Winged Lion Memorial

Prompt: Focus on Winged Lion Memorial and explain the Funding and unveiling.

About 99% of the funds raised  (about three million Czech crowns) was donated by the British community in Czechia and Slovakia. Donations from Czech citizens, businesses and individuals were also received. The origins of the monument are credited to Mr. Euan Edworthy, who has lived in the Czech Republic for many years and whose father served in the Royal Air Force and Colonel Andrew Shepherd, UK Defence Attache.The unveiling ceremony at Klárov was accompanied by music performed by the Royal Air Force College band and by the Pipes and Drums of the Queen's Royal Hussars. The event was attended by nine former Czechoslovak RAF members.  Before the unveiling, Sir Nicholas Soames (the grandson of Sir Winston Churchill) gave a speech; he referred to the memorial as a symbol of the courage of the 2,500 Czechoslovak airmen and reminded the famous phrase of his grandfather, Churchill, who, speaking of the pilots who took part in the Battle of Britain, proclaimed that "never was so much owed by so many to so few." Immediately following  unveiling of the memorial a legendary aircraft Spitfire, in the livery of Squadron Leader Otto Smik DFC, made a flypast over Prague.

Category:2014 establishments in the Czech Republic

Category:Monuments and memorials in Prague

Distinguished Flying Cross (United Kingdom)

Category:21st-century architecture in the Czech Republic

Category:Animal sculptures in the Czech Republic


Winged Lion Memorial

Prompt: Explain the Funding and unveiling of this artwork, Winged Lion Memorial.

About 99% of the funds raised  (about three million Czech crowns) was donated by the British community in Czechia and Slovakia. Donations from Czech citizens, businesses and individuals were also received. The origins of the monument are credited to Mr. Euan Edworthy, who has lived in the Czech Republic for many years and whose father served in the Royal Air Force and Colonel Andrew Shepherd, UK Defence Attache.The unveiling ceremony at Klárov was accompanied by music performed by the Royal Air Force College band and by the Pipes and Drums of the Queen's Royal Hussars. The event was attended by nine former Czechoslovak RAF members.  Before the unveiling, Sir Nicholas Soames (the grandson of Sir Winston Churchill) gave a speech; he referred to the memorial as a symbol of the courage of the 2,500 Czechoslovak airmen and reminded the famous phrase of his grandfather, Churchill, who, speaking of the pilots who took part in the Battle of Britain, proclaimed that "never was so much owed by so many to so few." Immediately following  unveiling of the memorial a legendary aircraft Spitfire, in the livery of Squadron Leader Otto Smik DFC, made a flypast over Prague.

Category:2014 establishments in the Czech Republic

Category:Monuments and memorials in Prague

Distinguished Flying Cross (United Kingdom)

Category:21st-century architecture in the Czech Republic

Category:Animal sculptures in the Czech Republic


Winged Lion Memorial

Prompt: How does Winged Lion Memorial explain its Funding and unveiling?

About 99% of the funds raised  (about three million Czech crowns) was donated by the British community in Czechia and Slovakia. Donations from Czech citizens, businesses and individuals were also received. The origins of the monument are credited to Mr. Euan Edworthy, who has lived in the Czech Republic for many years and whose father served in the Royal Air Force and Colonel Andrew Shepherd, UK Defence Attache.The unveiling ceremony at Klárov was accompanied by music performed by the Royal Air Force College band and by the Pipes and Drums of the Queen's Royal Hussars. The event was attended by nine former Czechoslovak RAF members.  Before the unveiling, Sir Nicholas Soames (the grandson of Sir Winston Churchill) gave a speech; he referred to the memorial as a symbol of the courage of the 2,500 Czechoslovak airmen and reminded the famous phrase of his grandfather, Churchill, who, speaking of the pilots who took part in the Battle of Britain, proclaimed that "never was so much owed by so many to so few." Immediately following  unveiling of the memorial a legendary aircraft Spitfire, in the livery of Squadron Leader Otto Smik DFC, made a flypast over Prague.

Category:2014 establishments in the Czech Republic

Category:Monuments and memorials in Prague

Distinguished Flying Cross (United Kingdom)

Category:21st-century architecture in the Czech Republic

Category:Animal sculptures in the Czech Republic


Winged Lion Memorial

Prompt: In Winged Lion Memorial, how is the Funding and unveiling discussed?

About 99% of the funds raised  (about three million Czech crowns) was donated by the British community in Czechia and Slovakia. Donations from Czech citizens, businesses and individuals were also received. The origins of the monument are credited to Mr. Euan Edworthy, who has lived in the Czech Republic for many years and whose father served in the Royal Air Force and Colonel Andrew Shepherd, UK Defence Attache.The unveiling ceremony at Klárov was accompanied by music performed by the Royal Air Force College band and by the Pipes and Drums of the Queen's Royal Hussars. The event was attended by nine former Czechoslovak RAF members.  Before the unveiling, Sir Nicholas Soames (the grandson of Sir Winston Churchill) gave a speech; he referred to the memorial as a symbol of the courage of the 2,500 Czechoslovak airmen and reminded the famous phrase of his grandfather, Churchill, who, speaking of the pilots who took part in the Battle of Britain, proclaimed that "never was so much owed by so many to so few." Immediately following  unveiling of the memorial a legendary aircraft Spitfire, in the livery of Squadron Leader Otto Smik DFC, made a flypast over Prague.

Category:2014 establishments in the Czech Republic

Category:Monuments and memorials in Prague

Distinguished Flying Cross (United Kingdom)

Category:21st-century architecture in the Czech Republic

Category:Animal sculptures in the Czech Republic


Vision of a Knight (Raphael)

Prompt: Focus on Vision of a Knight (Raphael) and explain the abstract.

The Vision of a Knight, also called The Dream of Scipio or Allegory, is a small egg tempera painting on poplar by the Italian Renaissance artist Raphael, finished in 1503–1504. It is in the National Gallery in London.  It probably formed a pair with the Three Graces panel, also 17 cm square, now in the Château de Chantilly museum.There are a number of theories as to what the panel is intended to represent.  Some art historians think the sleeping knight represents the Roman general Scipio Aemilianus (185–129 BC) who, according to Cicero's Somnium Scipionis, dreamed that he had to choose between Virtue (behind whom is a steep and rocky path) and Pleasure (in looser robes)."This sleepy Lancelot also conjures up memories of another ancient hero: the Roman general Publius Cornelius Scipio Africanus Aemilianus, who toured the cosmos in a dream and learned (at least according to Cicero) that the reward of virtue is a place among the stars in heaven."However, the two feminine figures are not presented as contestants. They may represent the ideal attributes of the knight: the book, sword, and flower that they hold suggest the ideals of scholar, soldier and lover which a knight should combine.The most likely source for the allegory depicted is from a passage in the Punica, an epic poem recounting the Second Punic War by the Latin poet Silius Italicus.The panel was moved to England by William Young Ottley in 1800.Raphael used an extensive palette of paints to depict this colourful scene. Pigments such as lead-tin yellow, ultramarine, verdigris and ochres have been identified in an pigment analysis at ColourLex.

Category:Allegorical paintings by Italian artists

Category:Paintings in the National Gallery, London


Vision of a Knight (Raphael)

Prompt: Explain the abstract of this artwork, Vision of a Knight (Raphael).

The Vision of a Knight, also called The Dream of Scipio or Allegory, is a small egg tempera painting on poplar by the Italian Renaissance artist Raphael, finished in 1503–1504. It is in the National Gallery in London.  It probably formed a pair with the Three Graces panel, also 17 cm square, now in the Château de Chantilly museum.There are a number of theories as to what the panel is intended to represent.  Some art historians think the sleeping knight represents the Roman general Scipio Aemilianus (185–129 BC) who, according to Cicero's Somnium Scipionis, dreamed that he had to choose between Virtue (behind whom is a steep and rocky path) and Pleasure (in looser robes)."This sleepy Lancelot also conjures up memories of another ancient hero: the Roman general Publius Cornelius Scipio Africanus Aemilianus, who toured the cosmos in a dream and learned (at least according to Cicero) that the reward of virtue is a place among the stars in heaven."However, the two feminine figures are not presented as contestants. They may represent the ideal attributes of the knight: the book, sword, and flower that they hold suggest the ideals of scholar, soldier and lover which a knight should combine.The most likely source for the allegory depicted is from a passage in the Punica, an epic poem recounting the Second Punic War by the Latin poet Silius Italicus.The panel was moved to England by William Young Ottley in 1800.Raphael used an extensive palette of paints to depict this colourful scene. Pigments such as lead-tin yellow, ultramarine, verdigris and ochres have been identified in an pigment analysis at ColourLex.

Category:Allegorical paintings by Italian artists

Category:Paintings in the National Gallery, London


Vision of a Knight (Raphael)

Prompt: How does Vision of a Knight (Raphael) explain its abstract?

The Vision of a Knight, also called The Dream of Scipio or Allegory, is a small egg tempera painting on poplar by the Italian Renaissance artist Raphael, finished in 1503–1504. It is in the National Gallery in London.  It probably formed a pair with the Three Graces panel, also 17 cm square, now in the Château de Chantilly museum.There are a number of theories as to what the panel is intended to represent.  Some art historians think the sleeping knight represents the Roman general Scipio Aemilianus (185–129 BC) who, according to Cicero's Somnium Scipionis, dreamed that he had to choose between Virtue (behind whom is a steep and rocky path) and Pleasure (in looser robes)."This sleepy Lancelot also conjures up memories of another ancient hero: the Roman general Publius Cornelius Scipio Africanus Aemilianus, who toured the cosmos in a dream and learned (at least according to Cicero) that the reward of virtue is a place among the stars in heaven."However, the two feminine figures are not presented as contestants. They may represent the ideal attributes of the knight: the book, sword, and flower that they hold suggest the ideals of scholar, soldier and lover which a knight should combine.The most likely source for the allegory depicted is from a passage in the Punica, an epic poem recounting the Second Punic War by the Latin poet Silius Italicus.The panel was moved to England by William Young Ottley in 1800.Raphael used an extensive palette of paints to depict this colourful scene. Pigments such as lead-tin yellow, ultramarine, verdigris and ochres have been identified in an pigment analysis at ColourLex.

Category:Allegorical paintings by Italian artists

Category:Paintings in the National Gallery, London


Vision of a Knight (Raphael)

Prompt: In Vision of a Knight (Raphael), how is the abstract discussed?

The Vision of a Knight, also called The Dream of Scipio or Allegory, is a small egg tempera painting on poplar by the Italian Renaissance artist Raphael, finished in 1503–1504. It is in the National Gallery in London.  It probably formed a pair with the Three Graces panel, also 17 cm square, now in the Château de Chantilly museum.There are a number of theories as to what the panel is intended to represent.  Some art historians think the sleeping knight represents the Roman general Scipio Aemilianus (185–129 BC) who, according to Cicero's Somnium Scipionis, dreamed that he had to choose between Virtue (behind whom is a steep and rocky path) and Pleasure (in looser robes)."This sleepy Lancelot also conjures up memories of another ancient hero: the Roman general Publius Cornelius Scipio Africanus Aemilianus, who toured the cosmos in a dream and learned (at least according to Cicero) that the reward of virtue is a place among the stars in heaven."However, the two feminine figures are not presented as contestants. They may represent the ideal attributes of the knight: the book, sword, and flower that they hold suggest the ideals of scholar, soldier and lover which a knight should combine.The most likely source for the allegory depicted is from a passage in the Punica, an epic poem recounting the Second Punic War by the Latin poet Silius Italicus.The panel was moved to England by William Young Ottley in 1800.Raphael used an extensive palette of paints to depict this colourful scene. Pigments such as lead-tin yellow, ultramarine, verdigris and ochres have been identified in an pigment analysis at ColourLex.

Category:Allegorical paintings by Italian artists

Category:Paintings in the National Gallery, London


Triumph of Labour

Prompt: Focus on Triumph of Labour and explain the abstract.

The Triumph of Labour, also known as the Labour statue, is a statue at the Marina Beach, Chennai, India. Erected at the northern end of the beach at the Anna Square opposite University of Madras, it is an important landmark of Chennai. The statue shows four men toiling to move a rock, depicting the hard work of the labouring class. It was sculpted by Debi Prasad Roy Chowdhury. The statue is the earliest one to be erected on the beach and is installed close to the site where the country's first commemoration of May Day was held. The statue was installed on the eve of the Republic Day in 1959, as part of the Kamaraj government's drive to beautify the beach. The statue remains the focal point of May Day celebrations in the city.

Government College of Fine Arts, Chennai

File:Triumph of Labour at Marina Beach.jpg

Category:Monuments and memorials in Chennai

List of colonial governors and presidents of Madras Presidency

Government of Madras School of Arts and Crafts


Triumph of Labour

Prompt: Explain the abstract of this artwork, Triumph of Labour.

The Triumph of Labour, also known as the Labour statue, is a statue at the Marina Beach, Chennai, India. Erected at the northern end of the beach at the Anna Square opposite University of Madras, it is an important landmark of Chennai. The statue shows four men toiling to move a rock, depicting the hard work of the labouring class. It was sculpted by Debi Prasad Roy Chowdhury. The statue is the earliest one to be erected on the beach and is installed close to the site where the country's first commemoration of May Day was held. The statue was installed on the eve of the Republic Day in 1959, as part of the Kamaraj government's drive to beautify the beach. The statue remains the focal point of May Day celebrations in the city.

Government College of Fine Arts, Chennai

File:Triumph of Labour at Marina Beach.jpg

Category:Monuments and memorials in Chennai

List of colonial governors and presidents of Madras Presidency

Government of Madras School of Arts and Crafts


Triumph of Labour

Prompt: How does Triumph of Labour explain its abstract?

The Triumph of Labour, also known as the Labour statue, is a statue at the Marina Beach, Chennai, India. Erected at the northern end of the beach at the Anna Square opposite University of Madras, it is an important landmark of Chennai. The statue shows four men toiling to move a rock, depicting the hard work of the labouring class. It was sculpted by Debi Prasad Roy Chowdhury. The statue is the earliest one to be erected on the beach and is installed close to the site where the country's first commemoration of May Day was held. The statue was installed on the eve of the Republic Day in 1959, as part of the Kamaraj government's drive to beautify the beach. The statue remains the focal point of May Day celebrations in the city.

Government College of Fine Arts, Chennai

File:Triumph of Labour at Marina Beach.jpg

Category:Monuments and memorials in Chennai

List of colonial governors and presidents of Madras Presidency

Government of Madras School of Arts and Crafts


Triumph of Labour

Prompt: In Triumph of Labour, how is the abstract discussed?

The Triumph of Labour, also known as the Labour statue, is a statue at the Marina Beach, Chennai, India. Erected at the northern end of the beach at the Anna Square opposite University of Madras, it is an important landmark of Chennai. The statue shows four men toiling to move a rock, depicting the hard work of the labouring class. It was sculpted by Debi Prasad Roy Chowdhury. The statue is the earliest one to be erected on the beach and is installed close to the site where the country's first commemoration of May Day was held. The statue was installed on the eve of the Republic Day in 1959, as part of the Kamaraj government's drive to beautify the beach. The statue remains the focal point of May Day celebrations in the city.

Government College of Fine Arts, Chennai

File:Triumph of Labour at Marina Beach.jpg

Category:Monuments and memorials in Chennai

List of colonial governors and presidents of Madras Presidency

Government of Madras School of Arts and Crafts


Triumph of Labour

Prompt: Focus on Triumph of Labour and explain the History.

On a summer evening in May 1923, M. Singaravelu, a labour union leader, conducted a meeting at the Marina Beach near Triplicane, calling for recognition of workers' rights, and pledged to create a political party to represent the rights of labourers, which was India's first ever May Day rally. To commemorate this, the Labour statue, depicting an inspiring posture of a team of labourers engrossed at arduous work, was sculpted by Debi Prasad Roy Chowdhury, who was the first Indian principal of the then Government of Madras School of Arts and Crafts (what is today the Tamil Nadu Government College of Fine Arts) and was erected on 25 January 1959, unveiled by the then Governor of Madras, Bishnuram Medhi.Roy Chowdhury was not fixated on one or two particular models, but rather relied on multiple models to bring his artistic vision to life. Therefore, the importance of any one model in the creation of the statue should not be overemphasized.

Government College of Fine Arts, Chennai

File:Triumph of Labour at Marina Beach.jpg

Category:Monuments and memorials in Chennai

List of colonial governors and presidents of Madras Presidency


Triumph of Labour

Prompt: Explain the History of this artwork, Triumph of Labour.

On a summer evening in May 1923, M. Singaravelu, a labour union leader, conducted a meeting at the Marina Beach near Triplicane, calling for recognition of workers' rights, and pledged to create a political party to represent the rights of labourers, which was India's first ever May Day rally. To commemorate this, the Labour statue, depicting an inspiring posture of a team of labourers engrossed at arduous work, was sculpted by Debi Prasad Roy Chowdhury, who was the first Indian principal of the then Government of Madras School of Arts and Crafts (what is today the Tamil Nadu Government College of Fine Arts) and was erected on 25 January 1959, unveiled by the then Governor of Madras, Bishnuram Medhi.Roy Chowdhury was not fixated on one or two particular models, but rather relied on multiple models to bring his artistic vision to life. Therefore, the importance of any one model in the creation of the statue should not be overemphasized.

Government College of Fine Arts, Chennai

File:Triumph of Labour at Marina Beach.jpg

Category:Monuments and memorials in Chennai

List of colonial governors and presidents of Madras Presidency


Triumph of Labour

Prompt: How does Triumph of Labour explain its History?

On a summer evening in May 1923, M. Singaravelu, a labour union leader, conducted a meeting at the Marina Beach near Triplicane, calling for recognition of workers' rights, and pledged to create a political party to represent the rights of labourers, which was India's first ever May Day rally. To commemorate this, the Labour statue, depicting an inspiring posture of a team of labourers engrossed at arduous work, was sculpted by Debi Prasad Roy Chowdhury, who was the first Indian principal of the then Government of Madras School of Arts and Crafts (what is today the Tamil Nadu Government College of Fine Arts) and was erected on 25 January 1959, unveiled by the then Governor of Madras, Bishnuram Medhi.Roy Chowdhury was not fixated on one or two particular models, but rather relied on multiple models to bring his artistic vision to life. Therefore, the importance of any one model in the creation of the statue should not be overemphasized.

Government College of Fine Arts, Chennai

File:Triumph of Labour at Marina Beach.jpg

Category:Monuments and memorials in Chennai

List of colonial governors and presidents of Madras Presidency


Triumph of Labour

Prompt: In Triumph of Labour, how is the History discussed?

On a summer evening in May 1923, M. Singaravelu, a labour union leader, conducted a meeting at the Marina Beach near Triplicane, calling for recognition of workers' rights, and pledged to create a political party to represent the rights of labourers, which was India's first ever May Day rally. To commemorate this, the Labour statue, depicting an inspiring posture of a team of labourers engrossed at arduous work, was sculpted by Debi Prasad Roy Chowdhury, who was the first Indian principal of the then Government of Madras School of Arts and Crafts (what is today the Tamil Nadu Government College of Fine Arts) and was erected on 25 January 1959, unveiled by the then Governor of Madras, Bishnuram Medhi.Roy Chowdhury was not fixated on one or two particular models, but rather relied on multiple models to bring his artistic vision to life. Therefore, the importance of any one model in the creation of the statue should not be overemphasized.

Government College of Fine Arts, Chennai

File:Triumph of Labour at Marina Beach.jpg

Category:Monuments and memorials in Chennai

List of colonial governors and presidents of Madras Presidency


At the Moulin Rouge

Prompt: Focus on At the Moulin Rouge and explain the abstract.

At the Moulin Rouge (French: Au Moulin Rouge) is an oil-on-canvas painting by French artist Henri de Toulouse-Lautrec.  It was painted between 1892 and 1895.  Included in the background is a self-portrait of the artist in profile.  It is one of a number of works by Toulouse-Lautrec depicting the Moulin Rouge cabaret built in Paris in 1889.  The painting portrays near its center a group of three men and two women sitting around a table situated on the floor of the cabaret. From left to right, the people at the table include: writer Édouard Dujardin, dancer La Macarona, photographer Paul Secau, photographer Maurice Guibert, and, facing away, Jane Avril, being the focal point of the group - recognizable by her flaming red-orange hair. In the right foreground, apparently sitting at a different table, is a partial facial view of English dancer May Milton, with painted red lips, her face aglow in a distinctive greenish light and shadow.  In the background standing on the right fixing her hair is Moulin Rouge dancer La Goulue and another woman. The center-left background shows the short-statured Toulouse-Lautrec himself, standing in front of and next to, Dr. Gabriel Tapié de Céleyran.At the Moulin Rouge is  part of the Helen Birch Bartlett Memorial Collection at the Art Institute of Chicago, where it was first displayed on December 23, 1930. It was exhibited in London in 2011 at the Courtauld Institute of Art. Art critic Jonathan Jones calls the painting a masterpiece, and writes "the scene is somehow more exotic and more exciting than any recreation [of the Moulin Rouge, or Montmartre] in popular culture."

Category:Paintings by Henri de Toulouse-Lautrec

Category:Paintings in the Art Institute of Chicago


At the Moulin Rouge

Prompt: Explain the abstract of this artwork, At the Moulin Rouge.

At the Moulin Rouge (French: Au Moulin Rouge) is an oil-on-canvas painting by French artist Henri de Toulouse-Lautrec.  It was painted between 1892 and 1895.  Included in the background is a self-portrait of the artist in profile.  It is one of a number of works by Toulouse-Lautrec depicting the Moulin Rouge cabaret built in Paris in 1889.  The painting portrays near its center a group of three men and two women sitting around a table situated on the floor of the cabaret. From left to right, the people at the table include: writer Édouard Dujardin, dancer La Macarona, photographer Paul Secau, photographer Maurice Guibert, and, facing away, Jane Avril, being the focal point of the group - recognizable by her flaming red-orange hair. In the right foreground, apparently sitting at a different table, is a partial facial view of English dancer May Milton, with painted red lips, her face aglow in a distinctive greenish light and shadow.  In the background standing on the right fixing her hair is Moulin Rouge dancer La Goulue and another woman. The center-left background shows the short-statured Toulouse-Lautrec himself, standing in front of and next to, Dr. Gabriel Tapié de Céleyran.At the Moulin Rouge is  part of the Helen Birch Bartlett Memorial Collection at the Art Institute of Chicago, where it was first displayed on December 23, 1930. It was exhibited in London in 2011 at the Courtauld Institute of Art. Art critic Jonathan Jones calls the painting a masterpiece, and writes "the scene is somehow more exotic and more exciting than any recreation [of the Moulin Rouge, or Montmartre] in popular culture."

Category:Paintings by Henri de Toulouse-Lautrec

Category:Paintings in the Art Institute of Chicago


At the Moulin Rouge

Prompt: How does At the Moulin Rouge explain its abstract?

At the Moulin Rouge (French: Au Moulin Rouge) is an oil-on-canvas painting by French artist Henri de Toulouse-Lautrec.  It was painted between 1892 and 1895.  Included in the background is a self-portrait of the artist in profile.  It is one of a number of works by Toulouse-Lautrec depicting the Moulin Rouge cabaret built in Paris in 1889.  The painting portrays near its center a group of three men and two women sitting around a table situated on the floor of the cabaret. From left to right, the people at the table include: writer Édouard Dujardin, dancer La Macarona, photographer Paul Secau, photographer Maurice Guibert, and, facing away, Jane Avril, being the focal point of the group - recognizable by her flaming red-orange hair. In the right foreground, apparently sitting at a different table, is a partial facial view of English dancer May Milton, with painted red lips, her face aglow in a distinctive greenish light and shadow.  In the background standing on the right fixing her hair is Moulin Rouge dancer La Goulue and another woman. The center-left background shows the short-statured Toulouse-Lautrec himself, standing in front of and next to, Dr. Gabriel Tapié de Céleyran.At the Moulin Rouge is  part of the Helen Birch Bartlett Memorial Collection at the Art Institute of Chicago, where it was first displayed on December 23, 1930. It was exhibited in London in 2011 at the Courtauld Institute of Art. Art critic Jonathan Jones calls the painting a masterpiece, and writes "the scene is somehow more exotic and more exciting than any recreation [of the Moulin Rouge, or Montmartre] in popular culture."

Category:Paintings by Henri de Toulouse-Lautrec

Category:Paintings in the Art Institute of Chicago


At the Moulin Rouge

Prompt: In At the Moulin Rouge, how is the abstract discussed?

At the Moulin Rouge (French: Au Moulin Rouge) is an oil-on-canvas painting by French artist Henri de Toulouse-Lautrec.  It was painted between 1892 and 1895.  Included in the background is a self-portrait of the artist in profile.  It is one of a number of works by Toulouse-Lautrec depicting the Moulin Rouge cabaret built in Paris in 1889.  The painting portrays near its center a group of three men and two women sitting around a table situated on the floor of the cabaret. From left to right, the people at the table include: writer Édouard Dujardin, dancer La Macarona, photographer Paul Secau, photographer Maurice Guibert, and, facing away, Jane Avril, being the focal point of the group - recognizable by her flaming red-orange hair. In the right foreground, apparently sitting at a different table, is a partial facial view of English dancer May Milton, with painted red lips, her face aglow in a distinctive greenish light and shadow.  In the background standing on the right fixing her hair is Moulin Rouge dancer La Goulue and another woman. The center-left background shows the short-statured Toulouse-Lautrec himself, standing in front of and next to, Dr. Gabriel Tapié de Céleyran.At the Moulin Rouge is  part of the Helen Birch Bartlett Memorial Collection at the Art Institute of Chicago, where it was first displayed on December 23, 1930. It was exhibited in London in 2011 at the Courtauld Institute of Art. Art critic Jonathan Jones calls the painting a masterpiece, and writes "the scene is somehow more exotic and more exciting than any recreation [of the Moulin Rouge, or Montmartre] in popular culture."

Category:Paintings by Henri de Toulouse-Lautrec

Category:Paintings in the Art Institute of Chicago


Portrait of Jacques Nayral

Prompt: Focus on Portrait of Jacques Nayral and explain the abstract.

Portrait of Jacques Nayral (also known as Portrait de Jacques Nayral) is a large oil painting created in 1911 by the French artist, theorist and writer Albert Gleizes (1881–1953). It was exhibited in Paris at the Salon d'Automne of 1911 (no. 609), the Salon de la Section d'Or, 1912 (no. 38), and reproduced in Du "Cubisme" written by Jean Metzinger and Albert Gleizes in 1912, the first and only manifesto on Cubism. Metzinger in 1911 described Gleizes' painting as 'a great portrait'. Portrait of Jacques Nayral, one of Gleizes' first major Cubist works, while still 'readable' in the figurative or representational sense, exemplifies the mobile, dynamic fragmentation of form characteristic of Cubism at the outset of 1911. Highly sophisticated in theory and in practice, this aspect of simultaneity would soon become identified with the practices of the Section d'Or. Here, Gleizes deploys these techniques  in a radical, personal and coherent manner.Jacques Nayral (a pseudonym for Joseph Houot) was a young modernist poet, dramatist, publisher and occasional sports writer, who shared with Gleizes a passion for the theories of Henri Bergson. He was a friend of Gleizes and married his sister Mireille in 1912. Gleizes began work on his portrait in 1910. The interfusion and interrelation between the sitter and the background of the painting reflect Bergson’s concepts about the simultaneity of experience. It was avant-garde works such as this widely exhibited portrait that fed the public outcry against Cubism. "Its scale echoes the large-scale paintings of the official exhibitions, while its style subverts that tradition". (Tate Modern)Purchased in 1979, the painting is exhibited in the permanent collection of the Tate Modern in London.

Page from the periodical ''Fantasio'', 15 October 1911, featuring ''Portrait de Jacques Nayral'' by Albert Gleizes and ''Le goûter (Tea Time)'' by Jean Metzinger

The Cubist Painters, Aesthetic Meditations

Courveboie, ca. 1900, Avenue Gambetta et la Caserne. ''Portrait of Jacques Nayral'' was painted here where Gleizes and his family lived from 1887.

Category:Paintings in the Tate galleries

File:Cover of the Catalogue for the 1911 Salon d'Automne, Paris.jpg

File:Jean Metzinger, Le goûter, Tea Time, 1911, 75.9 x 70.2 cm, Philadelphia Museum of Art.jpg

Jean Metzinger, ''[[Le goûter (Tea Time)

Le Chemin, Paysage à Meudon, Paysage avec personnage

File:31. Courveboie, Avenue Gambetta et la Caserne, ca. 1900.jpg

Les Peintres Cubistes, Méditations Esthétiques

File:Fantasio, 15 October 1911, Albert Gleizes, Portrait of Jacques Nayral, Jean Metzinger, Le Gouter, Tea Time, 1911...jpg

Catalogue cover for the 1911 [[Salon d'Automne

Albert Gleizes, 1911, ''[[Le Chemin, Paysage à Meudon (Gleizes)


Portrait of Jacques Nayral

Prompt: Explain the abstract of this artwork, Portrait of Jacques Nayral.

Portrait of Jacques Nayral (also known as Portrait de Jacques Nayral) is a large oil painting created in 1911 by the French artist, theorist and writer Albert Gleizes (1881–1953). It was exhibited in Paris at the Salon d'Automne of 1911 (no. 609), the Salon de la Section d'Or, 1912 (no. 38), and reproduced in Du "Cubisme" written by Jean Metzinger and Albert Gleizes in 1912, the first and only manifesto on Cubism. Metzinger in 1911 described Gleizes' painting as 'a great portrait'. Portrait of Jacques Nayral, one of Gleizes' first major Cubist works, while still 'readable' in the figurative or representational sense, exemplifies the mobile, dynamic fragmentation of form characteristic of Cubism at the outset of 1911. Highly sophisticated in theory and in practice, this aspect of simultaneity would soon become identified with the practices of the Section d'Or. Here, Gleizes deploys these techniques  in a radical, personal and coherent manner.Jacques Nayral (a pseudonym for Joseph Houot) was a young modernist poet, dramatist, publisher and occasional sports writer, who shared with Gleizes a passion for the theories of Henri Bergson. He was a friend of Gleizes and married his sister Mireille in 1912. Gleizes began work on his portrait in 1910. The interfusion and interrelation between the sitter and the background of the painting reflect Bergson’s concepts about the simultaneity of experience. It was avant-garde works such as this widely exhibited portrait that fed the public outcry against Cubism. "Its scale echoes the large-scale paintings of the official exhibitions, while its style subverts that tradition". (Tate Modern)Purchased in 1979, the painting is exhibited in the permanent collection of the Tate Modern in London.

Page from the periodical ''Fantasio'', 15 October 1911, featuring ''Portrait de Jacques Nayral'' by Albert Gleizes and ''Le goûter (Tea Time)'' by Jean Metzinger

The Cubist Painters, Aesthetic Meditations

Courveboie, ca. 1900, Avenue Gambetta et la Caserne. ''Portrait of Jacques Nayral'' was painted here where Gleizes and his family lived from 1887.

Category:Paintings in the Tate galleries

File:Cover of the Catalogue for the 1911 Salon d'Automne, Paris.jpg

File:Jean Metzinger, Le goûter, Tea Time, 1911, 75.9 x 70.2 cm, Philadelphia Museum of Art.jpg

Jean Metzinger, ''[[Le goûter (Tea Time)

Le Chemin, Paysage à Meudon, Paysage avec personnage

File:31. Courveboie, Avenue Gambetta et la Caserne, ca. 1900.jpg

Les Peintres Cubistes, Méditations Esthétiques

File:Fantasio, 15 October 1911, Albert Gleizes, Portrait of Jacques Nayral, Jean Metzinger, Le Gouter, Tea Time, 1911...jpg

Catalogue cover for the 1911 [[Salon d'Automne

Albert Gleizes, 1911, ''[[Le Chemin, Paysage à Meudon (Gleizes)


Portrait of Jacques Nayral

Prompt: How does Portrait of Jacques Nayral explain its abstract?

Portrait of Jacques Nayral (also known as Portrait de Jacques Nayral) is a large oil painting created in 1911 by the French artist, theorist and writer Albert Gleizes (1881–1953). It was exhibited in Paris at the Salon d'Automne of 1911 (no. 609), the Salon de la Section d'Or, 1912 (no. 38), and reproduced in Du "Cubisme" written by Jean Metzinger and Albert Gleizes in 1912, the first and only manifesto on Cubism. Metzinger in 1911 described Gleizes' painting as 'a great portrait'. Portrait of Jacques Nayral, one of Gleizes' first major Cubist works, while still 'readable' in the figurative or representational sense, exemplifies the mobile, dynamic fragmentation of form characteristic of Cubism at the outset of 1911. Highly sophisticated in theory and in practice, this aspect of simultaneity would soon become identified with the practices of the Section d'Or. Here, Gleizes deploys these techniques  in a radical, personal and coherent manner.Jacques Nayral (a pseudonym for Joseph Houot) was a young modernist poet, dramatist, publisher and occasional sports writer, who shared with Gleizes a passion for the theories of Henri Bergson. He was a friend of Gleizes and married his sister Mireille in 1912. Gleizes began work on his portrait in 1910. The interfusion and interrelation between the sitter and the background of the painting reflect Bergson’s concepts about the simultaneity of experience. It was avant-garde works such as this widely exhibited portrait that fed the public outcry against Cubism. "Its scale echoes the large-scale paintings of the official exhibitions, while its style subverts that tradition". (Tate Modern)Purchased in 1979, the painting is exhibited in the permanent collection of the Tate Modern in London.

Page from the periodical ''Fantasio'', 15 October 1911, featuring ''Portrait de Jacques Nayral'' by Albert Gleizes and ''Le goûter (Tea Time)'' by Jean Metzinger

The Cubist Painters, Aesthetic Meditations

Courveboie, ca. 1900, Avenue Gambetta et la Caserne. ''Portrait of Jacques Nayral'' was painted here where Gleizes and his family lived from 1887.

Category:Paintings in the Tate galleries

File:Cover of the Catalogue for the 1911 Salon d'Automne, Paris.jpg

File:Jean Metzinger, Le goûter, Tea Time, 1911, 75.9 x 70.2 cm, Philadelphia Museum of Art.jpg

Jean Metzinger, ''[[Le goûter (Tea Time)

Le Chemin, Paysage à Meudon, Paysage avec personnage

File:31. Courveboie, Avenue Gambetta et la Caserne, ca. 1900.jpg

Les Peintres Cubistes, Méditations Esthétiques

File:Fantasio, 15 October 1911, Albert Gleizes, Portrait of Jacques Nayral, Jean Metzinger, Le Gouter, Tea Time, 1911...jpg

Catalogue cover for the 1911 [[Salon d'Automne

Albert Gleizes, 1911, ''[[Le Chemin, Paysage à Meudon (Gleizes)


Portrait of Jacques Nayral

Prompt: In Portrait of Jacques Nayral, how is the abstract discussed?

Portrait of Jacques Nayral (also known as Portrait de Jacques Nayral) is a large oil painting created in 1911 by the French artist, theorist and writer Albert Gleizes (1881–1953). It was exhibited in Paris at the Salon d'Automne of 1911 (no. 609), the Salon de la Section d'Or, 1912 (no. 38), and reproduced in Du "Cubisme" written by Jean Metzinger and Albert Gleizes in 1912, the first and only manifesto on Cubism. Metzinger in 1911 described Gleizes' painting as 'a great portrait'. Portrait of Jacques Nayral, one of Gleizes' first major Cubist works, while still 'readable' in the figurative or representational sense, exemplifies the mobile, dynamic fragmentation of form characteristic of Cubism at the outset of 1911. Highly sophisticated in theory and in practice, this aspect of simultaneity would soon become identified with the practices of the Section d'Or. Here, Gleizes deploys these techniques  in a radical, personal and coherent manner.Jacques Nayral (a pseudonym for Joseph Houot) was a young modernist poet, dramatist, publisher and occasional sports writer, who shared with Gleizes a passion for the theories of Henri Bergson. He was a friend of Gleizes and married his sister Mireille in 1912. Gleizes began work on his portrait in 1910. The interfusion and interrelation between the sitter and the background of the painting reflect Bergson’s concepts about the simultaneity of experience. It was avant-garde works such as this widely exhibited portrait that fed the public outcry against Cubism. "Its scale echoes the large-scale paintings of the official exhibitions, while its style subverts that tradition". (Tate Modern)Purchased in 1979, the painting is exhibited in the permanent collection of the Tate Modern in London.

Page from the periodical ''Fantasio'', 15 October 1911, featuring ''Portrait de Jacques Nayral'' by Albert Gleizes and ''Le goûter (Tea Time)'' by Jean Metzinger

The Cubist Painters, Aesthetic Meditations

Courveboie, ca. 1900, Avenue Gambetta et la Caserne. ''Portrait of Jacques Nayral'' was painted here where Gleizes and his family lived from 1887.

Category:Paintings in the Tate galleries

File:Cover of the Catalogue for the 1911 Salon d'Automne, Paris.jpg

File:Jean Metzinger, Le goûter, Tea Time, 1911, 75.9 x 70.2 cm, Philadelphia Museum of Art.jpg

Jean Metzinger, ''[[Le goûter (Tea Time)

Le Chemin, Paysage à Meudon, Paysage avec personnage

File:31. Courveboie, Avenue Gambetta et la Caserne, ca. 1900.jpg

Les Peintres Cubistes, Méditations Esthétiques

File:Fantasio, 15 October 1911, Albert Gleizes, Portrait of Jacques Nayral, Jean Metzinger, Le Gouter, Tea Time, 1911...jpg

Catalogue cover for the 1911 [[Salon d'Automne

Albert Gleizes, 1911, ''[[Le Chemin, Paysage à Meudon (Gleizes)


Portrait of Jacques Nayral

Prompt: Focus on Portrait of Jacques Nayral and explain the Description.

Portrait of Jacques Nayral is an oil painting on canvas with dimensions 162 x 114 cm (63.8 by 44.9 inches), inscribed ‘Albert Gleizes 1911' (lower right). Studies for this work began in 1910 while the full portrait was completed during the late summer or early fall of 1911. The work represents an old friend of Gleizes, Jacques Nayral; the young author-dramatist who would marry Mireille Gleizes two years later.Nayral was a partisan of the synthetic-social ideas of the Abbaye, editor-in-chief for the publishing house of Figuière and directly responsible for the publication of Du «Cubisme» as well as for Apollinaire's Les Peintres Cubistes, Méditations Esthétiques and the projected series Tous les Arts. The background of Portrait of Jacques Nayral depicts Gleizes' garden at 24 Avenue Gambetta in Courbevoie, the western banlieue of Paris. Stylistically this painting fulfills the direction established in the unfinished portrait of Mme. Barzun", spring of 1911.(Daniel Robbins, 1964)A page from the periodical Fantasio, 15 October 1911, features Portrait de Jacques Nayral by Albert Gleizes (1911) and Le goûter (Tea Time) by Jean Metzinger, juxtaposed with images of unidentified models, the man with his knees crossed and a book on his lap, the woman (clothed) holding a spoon and a tea cup, as if the sitters. The commentary by Roland Dorgelès is heavily ironic, with the headline reading Ce que disent les cubes... (What the cubes say...).The complex forms that defined Metzinger's paintings of the period serve to suggest the underlying imagery (e.g., a nude, a horse, a dancer, a café-concert), rather than define the imagery; arousing the viewer's own creative intuition to decipher the 'total image.' This meant too, inversely, that the creative intuition of the artist would be aroused. No longer did the artist have to define or reproduce, painstakingly, the subject matter of a painting. The artist became to a large extent free, libre, to place lines, shapes, forms and colors onto the canvas in accord with his or her own creative intuition.

Page from the periodical ''Fantasio'', 15 October 1911, featuring ''Portrait de Jacques Nayral'' by Albert Gleizes and ''Le goûter (Tea Time)'' by Jean Metzinger

The Cubist Painters, Aesthetic Meditations

Courveboie, ca. 1900, Avenue Gambetta et la Caserne. ''Portrait of Jacques Nayral'' was painted here where Gleizes and his family lived from 1887.

Category:Paintings in the Tate galleries

File:Cover of the Catalogue for the 1911 Salon d'Automne, Paris.jpg

File:Jean Metzinger, Le goûter, Tea Time, 1911, 75.9 x 70.2 cm, Philadelphia Museum of Art.jpg

Jean Metzinger, ''[[Le goûter (Tea Time)

Le Chemin, Paysage à Meudon, Paysage avec personnage

File:31. Courveboie, Avenue Gambetta et la Caserne, ca. 1900.jpg

File:Fantasio, 15 October 1911, Albert Gleizes, Portrait of Jacques Nayral, Jean Metzinger, Le Gouter, Tea Time, 1911...jpg

Catalogue cover for the 1911 [[Salon d'Automne

Albert Gleizes, 1911, ''[[Le Chemin, Paysage à Meudon (Gleizes)


Portrait of Jacques Nayral

Prompt: Explain the Description of this artwork, Portrait of Jacques Nayral.

Portrait of Jacques Nayral is an oil painting on canvas with dimensions 162 x 114 cm (63.8 by 44.9 inches), inscribed ‘Albert Gleizes 1911' (lower right). Studies for this work began in 1910 while the full portrait was completed during the late summer or early fall of 1911. The work represents an old friend of Gleizes, Jacques Nayral; the young author-dramatist who would marry Mireille Gleizes two years later.Nayral was a partisan of the synthetic-social ideas of the Abbaye, editor-in-chief for the publishing house of Figuière and directly responsible for the publication of Du «Cubisme» as well as for Apollinaire's Les Peintres Cubistes, Méditations Esthétiques and the projected series Tous les Arts. The background of Portrait of Jacques Nayral depicts Gleizes' garden at 24 Avenue Gambetta in Courbevoie, the western banlieue of Paris. Stylistically this painting fulfills the direction established in the unfinished portrait of Mme. Barzun", spring of 1911.(Daniel Robbins, 1964)A page from the periodical Fantasio, 15 October 1911, features Portrait de Jacques Nayral by Albert Gleizes (1911) and Le goûter (Tea Time) by Jean Metzinger, juxtaposed with images of unidentified models, the man with his knees crossed and a book on his lap, the woman (clothed) holding a spoon and a tea cup, as if the sitters. The commentary by Roland Dorgelès is heavily ironic, with the headline reading Ce que disent les cubes... (What the cubes say...).The complex forms that defined Metzinger's paintings of the period serve to suggest the underlying imagery (e.g., a nude, a horse, a dancer, a café-concert), rather than define the imagery; arousing the viewer's own creative intuition to decipher the 'total image.' This meant too, inversely, that the creative intuition of the artist would be aroused. No longer did the artist have to define or reproduce, painstakingly, the subject matter of a painting. The artist became to a large extent free, libre, to place lines, shapes, forms and colors onto the canvas in accord with his or her own creative intuition.

Page from the periodical ''Fantasio'', 15 October 1911, featuring ''Portrait de Jacques Nayral'' by Albert Gleizes and ''Le goûter (Tea Time)'' by Jean Metzinger

The Cubist Painters, Aesthetic Meditations

Courveboie, ca. 1900, Avenue Gambetta et la Caserne. ''Portrait of Jacques Nayral'' was painted here where Gleizes and his family lived from 1887.

Category:Paintings in the Tate galleries

File:Cover of the Catalogue for the 1911 Salon d'Automne, Paris.jpg

File:Jean Metzinger, Le goûter, Tea Time, 1911, 75.9 x 70.2 cm, Philadelphia Museum of Art.jpg

Jean Metzinger, ''[[Le goûter (Tea Time)

Le Chemin, Paysage à Meudon, Paysage avec personnage

File:31. Courveboie, Avenue Gambetta et la Caserne, ca. 1900.jpg

File:Fantasio, 15 October 1911, Albert Gleizes, Portrait of Jacques Nayral, Jean Metzinger, Le Gouter, Tea Time, 1911...jpg

Catalogue cover for the 1911 [[Salon d'Automne

Albert Gleizes, 1911, ''[[Le Chemin, Paysage à Meudon (Gleizes)


Portrait of Jacques Nayral

Prompt: How does Portrait of Jacques Nayral explain its Description?

Portrait of Jacques Nayral is an oil painting on canvas with dimensions 162 x 114 cm (63.8 by 44.9 inches), inscribed ‘Albert Gleizes 1911' (lower right). Studies for this work began in 1910 while the full portrait was completed during the late summer or early fall of 1911. The work represents an old friend of Gleizes, Jacques Nayral; the young author-dramatist who would marry Mireille Gleizes two years later.Nayral was a partisan of the synthetic-social ideas of the Abbaye, editor-in-chief for the publishing house of Figuière and directly responsible for the publication of Du «Cubisme» as well as for Apollinaire's Les Peintres Cubistes, Méditations Esthétiques and the projected series Tous les Arts. The background of Portrait of Jacques Nayral depicts Gleizes' garden at 24 Avenue Gambetta in Courbevoie, the western banlieue of Paris. Stylistically this painting fulfills the direction established in the unfinished portrait of Mme. Barzun", spring of 1911.(Daniel Robbins, 1964)A page from the periodical Fantasio, 15 October 1911, features Portrait de Jacques Nayral by Albert Gleizes (1911) and Le goûter (Tea Time) by Jean Metzinger, juxtaposed with images of unidentified models, the man with his knees crossed and a book on his lap, the woman (clothed) holding a spoon and a tea cup, as if the sitters. The commentary by Roland Dorgelès is heavily ironic, with the headline reading Ce que disent les cubes... (What the cubes say...).The complex forms that defined Metzinger's paintings of the period serve to suggest the underlying imagery (e.g., a nude, a horse, a dancer, a café-concert), rather than define the imagery; arousing the viewer's own creative intuition to decipher the 'total image.' This meant too, inversely, that the creative intuition of the artist would be aroused. No longer did the artist have to define or reproduce, painstakingly, the subject matter of a painting. The artist became to a large extent free, libre, to place lines, shapes, forms and colors onto the canvas in accord with his or her own creative intuition.

Page from the periodical ''Fantasio'', 15 October 1911, featuring ''Portrait de Jacques Nayral'' by Albert Gleizes and ''Le goûter (Tea Time)'' by Jean Metzinger

The Cubist Painters, Aesthetic Meditations

Courveboie, ca. 1900, Avenue Gambetta et la Caserne. ''Portrait of Jacques Nayral'' was painted here where Gleizes and his family lived from 1887.

Category:Paintings in the Tate galleries

File:Cover of the Catalogue for the 1911 Salon d'Automne, Paris.jpg

File:Jean Metzinger, Le goûter, Tea Time, 1911, 75.9 x 70.2 cm, Philadelphia Museum of Art.jpg

Jean Metzinger, ''[[Le goûter (Tea Time)

Le Chemin, Paysage à Meudon, Paysage avec personnage

File:31. Courveboie, Avenue Gambetta et la Caserne, ca. 1900.jpg

File:Fantasio, 15 October 1911, Albert Gleizes, Portrait of Jacques Nayral, Jean Metzinger, Le Gouter, Tea Time, 1911...jpg

Catalogue cover for the 1911 [[Salon d'Automne

Albert Gleizes, 1911, ''[[Le Chemin, Paysage à Meudon (Gleizes)


Portrait of Jacques Nayral

Prompt: In Portrait of Jacques Nayral, how is the Description discussed?

Portrait of Jacques Nayral is an oil painting on canvas with dimensions 162 x 114 cm (63.8 by 44.9 inches), inscribed ‘Albert Gleizes 1911' (lower right). Studies for this work began in 1910 while the full portrait was completed during the late summer or early fall of 1911. The work represents an old friend of Gleizes, Jacques Nayral; the young author-dramatist who would marry Mireille Gleizes two years later.Nayral was a partisan of the synthetic-social ideas of the Abbaye, editor-in-chief for the publishing house of Figuière and directly responsible for the publication of Du «Cubisme» as well as for Apollinaire's Les Peintres Cubistes, Méditations Esthétiques and the projected series Tous les Arts. The background of Portrait of Jacques Nayral depicts Gleizes' garden at 24 Avenue Gambetta in Courbevoie, the western banlieue of Paris. Stylistically this painting fulfills the direction established in the unfinished portrait of Mme. Barzun", spring of 1911.(Daniel Robbins, 1964)A page from the periodical Fantasio, 15 October 1911, features Portrait de Jacques Nayral by Albert Gleizes (1911) and Le goûter (Tea Time) by Jean Metzinger, juxtaposed with images of unidentified models, the man with his knees crossed and a book on his lap, the woman (clothed) holding a spoon and a tea cup, as if the sitters. The commentary by Roland Dorgelès is heavily ironic, with the headline reading Ce que disent les cubes... (What the cubes say...).The complex forms that defined Metzinger's paintings of the period serve to suggest the underlying imagery (e.g., a nude, a horse, a dancer, a café-concert), rather than define the imagery; arousing the viewer's own creative intuition to decipher the 'total image.' This meant too, inversely, that the creative intuition of the artist would be aroused. No longer did the artist have to define or reproduce, painstakingly, the subject matter of a painting. The artist became to a large extent free, libre, to place lines, shapes, forms and colors onto the canvas in accord with his or her own creative intuition.

Page from the periodical ''Fantasio'', 15 October 1911, featuring ''Portrait de Jacques Nayral'' by Albert Gleizes and ''Le goûter (Tea Time)'' by Jean Metzinger

The Cubist Painters, Aesthetic Meditations

Courveboie, ca. 1900, Avenue Gambetta et la Caserne. ''Portrait of Jacques Nayral'' was painted here where Gleizes and his family lived from 1887.

Category:Paintings in the Tate galleries

File:Cover of the Catalogue for the 1911 Salon d'Automne, Paris.jpg

File:Jean Metzinger, Le goûter, Tea Time, 1911, 75.9 x 70.2 cm, Philadelphia Museum of Art.jpg

Jean Metzinger, ''[[Le goûter (Tea Time)

Le Chemin, Paysage à Meudon, Paysage avec personnage

File:31. Courveboie, Avenue Gambetta et la Caserne, ca. 1900.jpg

File:Fantasio, 15 October 1911, Albert Gleizes, Portrait of Jacques Nayral, Jean Metzinger, Le Gouter, Tea Time, 1911...jpg

Catalogue cover for the 1911 [[Salon d'Automne

Albert Gleizes, 1911, ''[[Le Chemin, Paysage à Meudon (Gleizes)


Portrait of Jacques Nayral

Prompt: Focus on Portrait of Jacques Nayral and explain the Content and form.

A similar concept lies behind Albert Gleizes' portrait of his friend, neo-Symbolist writer Joseph Houot, pen name Jacques Nayral, who in 1912 married Mireille Gleizes, the sister of Albert Gleizes. Along with Metzinger's Tea Time, Gleizes' Portrait of Jacques Nayral, painted the same year, exemplifies ideas and opinions formulated between 1910 and 1911 that would soon be codified in Du "Cubisme"; written in 1912 by Metzinger and Gleizes in preparation for the Salon de la Section d'Or, held in October. Du "Cubisme", published by Eugène Figuière, a close associate of Gleizes' friends Jacques Nayral and Alexandre Mercereau, was an attempt to bring together all the progressive tendencies.According to Gleizes, both the content and form in this painting were the result of mind associations as he completed the work from memory; something that would play a crucial role in the works of other Cubists, such as Fernand Léger, Robert Delaunay and Francis Picabia. More so than an 'objective' view of the real-world, Jacques Nayral valorized subjective experience and expression. He and other Symbolist writers embraced an antirationalist and antipositivist world-view, consistent with concepts that underscored Cubist philosophies. Nayral's interest in philosophy led him to correspond with Henri Bergson, someone who would greatly inspire both Metzinger and Gleizes. Nayral's related interest in avant-garde art led him to purchase Metzinger's large 1912 oil on canvas entitled La Femme au Cheval, also known as Woman with a Horse (Statens Museum for Kunst, Copenhagen). Nayral's association with Gleizes led him to write the Preface for the Cubist exhibition at Galeries Dalmau in Barcelona (April–May 2012)The Neo-Symbolist writers Jacques Nayral and Henri-Martin Barzun associated with the Unanimist movement in poetry. In his capacity as Figuière's editorial assistant Nayral had selected Du "Cubisme" and Les Peintres Cubistes, Méditations Esthétiques as part of a projected series on the arts. These writers and other Symbolists valorized expression and subjective experience over an objective view of the physical world.Paul Cézanne's technique of passage, in the Bergsonian sense, was used by the Cubists to stimulate a presentiment, an awareness of the dynamism of form. "Between sculpturally bold reliefs", wrote Gleizes and Metzinger, "let us throw slender shafts which do not define, but which suggest. Certain forms must remain implicit, so that the mind of the spectator is the chosen place of their concrete birth. Let us also contrive to cut by large restful surfaces any area where activity exaggerated by excessive contiguities.The dynamism of form resides in the unfolding response of both the artist and viewer to the quantitative and qualitative properties of the Cubist artwork. Metzinger's La Femme au Cheval (Woman with a Horse) (1911-12)—illustrated in Du "Cubisme" and owned by the poet Jacques Nayral—is structured according to these principles. The interplay of volumes, lines and planes has been 'abstracted' from the subject matter and spread throughout the composition. These complex geometric forms serve to 'suggest' the underlying imagery rather than to 'define' the subject, allowing the unity of the picture to be established by the viewer's 'creative intuition'.In this portrait, Gleizes was interested in 'equivalences, echoes, interpenetrations [emboîtements], rhythmic correspondences with the surrounding elements—terrain, trees, houses'. He was delighted to paint a portrait of Nayral because his face corresponded well to the solid, faceted, architectural qualities he had sought.In a departure from the static nature of single-point perspective, in his Nayral portrait, as in Le Chemin, Paysage à Meudon (1911), Gleizes simplifies, interpenetrates volumes, fuses the landscape with the model, to form a homogeneous picture. While volumes point is different directions and the subject is seen from several different angles ('multiple perspective') the observer still sees the entire surface of the canvas, preserving unity.Nayral asked Gleizes to paint his portrait in 1910, a task the artist completed over the course of several months, coming to an end in 1911. For Gleizes, this portrait, much as Metzinger's Le goûter (Tea Time), exemplified concepts that were later codified in Du "Cubisme". In his autobiographical notes Gleizes suggests that the theory of intuition propounded in that text may have been pronounced as early as 1910 (during a Proto-Cubist phase).

Page from the periodical ''Fantasio'', 15 October 1911, featuring ''Portrait de Jacques Nayral'' by Albert Gleizes and ''Le goûter (Tea Time)'' by Jean Metzinger

The Cubist Painters, Aesthetic Meditations

Courveboie, ca. 1900, Avenue Gambetta et la Caserne. ''Portrait of Jacques Nayral'' was painted here where Gleizes and his family lived from 1887.

Category:Paintings in the Tate galleries

File:Cover of the Catalogue for the 1911 Salon d'Automne, Paris.jpg

File:Jean Metzinger, Le goûter, Tea Time, 1911, 75.9 x 70.2 cm, Philadelphia Museum of Art.jpg

Jean Metzinger, ''[[Le goûter (Tea Time)

Le Chemin, Paysage à Meudon, Paysage avec personnage

File:31. Courveboie, Avenue Gambetta et la Caserne, ca. 1900.jpg

File:Fantasio, 15 October 1911, Albert Gleizes, Portrait of Jacques Nayral, Jean Metzinger, Le Gouter, Tea Time, 1911...jpg

Catalogue cover for the 1911 [[Salon d'Automne

Albert Gleizes, 1911, ''[[Le Chemin, Paysage à Meudon (Gleizes)


Portrait of Jacques Nayral

Prompt: Explain the Content and form of this artwork, Portrait of Jacques Nayral.

A similar concept lies behind Albert Gleizes' portrait of his friend, neo-Symbolist writer Joseph Houot, pen name Jacques Nayral, who in 1912 married Mireille Gleizes, the sister of Albert Gleizes. Along with Metzinger's Tea Time, Gleizes' Portrait of Jacques Nayral, painted the same year, exemplifies ideas and opinions formulated between 1910 and 1911 that would soon be codified in Du "Cubisme"; written in 1912 by Metzinger and Gleizes in preparation for the Salon de la Section d'Or, held in October. Du "Cubisme", published by Eugène Figuière, a close associate of Gleizes' friends Jacques Nayral and Alexandre Mercereau, was an attempt to bring together all the progressive tendencies.According to Gleizes, both the content and form in this painting were the result of mind associations as he completed the work from memory; something that would play a crucial role in the works of other Cubists, such as Fernand Léger, Robert Delaunay and Francis Picabia. More so than an 'objective' view of the real-world, Jacques Nayral valorized subjective experience and expression. He and other Symbolist writers embraced an antirationalist and antipositivist world-view, consistent with concepts that underscored Cubist philosophies. Nayral's interest in philosophy led him to correspond with Henri Bergson, someone who would greatly inspire both Metzinger and Gleizes. Nayral's related interest in avant-garde art led him to purchase Metzinger's large 1912 oil on canvas entitled La Femme au Cheval, also known as Woman with a Horse (Statens Museum for Kunst, Copenhagen). Nayral's association with Gleizes led him to write the Preface for the Cubist exhibition at Galeries Dalmau in Barcelona (April–May 2012)The Neo-Symbolist writers Jacques Nayral and Henri-Martin Barzun associated with the Unanimist movement in poetry. In his capacity as Figuière's editorial assistant Nayral had selected Du "Cubisme" and Les Peintres Cubistes, Méditations Esthétiques as part of a projected series on the arts. These writers and other Symbolists valorized expression and subjective experience over an objective view of the physical world.Paul Cézanne's technique of passage, in the Bergsonian sense, was used by the Cubists to stimulate a presentiment, an awareness of the dynamism of form. "Between sculpturally bold reliefs", wrote Gleizes and Metzinger, "let us throw slender shafts which do not define, but which suggest. Certain forms must remain implicit, so that the mind of the spectator is the chosen place of their concrete birth. Let us also contrive to cut by large restful surfaces any area where activity exaggerated by excessive contiguities.The dynamism of form resides in the unfolding response of both the artist and viewer to the quantitative and qualitative properties of the Cubist artwork. Metzinger's La Femme au Cheval (Woman with a Horse) (1911-12)—illustrated in Du "Cubisme" and owned by the poet Jacques Nayral—is structured according to these principles. The interplay of volumes, lines and planes has been 'abstracted' from the subject matter and spread throughout the composition. These complex geometric forms serve to 'suggest' the underlying imagery rather than to 'define' the subject, allowing the unity of the picture to be established by the viewer's 'creative intuition'.In this portrait, Gleizes was interested in 'equivalences, echoes, interpenetrations [emboîtements], rhythmic correspondences with the surrounding elements—terrain, trees, houses'. He was delighted to paint a portrait of Nayral because his face corresponded well to the solid, faceted, architectural qualities he had sought.In a departure from the static nature of single-point perspective, in his Nayral portrait, as in Le Chemin, Paysage à Meudon (1911), Gleizes simplifies, interpenetrates volumes, fuses the landscape with the model, to form a homogeneous picture. While volumes point is different directions and the subject is seen from several different angles ('multiple perspective') the observer still sees the entire surface of the canvas, preserving unity.Nayral asked Gleizes to paint his portrait in 1910, a task the artist completed over the course of several months, coming to an end in 1911. For Gleizes, this portrait, much as Metzinger's Le goûter (Tea Time), exemplified concepts that were later codified in Du "Cubisme". In his autobiographical notes Gleizes suggests that the theory of intuition propounded in that text may have been pronounced as early as 1910 (during a Proto-Cubist phase).

Page from the periodical ''Fantasio'', 15 October 1911, featuring ''Portrait de Jacques Nayral'' by Albert Gleizes and ''Le goûter (Tea Time)'' by Jean Metzinger

The Cubist Painters, Aesthetic Meditations

Courveboie, ca. 1900, Avenue Gambetta et la Caserne. ''Portrait of Jacques Nayral'' was painted here where Gleizes and his family lived from 1887.

Category:Paintings in the Tate galleries

File:Cover of the Catalogue for the 1911 Salon d'Automne, Paris.jpg

File:Jean Metzinger, Le goûter, Tea Time, 1911, 75.9 x 70.2 cm, Philadelphia Museum of Art.jpg

Jean Metzinger, ''[[Le goûter (Tea Time)

Le Chemin, Paysage à Meudon, Paysage avec personnage

File:31. Courveboie, Avenue Gambetta et la Caserne, ca. 1900.jpg

File:Fantasio, 15 October 1911, Albert Gleizes, Portrait of Jacques Nayral, Jean Metzinger, Le Gouter, Tea Time, 1911...jpg

Catalogue cover for the 1911 [[Salon d'Automne

Albert Gleizes, 1911, ''[[Le Chemin, Paysage à Meudon (Gleizes)


Portrait of Jacques Nayral

Prompt: How does Portrait of Jacques Nayral explain its Content and form?

A similar concept lies behind Albert Gleizes' portrait of his friend, neo-Symbolist writer Joseph Houot, pen name Jacques Nayral, who in 1912 married Mireille Gleizes, the sister of Albert Gleizes. Along with Metzinger's Tea Time, Gleizes' Portrait of Jacques Nayral, painted the same year, exemplifies ideas and opinions formulated between 1910 and 1911 that would soon be codified in Du "Cubisme"; written in 1912 by Metzinger and Gleizes in preparation for the Salon de la Section d'Or, held in October. Du "Cubisme", published by Eugène Figuière, a close associate of Gleizes' friends Jacques Nayral and Alexandre Mercereau, was an attempt to bring together all the progressive tendencies.According to Gleizes, both the content and form in this painting were the result of mind associations as he completed the work from memory; something that would play a crucial role in the works of other Cubists, such as Fernand Léger, Robert Delaunay and Francis Picabia. More so than an 'objective' view of the real-world, Jacques Nayral valorized subjective experience and expression. He and other Symbolist writers embraced an antirationalist and antipositivist world-view, consistent with concepts that underscored Cubist philosophies. Nayral's interest in philosophy led him to correspond with Henri Bergson, someone who would greatly inspire both Metzinger and Gleizes. Nayral's related interest in avant-garde art led him to purchase Metzinger's large 1912 oil on canvas entitled La Femme au Cheval, also known as Woman with a Horse (Statens Museum for Kunst, Copenhagen). Nayral's association with Gleizes led him to write the Preface for the Cubist exhibition at Galeries Dalmau in Barcelona (April–May 2012)The Neo-Symbolist writers Jacques Nayral and Henri-Martin Barzun associated with the Unanimist movement in poetry. In his capacity as Figuière's editorial assistant Nayral had selected Du "Cubisme" and Les Peintres Cubistes, Méditations Esthétiques as part of a projected series on the arts. These writers and other Symbolists valorized expression and subjective experience over an objective view of the physical world.Paul Cézanne's technique of passage, in the Bergsonian sense, was used by the Cubists to stimulate a presentiment, an awareness of the dynamism of form. "Between sculpturally bold reliefs", wrote Gleizes and Metzinger, "let us throw slender shafts which do not define, but which suggest. Certain forms must remain implicit, so that the mind of the spectator is the chosen place of their concrete birth. Let us also contrive to cut by large restful surfaces any area where activity exaggerated by excessive contiguities.The dynamism of form resides in the unfolding response of both the artist and viewer to the quantitative and qualitative properties of the Cubist artwork. Metzinger's La Femme au Cheval (Woman with a Horse) (1911-12)—illustrated in Du "Cubisme" and owned by the poet Jacques Nayral—is structured according to these principles. The interplay of volumes, lines and planes has been 'abstracted' from the subject matter and spread throughout the composition. These complex geometric forms serve to 'suggest' the underlying imagery rather than to 'define' the subject, allowing the unity of the picture to be established by the viewer's 'creative intuition'.In this portrait, Gleizes was interested in 'equivalences, echoes, interpenetrations [emboîtements], rhythmic correspondences with the surrounding elements—terrain, trees, houses'. He was delighted to paint a portrait of Nayral because his face corresponded well to the solid, faceted, architectural qualities he had sought.In a departure from the static nature of single-point perspective, in his Nayral portrait, as in Le Chemin, Paysage à Meudon (1911), Gleizes simplifies, interpenetrates volumes, fuses the landscape with the model, to form a homogeneous picture. While volumes point is different directions and the subject is seen from several different angles ('multiple perspective') the observer still sees the entire surface of the canvas, preserving unity.Nayral asked Gleizes to paint his portrait in 1910, a task the artist completed over the course of several months, coming to an end in 1911. For Gleizes, this portrait, much as Metzinger's Le goûter (Tea Time), exemplified concepts that were later codified in Du "Cubisme". In his autobiographical notes Gleizes suggests that the theory of intuition propounded in that text may have been pronounced as early as 1910 (during a Proto-Cubist phase).

Page from the periodical ''Fantasio'', 15 October 1911, featuring ''Portrait de Jacques Nayral'' by Albert Gleizes and ''Le goûter (Tea Time)'' by Jean Metzinger

The Cubist Painters, Aesthetic Meditations

Courveboie, ca. 1900, Avenue Gambetta et la Caserne. ''Portrait of Jacques Nayral'' was painted here where Gleizes and his family lived from 1887.

Category:Paintings in the Tate galleries

File:Cover of the Catalogue for the 1911 Salon d'Automne, Paris.jpg

File:Jean Metzinger, Le goûter, Tea Time, 1911, 75.9 x 70.2 cm, Philadelphia Museum of Art.jpg

Jean Metzinger, ''[[Le goûter (Tea Time)

Le Chemin, Paysage à Meudon, Paysage avec personnage

File:31. Courveboie, Avenue Gambetta et la Caserne, ca. 1900.jpg

File:Fantasio, 15 October 1911, Albert Gleizes, Portrait of Jacques Nayral, Jean Metzinger, Le Gouter, Tea Time, 1911...jpg

Catalogue cover for the 1911 [[Salon d'Automne

Albert Gleizes, 1911, ''[[Le Chemin, Paysage à Meudon (Gleizes)


Portrait of Jacques Nayral

Prompt: In Portrait of Jacques Nayral, how is the Content and form discussed?

A similar concept lies behind Albert Gleizes' portrait of his friend, neo-Symbolist writer Joseph Houot, pen name Jacques Nayral, who in 1912 married Mireille Gleizes, the sister of Albert Gleizes. Along with Metzinger's Tea Time, Gleizes' Portrait of Jacques Nayral, painted the same year, exemplifies ideas and opinions formulated between 1910 and 1911 that would soon be codified in Du "Cubisme"; written in 1912 by Metzinger and Gleizes in preparation for the Salon de la Section d'Or, held in October. Du "Cubisme", published by Eugène Figuière, a close associate of Gleizes' friends Jacques Nayral and Alexandre Mercereau, was an attempt to bring together all the progressive tendencies.According to Gleizes, both the content and form in this painting were the result of mind associations as he completed the work from memory; something that would play a crucial role in the works of other Cubists, such as Fernand Léger, Robert Delaunay and Francis Picabia. More so than an 'objective' view of the real-world, Jacques Nayral valorized subjective experience and expression. He and other Symbolist writers embraced an antirationalist and antipositivist world-view, consistent with concepts that underscored Cubist philosophies. Nayral's interest in philosophy led him to correspond with Henri Bergson, someone who would greatly inspire both Metzinger and Gleizes. Nayral's related interest in avant-garde art led him to purchase Metzinger's large 1912 oil on canvas entitled La Femme au Cheval, also known as Woman with a Horse (Statens Museum for Kunst, Copenhagen). Nayral's association with Gleizes led him to write the Preface for the Cubist exhibition at Galeries Dalmau in Barcelona (April–May 2012)The Neo-Symbolist writers Jacques Nayral and Henri-Martin Barzun associated with the Unanimist movement in poetry. In his capacity as Figuière's editorial assistant Nayral had selected Du "Cubisme" and Les Peintres Cubistes, Méditations Esthétiques as part of a projected series on the arts. These writers and other Symbolists valorized expression and subjective experience over an objective view of the physical world.Paul Cézanne's technique of passage, in the Bergsonian sense, was used by the Cubists to stimulate a presentiment, an awareness of the dynamism of form. "Between sculpturally bold reliefs", wrote Gleizes and Metzinger, "let us throw slender shafts which do not define, but which suggest. Certain forms must remain implicit, so that the mind of the spectator is the chosen place of their concrete birth. Let us also contrive to cut by large restful surfaces any area where activity exaggerated by excessive contiguities.The dynamism of form resides in the unfolding response of both the artist and viewer to the quantitative and qualitative properties of the Cubist artwork. Metzinger's La Femme au Cheval (Woman with a Horse) (1911-12)—illustrated in Du "Cubisme" and owned by the poet Jacques Nayral—is structured according to these principles. The interplay of volumes, lines and planes has been 'abstracted' from the subject matter and spread throughout the composition. These complex geometric forms serve to 'suggest' the underlying imagery rather than to 'define' the subject, allowing the unity of the picture to be established by the viewer's 'creative intuition'.In this portrait, Gleizes was interested in 'equivalences, echoes, interpenetrations [emboîtements], rhythmic correspondences with the surrounding elements—terrain, trees, houses'. He was delighted to paint a portrait of Nayral because his face corresponded well to the solid, faceted, architectural qualities he had sought.In a departure from the static nature of single-point perspective, in his Nayral portrait, as in Le Chemin, Paysage à Meudon (1911), Gleizes simplifies, interpenetrates volumes, fuses the landscape with the model, to form a homogeneous picture. While volumes point is different directions and the subject is seen from several different angles ('multiple perspective') the observer still sees the entire surface of the canvas, preserving unity.Nayral asked Gleizes to paint his portrait in 1910, a task the artist completed over the course of several months, coming to an end in 1911. For Gleizes, this portrait, much as Metzinger's Le goûter (Tea Time), exemplified concepts that were later codified in Du "Cubisme". In his autobiographical notes Gleizes suggests that the theory of intuition propounded in that text may have been pronounced as early as 1910 (during a Proto-Cubist phase).

Page from the periodical ''Fantasio'', 15 October 1911, featuring ''Portrait de Jacques Nayral'' by Albert Gleizes and ''Le goûter (Tea Time)'' by Jean Metzinger

The Cubist Painters, Aesthetic Meditations

Courveboie, ca. 1900, Avenue Gambetta et la Caserne. ''Portrait of Jacques Nayral'' was painted here where Gleizes and his family lived from 1887.

Category:Paintings in the Tate galleries

File:Cover of the Catalogue for the 1911 Salon d'Automne, Paris.jpg

File:Jean Metzinger, Le goûter, Tea Time, 1911, 75.9 x 70.2 cm, Philadelphia Museum of Art.jpg

Jean Metzinger, ''[[Le goûter (Tea Time)

Le Chemin, Paysage à Meudon, Paysage avec personnage

File:31. Courveboie, Avenue Gambetta et la Caserne, ca. 1900.jpg

File:Fantasio, 15 October 1911, Albert Gleizes, Portrait of Jacques Nayral, Jean Metzinger, Le Gouter, Tea Time, 1911...jpg

Catalogue cover for the 1911 [[Salon d'Automne

Albert Gleizes, 1911, ''[[Le Chemin, Paysage à Meudon (Gleizes)


Portrait of Jacques Nayral

Prompt: Focus on Portrait of Jacques Nayral and explain the Gleizes on Nayral.

I was on the verge of painting the Portrait of Jacques Nayral. He was to become my brother-in-law, and was one of the most sympathetic men I have ever met. A strange lad, a little surprising on first encounter - both disturbing because of his sharp use of irony and also attractive because of a generosity that left him as vulnerable as a child. The first time I met him was at President Bonjean's house at Villepreux-les-Clayes, near Versailles, during a dinner which brought together the committee of that 'Villa Medicis Libre' which, as I said before, had been founded by Alexandre Mercereau. From that time onwards, we saw each other often and became friends. [...]One day he asked me to do his portrait. I agreed with joy, all the more so because his head and his whole personality [personne] seemed to me to be perfect models for emphasising the plastic elements I was trying to develop. His face with clearly demarcated surfaces that made up a passionate interplay of facets, his hair in dark masses projecting lightly in waves over his temples, his solidly constructed body - straightaway suggested to me equivalences, echoes [rappels], interpenetrations, rhythmic correspondences with the surrounding elements, fields, trees, houses. So I suggested painting him in my garden, where I found easily to hand an environment that was highly suitable for my model.I made a whole series of studies to prepare this portrait. Drawings and washes in china ink. I analysed the architecture of the head in monumentally sized enlargements, two or three times the natural size, I made a certain number of drawings of the hands, I studied the organisation and the overall effect, volumes and the relations of the formal elements between themselves. Finally, I reduced the colour to a harmony of blacks and greys supported by some flashes of light red which set up a contrast, at once breaking with and supporting the interplay of harmonious colour relations. Nayral came regularly to the studio, I worked directly on him, naturally, but more often than not the work consisted in friendly conversation, in walks in the garden, during which I studied him, watching what was his natural way of walking and what were his usual gestures, above all arming my memory with essential characteristics, trying to isolate his true likeness from the accumulation of details and picturesque superfluities which always interfere with the permanent reality of a being. The portrait was executed without turning to the model, it was finished some weeks before the Automne and I decided to show it... if the jury would be willing to accept it, as I was not yet a member. (Albert Gleizes)Nayral himself celebrated this collaborative process in his preface to the Cubist exhibition held at the Galerie Dalmau in Barcelona, April - May 1912 (the second Cubist manifestation held outside of Paris): 'You see a portrait in a landscape' wrote Nayral, 'is it simply the reproduction of some lines that permit our eye to recognize a head, clothes, trees? Photography would be sufficient'. Nayral answers the query: 'a thinking human in harmony with the surroundings, in accordance with them', one must 'reveal the concert of all these forms of life that are the thought of this man, the perfume of this flower, the brilliance of this plant, the vibration of this light, this is the task of the artist'. In essence, write Antliff and Leighten in Cubism and Culture, "this synthetic vision was the product of Gleizes's sympathetic response to the expressive acts and physiognomic traits he deemed indicative of the poet's character. Both form and content in the work were the result of Gleizes's mental associations while working from memory.Just before the 1911 Salon d'Automne—Metzinger had already placed the last brushstroke of paint of Tea Time—Gleizes published a major article about Metzinger, within which he argued that 'representation' was fundamental, but that Metzinger's intention was 'to inscribe the total image'. This total image 'combined the evidence of perception with 'a new truth, born from what his intelligence permits him to know'. Such 'intelligent' knowledge, writes the art historian Christopher Green, "was the accumulation of an all-round study of things, and so it was conveyed by the combination of multiple viewpoints in a single image." He continues, "This accumulation of fragmented aspects would be given 'equilibrium' by a geometric, a 'cubic' structure. Metzinger's Tea-time, a work that attracted much attention at the Salon d'Automne of 1911, is like a pictorial demonstration of Gleizes's text. Multiple perspectives and a firm overall geometric structure (almost a grid) take control of a near pornographic subject: 'intelligence' subdues the senses."Reviewing the Cubist room at the Salon d'Automne of 1911 in L'Intransigeant, Apollinaire wrote of Gleizes' Portrait of Jacques Nayral:‘It is a very good likeness, yet in this impressive canvas, there is not one form or color that was not invented by the artist. This portrait has a grandiose appearance that should not escape the notice of connoisseurs.’Nayral was killed in action in December 1914, at the age of thirty-five, in an attack on a German trench near Arras.Gleizes first learned of the death of his brother-in-law and friend when a postcard on which he had written "Patience, a little more patience, it is impossible that this war can endure much longer... then we will put ourselves back to work..." came back marked "disparu". Gleizes painted two works entitled To Jacques Nayral (A Jacques Nayral) in 1914 and 1917 as an homage to the writer. These are private portraits that signify an intensely personal memorial to his closest friend and key figure who shared the hopes of the pre-war Passy group for an innovative collective artistic program.

Page from the periodical ''Fantasio'', 15 October 1911, featuring ''Portrait de Jacques Nayral'' by Albert Gleizes and ''Le goûter (Tea Time)'' by Jean Metzinger

The Cubist Painters, Aesthetic Meditations

Courveboie, ca. 1900, Avenue Gambetta et la Caserne. ''Portrait of Jacques Nayral'' was painted here where Gleizes and his family lived from 1887.

Category:Paintings in the Tate galleries

File:Cover of the Catalogue for the 1911 Salon d'Automne, Paris.jpg

File:Jean Metzinger, Le goûter, Tea Time, 1911, 75.9 x 70.2 cm, Philadelphia Museum of Art.jpg

Jean Metzinger, ''[[Le goûter (Tea Time)

Le Chemin, Paysage à Meudon, Paysage avec personnage

File:31. Courveboie, Avenue Gambetta et la Caserne, ca. 1900.jpg

Les Peintres Cubistes, Méditations Esthétiques

File:Fantasio, 15 October 1911, Albert Gleizes, Portrait of Jacques Nayral, Jean Metzinger, Le Gouter, Tea Time, 1911...jpg

Catalogue cover for the 1911 [[Salon d'Automne

Albert Gleizes, 1911, ''[[Le Chemin, Paysage à Meudon (Gleizes)


Portrait of Jacques Nayral

Prompt: Explain the Gleizes on Nayral of this artwork, Portrait of Jacques Nayral.

I was on the verge of painting the Portrait of Jacques Nayral. He was to become my brother-in-law, and was one of the most sympathetic men I have ever met. A strange lad, a little surprising on first encounter - both disturbing because of his sharp use of irony and also attractive because of a generosity that left him as vulnerable as a child. The first time I met him was at President Bonjean's house at Villepreux-les-Clayes, near Versailles, during a dinner which brought together the committee of that 'Villa Medicis Libre' which, as I said before, had been founded by Alexandre Mercereau. From that time onwards, we saw each other often and became friends. [...]One day he asked me to do his portrait. I agreed with joy, all the more so because his head and his whole personality [personne] seemed to me to be perfect models for emphasising the plastic elements I was trying to develop. His face with clearly demarcated surfaces that made up a passionate interplay of facets, his hair in dark masses projecting lightly in waves over his temples, his solidly constructed body - straightaway suggested to me equivalences, echoes [rappels], interpenetrations, rhythmic correspondences with the surrounding elements, fields, trees, houses. So I suggested painting him in my garden, where I found easily to hand an environment that was highly suitable for my model.I made a whole series of studies to prepare this portrait. Drawings and washes in china ink. I analysed the architecture of the head in monumentally sized enlargements, two or three times the natural size, I made a certain number of drawings of the hands, I studied the organisation and the overall effect, volumes and the relations of the formal elements between themselves. Finally, I reduced the colour to a harmony of blacks and greys supported by some flashes of light red which set up a contrast, at once breaking with and supporting the interplay of harmonious colour relations. Nayral came regularly to the studio, I worked directly on him, naturally, but more often than not the work consisted in friendly conversation, in walks in the garden, during which I studied him, watching what was his natural way of walking and what were his usual gestures, above all arming my memory with essential characteristics, trying to isolate his true likeness from the accumulation of details and picturesque superfluities which always interfere with the permanent reality of a being. The portrait was executed without turning to the model, it was finished some weeks before the Automne and I decided to show it... if the jury would be willing to accept it, as I was not yet a member. (Albert Gleizes)Nayral himself celebrated this collaborative process in his preface to the Cubist exhibition held at the Galerie Dalmau in Barcelona, April - May 1912 (the second Cubist manifestation held outside of Paris): 'You see a portrait in a landscape' wrote Nayral, 'is it simply the reproduction of some lines that permit our eye to recognize a head, clothes, trees? Photography would be sufficient'. Nayral answers the query: 'a thinking human in harmony with the surroundings, in accordance with them', one must 'reveal the concert of all these forms of life that are the thought of this man, the perfume of this flower, the brilliance of this plant, the vibration of this light, this is the task of the artist'. In essence, write Antliff and Leighten in Cubism and Culture, "this synthetic vision was the product of Gleizes's sympathetic response to the expressive acts and physiognomic traits he deemed indicative of the poet's character. Both form and content in the work were the result of Gleizes's mental associations while working from memory.Just before the 1911 Salon d'Automne—Metzinger had already placed the last brushstroke of paint of Tea Time—Gleizes published a major article about Metzinger, within which he argued that 'representation' was fundamental, but that Metzinger's intention was 'to inscribe the total image'. This total image 'combined the evidence of perception with 'a new truth, born from what his intelligence permits him to know'. Such 'intelligent' knowledge, writes the art historian Christopher Green, "was the accumulation of an all-round study of things, and so it was conveyed by the combination of multiple viewpoints in a single image." He continues, "This accumulation of fragmented aspects would be given 'equilibrium' by a geometric, a 'cubic' structure. Metzinger's Tea-time, a work that attracted much attention at the Salon d'Automne of 1911, is like a pictorial demonstration of Gleizes's text. Multiple perspectives and a firm overall geometric structure (almost a grid) take control of a near pornographic subject: 'intelligence' subdues the senses."Reviewing the Cubist room at the Salon d'Automne of 1911 in L'Intransigeant, Apollinaire wrote of Gleizes' Portrait of Jacques Nayral:‘It is a very good likeness, yet in this impressive canvas, there is not one form or color that was not invented by the artist. This portrait has a grandiose appearance that should not escape the notice of connoisseurs.’Nayral was killed in action in December 1914, at the age of thirty-five, in an attack on a German trench near Arras.Gleizes first learned of the death of his brother-in-law and friend when a postcard on which he had written "Patience, a little more patience, it is impossible that this war can endure much longer... then we will put ourselves back to work..." came back marked "disparu". Gleizes painted two works entitled To Jacques Nayral (A Jacques Nayral) in 1914 and 1917 as an homage to the writer. These are private portraits that signify an intensely personal memorial to his closest friend and key figure who shared the hopes of the pre-war Passy group for an innovative collective artistic program.

Page from the periodical ''Fantasio'', 15 October 1911, featuring ''Portrait de Jacques Nayral'' by Albert Gleizes and ''Le goûter (Tea Time)'' by Jean Metzinger

The Cubist Painters, Aesthetic Meditations

Courveboie, ca. 1900, Avenue Gambetta et la Caserne. ''Portrait of Jacques Nayral'' was painted here where Gleizes and his family lived from 1887.

Category:Paintings in the Tate galleries

File:Cover of the Catalogue for the 1911 Salon d'Automne, Paris.jpg

File:Jean Metzinger, Le goûter, Tea Time, 1911, 75.9 x 70.2 cm, Philadelphia Museum of Art.jpg

Jean Metzinger, ''[[Le goûter (Tea Time)

Le Chemin, Paysage à Meudon, Paysage avec personnage

File:31. Courveboie, Avenue Gambetta et la Caserne, ca. 1900.jpg

Les Peintres Cubistes, Méditations Esthétiques

File:Fantasio, 15 October 1911, Albert Gleizes, Portrait of Jacques Nayral, Jean Metzinger, Le Gouter, Tea Time, 1911...jpg

Catalogue cover for the 1911 [[Salon d'Automne

Albert Gleizes, 1911, ''[[Le Chemin, Paysage à Meudon (Gleizes)


Portrait of Jacques Nayral

Prompt: How does Portrait of Jacques Nayral explain its Gleizes on Nayral?

I was on the verge of painting the Portrait of Jacques Nayral. He was to become my brother-in-law, and was one of the most sympathetic men I have ever met. A strange lad, a little surprising on first encounter - both disturbing because of his sharp use of irony and also attractive because of a generosity that left him as vulnerable as a child. The first time I met him was at President Bonjean's house at Villepreux-les-Clayes, near Versailles, during a dinner which brought together the committee of that 'Villa Medicis Libre' which, as I said before, had been founded by Alexandre Mercereau. From that time onwards, we saw each other often and became friends. [...]One day he asked me to do his portrait. I agreed with joy, all the more so because his head and his whole personality [personne] seemed to me to be perfect models for emphasising the plastic elements I was trying to develop. His face with clearly demarcated surfaces that made up a passionate interplay of facets, his hair in dark masses projecting lightly in waves over his temples, his solidly constructed body - straightaway suggested to me equivalences, echoes [rappels], interpenetrations, rhythmic correspondences with the surrounding elements, fields, trees, houses. So I suggested painting him in my garden, where I found easily to hand an environment that was highly suitable for my model.I made a whole series of studies to prepare this portrait. Drawings and washes in china ink. I analysed the architecture of the head in monumentally sized enlargements, two or three times the natural size, I made a certain number of drawings of the hands, I studied the organisation and the overall effect, volumes and the relations of the formal elements between themselves. Finally, I reduced the colour to a harmony of blacks and greys supported by some flashes of light red which set up a contrast, at once breaking with and supporting the interplay of harmonious colour relations. Nayral came regularly to the studio, I worked directly on him, naturally, but more often than not the work consisted in friendly conversation, in walks in the garden, during which I studied him, watching what was his natural way of walking and what were his usual gestures, above all arming my memory with essential characteristics, trying to isolate his true likeness from the accumulation of details and picturesque superfluities which always interfere with the permanent reality of a being. The portrait was executed without turning to the model, it was finished some weeks before the Automne and I decided to show it... if the jury would be willing to accept it, as I was not yet a member. (Albert Gleizes)Nayral himself celebrated this collaborative process in his preface to the Cubist exhibition held at the Galerie Dalmau in Barcelona, April - May 1912 (the second Cubist manifestation held outside of Paris): 'You see a portrait in a landscape' wrote Nayral, 'is it simply the reproduction of some lines that permit our eye to recognize a head, clothes, trees? Photography would be sufficient'. Nayral answers the query: 'a thinking human in harmony with the surroundings, in accordance with them', one must 'reveal the concert of all these forms of life that are the thought of this man, the perfume of this flower, the brilliance of this plant, the vibration of this light, this is the task of the artist'. In essence, write Antliff and Leighten in Cubism and Culture, "this synthetic vision was the product of Gleizes's sympathetic response to the expressive acts and physiognomic traits he deemed indicative of the poet's character. Both form and content in the work were the result of Gleizes's mental associations while working from memory.Just before the 1911 Salon d'Automne—Metzinger had already placed the last brushstroke of paint of Tea Time—Gleizes published a major article about Metzinger, within which he argued that 'representation' was fundamental, but that Metzinger's intention was 'to inscribe the total image'. This total image 'combined the evidence of perception with 'a new truth, born from what his intelligence permits him to know'. Such 'intelligent' knowledge, writes the art historian Christopher Green, "was the accumulation of an all-round study of things, and so it was conveyed by the combination of multiple viewpoints in a single image." He continues, "This accumulation of fragmented aspects would be given 'equilibrium' by a geometric, a 'cubic' structure. Metzinger's Tea-time, a work that attracted much attention at the Salon d'Automne of 1911, is like a pictorial demonstration of Gleizes's text. Multiple perspectives and a firm overall geometric structure (almost a grid) take control of a near pornographic subject: 'intelligence' subdues the senses."Reviewing the Cubist room at the Salon d'Automne of 1911 in L'Intransigeant, Apollinaire wrote of Gleizes' Portrait of Jacques Nayral:‘It is a very good likeness, yet in this impressive canvas, there is not one form or color that was not invented by the artist. This portrait has a grandiose appearance that should not escape the notice of connoisseurs.’Nayral was killed in action in December 1914, at the age of thirty-five, in an attack on a German trench near Arras.Gleizes first learned of the death of his brother-in-law and friend when a postcard on which he had written "Patience, a little more patience, it is impossible that this war can endure much longer... then we will put ourselves back to work..." came back marked "disparu". Gleizes painted two works entitled To Jacques Nayral (A Jacques Nayral) in 1914 and 1917 as an homage to the writer. These are private portraits that signify an intensely personal memorial to his closest friend and key figure who shared the hopes of the pre-war Passy group for an innovative collective artistic program.

Page from the periodical ''Fantasio'', 15 October 1911, featuring ''Portrait de Jacques Nayral'' by Albert Gleizes and ''Le goûter (Tea Time)'' by Jean Metzinger

The Cubist Painters, Aesthetic Meditations

Courveboie, ca. 1900, Avenue Gambetta et la Caserne. ''Portrait of Jacques Nayral'' was painted here where Gleizes and his family lived from 1887.

Category:Paintings in the Tate galleries

File:Cover of the Catalogue for the 1911 Salon d'Automne, Paris.jpg

File:Jean Metzinger, Le goûter, Tea Time, 1911, 75.9 x 70.2 cm, Philadelphia Museum of Art.jpg

Jean Metzinger, ''[[Le goûter (Tea Time)

Le Chemin, Paysage à Meudon, Paysage avec personnage

File:31. Courveboie, Avenue Gambetta et la Caserne, ca. 1900.jpg

Les Peintres Cubistes, Méditations Esthétiques

File:Fantasio, 15 October 1911, Albert Gleizes, Portrait of Jacques Nayral, Jean Metzinger, Le Gouter, Tea Time, 1911...jpg

Catalogue cover for the 1911 [[Salon d'Automne

Albert Gleizes, 1911, ''[[Le Chemin, Paysage à Meudon (Gleizes)