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Artist or Maker: Albert Gleizes (1881-1953)
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Provenance: René Gaffé, Brussels.
Edouard Labouchère, Paris, until at least 1965.
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Exhibited: Paris, Salon d'Automne, October - November 1911, no. 610.
Moscow, Valet de Carreau, January 1912, no. 42.
Rouen, Société Normande de Peinture Moderne, June - July 1912, no. 89.
Paris, Galerie de la Boétie, Salon de la Section d'Or, October 1912, no. 37.
Paris, Musée National d'Art Moderne, Le Cubisme, 1953, no. 64bis.
Paris, Galerie Knoedler, Les Soirées de Paris, 1958, no. 13.
Munich, Haus der Kunst, Von Bonnard bis heute, les Chefs d'Oeuvre des collections privées françaises, 1961, no. 51.
Grenoble, Musée de Peinture et de Sculpture, Albert Gleizes et Tempête dans les Salons, 1910-1914, June - August 1963, no. 5 (illustrated in the catalogue).
New York, Solomon R. Guggenheim Museum, Albert Gleizes, 1881-1953, A Retrospective Exhibition, 1964, no. 28 (illustrated in the catalogue).
Paris, Musée National d'Art Moderne, Albert Gleizes, 1881-1953, Exposition rétrospective, December 1964 - January 1965, no. 12 (illustrated in the catalogue); this exhibition later travelled to Dortmund, Museum am Ostwall.
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Literature: G. Apollinaire, L'Intransigeant, 10 October 1911.
J. Granie, 'Au Salon d'Automne', Revue d'Europe et d'Amerique, Paris, October 1911.
A. Gleizes, Souvenirs le Cubisme 1908-1914, Cahiers d'Albert Gleizes, Lyon, 1957, pp. 18, 26-28 (illustrated as the frontispiece).
B. Dorival, Les Peintres du XXème siècle, Paris, 1957, p. 76.
P. Alibert, Albert Gleizes, naissance et avenir du cubisme, Saint-Etienne, 1982, p. 71 (illustrated).
P. Alibert, Gleizes, Biographie, Paris, 1990, p. 55.
A. Varichon, Albert Gleizes, Catalogue raisonné, vol. I, Paris, 1998, no. 374 (illustrated p. 136).
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Notes: The years 1909-11 constituted a 'période de gestation' for Gleizes who was as yet unaware of the work by Picasso and Braque. Whilst Cubism was approaching its apogee, Gleizes himself was breaking away from the impressionist techniques towards a more structured, controlled composition. The artist was meeting frequently with both Metzinger and Le Fauconnier and the similarity of their works led the critics to label the ensemble as the 'folies geométriques de messieurs Gleizes, le Fauconnier et Metzinger', a remark which parallels the birth of Cubism which would continue uninterrupted until 1914.
Gleizes refers to this first experimental stage as 'insister sur les volumes et se situer dans le cadre de la perspective qui suggère l'illusion de la profondeur'. Only later he would concentrate on reconstructing the subject itself. La Chasse exemplifies this new painting of volumes which so impressed the Salon-going public in 1911; each pictorial element is redefined no longer as individual forms but a series of fragments whose facets fill the canvas. 'La ligne d'horizon est tout en haut du cadre. Un trait aigu permet à siz personnages et à de nombreux animaux de se répartir clairement dans un paysage. Dans ce tableau une autre orientation se developpe. Ici, en plus du cercle de la trompe du piqueur, deux courbes éclatantes construisent les têtes de deux chevaux et sont contrepointées par les bombes des chasseurs' (P. Alibert, op. cit.).
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