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Biography

(b Paris, 8 Dec 1881; d Avignon, 23 June 1953). French painter, printmaker and writer. He grew up in Courbevoie, a suburb of Paris, and as a student at the Collège Chaptal became interested in theatre and painting. At 19, his father put him to work in the family interior design and fabric business, an experience that contributed to a lifelong respect for skilled workmanship. The first paintings he exhibited, at the Société Nationale des ... (view more)

Grove Art excerpts - Electronic ©2003, Oxford Art Online

(b Paris, 8 Dec 1881; d Avignon, 23 June 1953). French painter, printmaker and writer. He grew up in Courbevoie, a suburb of Paris, and as a student at the Collège Chaptal became interested in theatre and painting. At 19, his father put him to work in the family interior design and fabric business, an experience that contributed to a lifelong respect for skilled workmanship. The first paintings he exhibited, at the Société Nationale des Beaux-Arts in Paris in 1902, were Impressionist in character, but the work accepted within two years at the Salon d’Automne showed a shift to social themes, a tendency that accelerated until 1908. Compulsory military service from 1903 to 1905 thrust him into the company of working-class people, arousing a permanent sense of solidarity with their aspirations and needs. The results were immediately apparent in the Association Ernest Renan, which he helped to establish in 1905, a kind of popular university with secular and socialist aims. He was also one of the founders of a community of intellectuals based near Paris, the ABBAYE DE CRÉTEIL, which functioned from November 1906 to February 1908. He remained interested during these years in social art, but his paintings became flatter and more sombre, more simplified and with an increased emphasis on structure. Through the circle of poets associated with the Abbaye de Créteil, Gleizes met Henri Le Fauconnier, whose portrait of Pierre-Jean Jouve (1909; Paris, Pompidou) made a decisive impression on him, confirming his exploration of volume. His friends soon included Jean Metzinger and Robert Delaunay, with whom he exhibited alongside Le Fauconnier and Fernand Léger at the Salon d’Automne in 1910; the critic Louis Vauxcelles wrote disparagingly of their ‘pallid’ cubes. The five artists, plus Marie Laurencin, encouraged by Guillaume Apollinaire, Roger Allard, Alexandre Mercereau and Jacques Nayral, determined to group themselves together at the Salon des Indépendants in 1911. Manipulating the rules and helping to elect Le Fauconnier chairman of the hanging committee, they showed together in a separate room, marking the emergence of CUBISM. Gleizes’s portrait of Jacques Nayral (oil on canvas, 1.62*1.14 m, 1910–11; London, Tate), one of his first major Cubist works, dates from this period.  (hide)

Grove Art excerpts - Electronic ©2003, Oxford Art Online

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