger) 5297:(Metzinger) 5289:(Metzinger) 5281:(Metzinger) 5143:Carlo Carrà 5098: [ 5040:André Lhote 4149:, page 1298 3285:Erle Lora, 3201:Late Cubism 3043:Composition 2954:, 1916–18, 2739:André Lhote 2542:translation 2515: [ 2426:Renaissance 2422:perspective 2404: [ 2329:, 1914–15 ( 2300:, 1914–15, 2213:Paul Dermée 2135:, 1920–21, 2093: [ 2086:Paul Poiret 1868:Paris Métro 1856:Paul Dermée 1808: [ 1790: [ 1498:World War I 1114:Divisionist 1000:chiaroscuro 942:(1912) and 924:Paul Dermée 855:lasting art 637:, 1914–15, 545:, 1912–13, 497:, 1912–13, 249:Romanticist 245:Renaissance 193:ideological 159:World War I 119:late Cubism 111:pure Cubism 9090:Modern art 9059:Categories 8915:Maximalism 8850:Literature 8525:Wiesenthal 8427:Cunningham 8420:Balanchine 8400:Witkiewicz 8372:Strindberg 8358:Pirandello 8330:Mayakovsky 8205:Stravinsky 8177:Schoenberg 7989:Performing 7914:Metropolis 7705:Mendelsohn 7510:Rossellini 7503:Richardson 7314:Fassbinder 7300:Eisenstein 7237:Cassavetes 6993:Modigliani 6867:Goncharova 6853:Giacometti 6247:Dos Passos 6049:Literature 6008:Surrealism 5919:Die Brücke 5551:Die Brücke 5517:Influenced 5436:Influences 5401:Sculptures 5178:Franz Marc 4778:0300089643 4622:1903427053 4536:0300089643 4464:Musician ( 4409:906450671X 4368:2015-06-06 4343:2020-07-31 4250:1134554168 4147:Flammarion 3936:030749649X 3891:2015-06-06 3748:0520087925 3530:0719050049 3504:0300075294 3415:0300053746 3229:0300076134 3106:References 3037:, c.1920, 2534:symmetries 2369:Horsewoman 2335:Musician ( 2282:Naturalism 2171:Still Life 2141:Still Life 2068:, c.1915, 1659:Tournevire 1601:Still Life 1367:, Michigan 1104:Kahnweiler 411:; Gleizes 264:Symbolists 211:Background 8964:Pulp noir 8922:Modernity 8787:Film noir 8511:St. Denis 8434:Diaghilev 8170:Schaeffer 8093:Hindemith 8065:Dutilleux 8037:Boulanger 7842:The Dance 7538:Tarkovsky 7531:Sternberg 7363:Hitchcock 7279:Dovzhenko 7195:Antonioni 7140:Stieglitz 6979:Metzinger 6930:Kokoschka 6909:Kandinsky 6323:Aldington 6316:Akhmatova 6233:Marinetti 6226:Mansfield 6177:Hemingway 6015:Symbolism 5834:Movements 5827:Modernism 5694:Max Jacob 5626:Vorticism 5393:(Picasso) 5353:(Duchamp) 5345:(Gleizes) 5337:(Gleizes) 5329:(Gleizes) 5321:(Gleizes) 5313:(Gleizes) 5278:Le goûter 5273:(Picasso) 5265:(Picasso) 5257:(Picasso) 5249:(Picasso) 5241:(Picasso) 5233:(Picasso) 5222:Paintings 5148:Paul Klee 4897:Juan Gris 4588:La guerre 3556:Le Siècle 3223:, p. 88, 2930:Juan Gris 2838:Juan Gris 2714:Juan Gris 2645:Modernism 2473:fantaisie 2252:in 1925. 2194:Max Jacob 2074:The Nurse 1889:On Cubism 1877:Max Jacob 1845:, Otterlo 1719:Criticism 1489:, Otterlo 1188:Juan Gris 1140:Velázquez 1090:Juan Gris 1050:Le goûter 976:The Nurse 955:Le Fumeur 945:Le Fumeur 816:Max Jacob 775:Metzinger 668:Juan Gris 573:(Im Boot) 521:Juan Gris 342:fine arts 268:Les Nabis 254:, in the 205:Modernism 139:Juan Gris 125:, or the 81:(French: 72:Harlequin 44:Juan Gris 9046:Category 8647:Fountain 8551:Don Juan 8490:Nijinsky 8386:Wedekind 8365:Piscator 8260:Anderson 8184:Scriabin 8100:Honegger 7754:Sullivan 7740:Saarinen 7733:Rietveld 7726:Niemeyer 7698:Melnikov 7628:Bunshaft 7559:Truffaut 7524:Sjöström 7468:Pudovkin 7440:Minnelli 7405:Kurosawa 7398:Kuleshov 7328:Flaherty 7154:Vuillard 7133:Steichen 7091:Rousseau 7056:Pissarro 7035:O'Keeffe 7000:Mondrian 6951:Malevich 6944:Magritte 6916:Kirchner 6860:van Gogh 6811:Doesburg 6790:Delaunay 6783:Delaunay 6706:Brâncuși 6692:Boccioni 6655:Painting 6505:Williams 6428:Mallarmé 6344:Cendrars 6254:Platonov 6212:Lawrence 6205:Koestler 6142:Flaubert 6135:Faulkner 6100:Bulgakov 6029:Tonalism 5990:De Stijl 5974:Lettrism 5960:Futurism 5851:Art Deco 5690:(critic) 5678:(critic) 5611:Art Deco 5606:De Stijl 5576:Futurism 5417:Danseuse 5366:The City 4610:Archived 4273:Archived 4113:Nord-Sud 4046:and the 3722:Archived 3642:, 1985, 3570:Lectures 3466:21 April 3439:"Cubism" 3265:Kubismus 3257:L'Epopée 3074:See also 3060:, 1920, 3014:, 1919, 2995:, 1919, 2973:, 1917, 2932:, 1917, 2866:, 1916, 2825:, Venice 2815:, 1914, 2546:rotation 2540:through 2526:anecdote 2345:, 1917 ( 1893:Nord-Sud 1881:Nord-Sud 1864:Nord-Sud 1833:, 1917, 1672:, 1920, 1595:, 1918, 1557:, 1918, 1531:, 1920, 1527:Csaky's 1175:(detail) 1092:, 1915, 1080:Tea-time 1066:Tea-time 1008:Verlaine 900:, Venice 844:Schlegel 703:duration 613:, 1913, 571:En Canot 523:, 1912, 475:, 1913, 408:En Canot 274:and the 235:, Moscow 227:, 1888, 171:duration 68:Arlequin 66:, 1917, 46:, 1917, 26:, 1920, 8701:Related 8563:Ubu Roi 8518:Tamiris 8504:Sokolow 8483:Massine 8351:Osborne 8344:O'Neill 8337:O'Casey 8295:Chekhov 8281:Beckett 8267:Anouilh 8251:Theatre 8198:Strauss 8156:Russolo 8135:Milhaud 8114:Janáček 8086:Górecki 8079:Feldman 8058:Debussy 8051:Copland 8009:Antheil 7747:Steiner 7670:Johnson 7649:Guimard 7642:Gropius 7489:Resnais 7391:Kubrick 7321:Fellini 7307:Epstein 7293:Edwards 7258:Cocteau 7244:Chaplin 7216:Bresson 7209:Bergman 7188:Aldrich 7181:Akerman 7126:Soutine 7098:Schiele 7049:Picasso 7042:Picabia 6972:Matisse 6846:Gauguin 6818:Duchamp 6776:Kooning 6755:Claudel 6748:Chirico 6741:Chagall 6734:Cézanne 6727:Cassatt 6699:Bonnard 6685:Bellows 6678:Balthus 6555:Ulysses 6477:Stevens 6470:Seferis 6289:Unamuno 6128:Forster 6107:Chekhov 6072:Beckett 6001:Orphism 5967:Imagism 5951:Bauhaus 5937:Fauvism 5842:Acmeism 5669:Related 5635:Related 5498:Fauvism 5428:(Csaky) 5420:(Csaky) 5412:(Csaky) 5377:(Léger) 5369:(Léger) 5361:(Kupka) 4865:Leaders 3750:, p. 90 3095:Bauhaus 3068:, LACMA 2669:Artists 2611:complex 2365:Ecuyère 2289:Gleizes 2262:And in 1900:of the 1783:L'Heure 1298:Picasso 1144:Cézanne 1033:(right) 838:(sic), 832:Schoute 683:mindset 657:evasion 256:Realism 8687:(1953) 8675:(1928) 8663:(1921) 8651:(1917) 8639:(1913) 8627:(1912) 8615:(1910) 8603:(1905) 8599:Salome 8591:(1902) 8579:(1899) 8567:(1896) 8555:(1888) 8532:Wigman 8462:Graham 8455:Fuller 8448:Fokine 8441:Duncan 8393:Wilder 8379:Toller 8316:Kaiser 8288:Brecht 8274:Artaud 8233:Webern 8219:Varèse 8149:Partch 8121:Ligeti 8044:Boulez 8016:Bartók 7974:(1943) 7962:(1941) 7950:(1936) 7940:(1931) 7930:(1929) 7918:(1927) 7906:(1925) 7894:(1923) 7882:(1920) 7870:(1915) 7858:(1912) 7834:(1907) 7822:(1889) 7810:(1887) 7798:(1886) 7775:Wright 7761:Tatlin 7719:Neutra 7621:Breuer 7587:Welles 7573:Vertov 7496:Renoir 7447:Murnau 7433:Marker 7426:Lupino 7384:Keaton 7370:Hubley 7356:Godard 7342:Fuller 7286:Dreyer 7265:Dassin 7223:Buñuel 7119:Sisley 7112:Signac 7105:Seurat 7077:Renoir 6895:Hopper 6797:Demuth 6720:Calder 6713:Braque 6664:Albers 6631:(1929) 6607:(1926) 6595:(1925) 6583:(1924) 6571:(1922) 6559:(1922) 6547:(1915) 6498:Valéry 6484:Thomas 6449:Pessoa 6393:George 6386:Elytis 6379:Éluard 6365:Desnos 6337:Cavafy 6307:Poetry 6268:Proust 6261:Porter 6163:Hamsun 6121:Döblin 6114:Conrad 6086:Breton 6065:Barnes 5885:Cubism 5776:(poet) 5770:(poet) 5696:(poet) 5586:Purism 5571:Tubism 5385:(Gris) 5121:Others 5090:Tobeen 4858:Cubism 4776: 4698: 4620: 4534: 4407: 4315:L'élan 4248: 4054: 3995:Figure 3934: 3845: 3746: 3528: 3502: 3457: 3413: 3227: 3062:Figure 2257:L'élan 2206:Purism 2202:L'Élan 2103:Purist 2078:L'Élan 1915:L'Elan 1737:L'Elan 1537:Figure 1522:Purism 1347:, Ohio 1282:, Ohio 1061:Goûter 840:Argand 836:Rieman 818:, and 781:L'Elan 743:Renoir 415:; and 270:, the 149:, and 99:styles 91:Cubism 8857:Post- 8843:Music 8542:Works 8497:Shawn 8476:Laban 8411:Dance 8309:Jarry 8302:Ibsen 8240:Weill 8163:Satie 8072:Falla 8030:Berio 8000:Music 7785:Works 7712:Nervi 7656:Horta 7635:Gaudí 7594:Wiene 7566:Varda 7552:Trnka 7461:Pabst 7419:Losey 7377:Jones 7349:Gance 7272:Deren 7251:Clair 7230:Carné 7202:Avery 7084:Rodin 7070:Redon 7028:Nolde 7021:Munch 7014:Moore 7007:Monet 6958:Manet 6937:Léger 6902:Kahlo 6881:Grosz 6839:Ernst 6832:Ensor 6769:Degas 6522:Works 6512:Yeats 6491:Tzara 6463:Rilke 6456:Pound 6435:Moore 6407:Lorca 6400:Jacob 6372:Eliot 6351:Crane 6330:Auden 6296:Woolf 6282:Svevo 6275:Stein 6240:Musil 6198:Kafka 6191:Joyce 6184:Hesse 6170:Hašek 6093:Broch 5928:Music 5102:] 4752:, in 4013:(PDF) 2653:after 2519:] 2408:] 2097:] 1812:] 1794:] 1752:1918) 1210:et al 1136:Corot 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Index