Portrait of Jacques Nayral

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

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: Focus on Portrait of Jacques Nayral and explain the Criticism.

The Cubists had become by 1911 a legitimate target for critical disdain and satirical wit. "The cubists play a role in art today analogous to that sustained so effectively in the political and social arena by the apostles of anti-militarism and organized sabotage" wrote the critic Gabriel Mourney in his review of the Salon d'Automne of 1911 for Le Journal, "so doubtless the excesses of the anarchists and saboteurs of French painting will contribute to reviving, in artists and amateurs worthy of the name, the taste for true art and true beauty."Claude of Le Petit Parisien accused the salon cubists of arrivisme, Janneau for Gil Blas questioned the sincerity of the cubists, and Tardieu in Echo de Paris condemned 'the snobbery of the gullible which applauds the most stupid nonsenses of the arts of painting presented to idiots as the audacities of genius."Henri Guilbeaux, reviewing the 1911 Indépendants for Les Hommes du jour described the paintings of Metzinger, Léger and others as 'grotesque, ridiculous, intended to bewilder – it would appear – the bourgeoisie', paintings 'whose cubes, cones and pyramids pile up, collapse and...make you laugh.'Vauxcelles, perhaps more so than his fellow critics, indulged in witty mockery of the salon Cubists: 'But in truth, what honor we do to these bipeds of the parallelepiped, to their lucubrations, cubes, succubi and incubi'. Vauxcelles was more than just skeptical. His comfort level had already been surpassed with the 1907 works of Matisse and Derain, which he perceived as perilous, 'an uncertain schematization, proscribing relief and volumes in the name of I know not what principle of pictorial abstraction.'His concerns deepened in 1909 as the work of Le Fauconier, Delaunay, Gleizes and Metzinger emerged as a unifying force. He condemned 'the frigid extravagances of a number of mystificators' and queried: 'Do they take us for dupes? Indeed are they fooled themselves? It;s a puzzle hardly worth solving. Let M. Metzinger dance along behind Picasso, or Derain, or Bracke [sic]...let M. Herbin crudely defile a clean canvas – that's their mistakes. We'll not join them...'

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 Criticism of this artwork, Portrait of Jacques Nayral.

The Cubists had become by 1911 a legitimate target for critical disdain and satirical wit. "The cubists play a role in art today analogous to that sustained so effectively in the political and social arena by the apostles of anti-militarism and organized sabotage" wrote the critic Gabriel Mourney in his review of the Salon d'Automne of 1911 for Le Journal, "so doubtless the excesses of the anarchists and saboteurs of French painting will contribute to reviving, in artists and amateurs worthy of the name, the taste for true art and true beauty."Claude of Le Petit Parisien accused the salon cubists of arrivisme, Janneau for Gil Blas questioned the sincerity of the cubists, and Tardieu in Echo de Paris condemned 'the snobbery of the gullible which applauds the most stupid nonsenses of the arts of painting presented to idiots as the audacities of genius."Henri Guilbeaux, reviewing the 1911 Indépendants for Les Hommes du jour described the paintings of Metzinger, Léger and others as 'grotesque, ridiculous, intended to bewilder – it would appear – the bourgeoisie', paintings 'whose cubes, cones and pyramids pile up, collapse and...make you laugh.'Vauxcelles, perhaps more so than his fellow critics, indulged in witty mockery of the salon Cubists: 'But in truth, what honor we do to these bipeds of the parallelepiped, to their lucubrations, cubes, succubi and incubi'. Vauxcelles was more than just skeptical. His comfort level had already been surpassed with the 1907 works of Matisse and Derain, which he perceived as perilous, 'an uncertain schematization, proscribing relief and volumes in the name of I know not what principle of pictorial abstraction.'His concerns deepened in 1909 as the work of Le Fauconier, Delaunay, Gleizes and Metzinger emerged as a unifying force. He condemned 'the frigid extravagances of a number of mystificators' and queried: 'Do they take us for dupes? Indeed are they fooled themselves? It;s a puzzle hardly worth solving. Let M. Metzinger dance along behind Picasso, or Derain, or Bracke [sic]...let M. Herbin crudely defile a clean canvas – that's their mistakes. We'll not join them...'

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 Criticism?

The Cubists had become by 1911 a legitimate target for critical disdain and satirical wit. "The cubists play a role in art today analogous to that sustained so effectively in the political and social arena by the apostles of anti-militarism and organized sabotage" wrote the critic Gabriel Mourney in his review of the Salon d'Automne of 1911 for Le Journal, "so doubtless the excesses of the anarchists and saboteurs of French painting will contribute to reviving, in artists and amateurs worthy of the name, the taste for true art and true beauty."Claude of Le Petit Parisien accused the salon cubists of arrivisme, Janneau for Gil Blas questioned the sincerity of the cubists, and Tardieu in Echo de Paris condemned 'the snobbery of the gullible which applauds the most stupid nonsenses of the arts of painting presented to idiots as the audacities of genius."Henri Guilbeaux, reviewing the 1911 Indépendants for Les Hommes du jour described the paintings of Metzinger, Léger and others as 'grotesque, ridiculous, intended to bewilder – it would appear – the bourgeoisie', paintings 'whose cubes, cones and pyramids pile up, collapse and...make you laugh.'Vauxcelles, perhaps more so than his fellow critics, indulged in witty mockery of the salon Cubists: 'But in truth, what honor we do to these bipeds of the parallelepiped, to their lucubrations, cubes, succubi and incubi'. Vauxcelles was more than just skeptical. His comfort level had already been surpassed with the 1907 works of Matisse and Derain, which he perceived as perilous, 'an uncertain schematization, proscribing relief and volumes in the name of I know not what principle of pictorial abstraction.'His concerns deepened in 1909 as the work of Le Fauconier, Delaunay, Gleizes and Metzinger emerged as a unifying force. He condemned 'the frigid extravagances of a number of mystificators' and queried: 'Do they take us for dupes? Indeed are they fooled themselves? It;s a puzzle hardly worth solving. Let M. Metzinger dance along behind Picasso, or Derain, or Bracke [sic]...let M. Herbin crudely defile a clean canvas – that's their mistakes. We'll not join them...'

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 Criticism discussed?

The Cubists had become by 1911 a legitimate target for critical disdain and satirical wit. "The cubists play a role in art today analogous to that sustained so effectively in the political and social arena by the apostles of anti-militarism and organized sabotage" wrote the critic Gabriel Mourney in his review of the Salon d'Automne of 1911 for Le Journal, "so doubtless the excesses of the anarchists and saboteurs of French painting will contribute to reviving, in artists and amateurs worthy of the name, the taste for true art and true beauty."Claude of Le Petit Parisien accused the salon cubists of arrivisme, Janneau for Gil Blas questioned the sincerity of the cubists, and Tardieu in Echo de Paris condemned 'the snobbery of the gullible which applauds the most stupid nonsenses of the arts of painting presented to idiots as the audacities of genius."Henri Guilbeaux, reviewing the 1911 Indépendants for Les Hommes du jour described the paintings of Metzinger, Léger and others as 'grotesque, ridiculous, intended to bewilder – it would appear – the bourgeoisie', paintings 'whose cubes, cones and pyramids pile up, collapse and...make you laugh.'Vauxcelles, perhaps more so than his fellow critics, indulged in witty mockery of the salon Cubists: 'But in truth, what honor we do to these bipeds of the parallelepiped, to their lucubrations, cubes, succubi and incubi'. Vauxcelles was more than just skeptical. His comfort level had already been surpassed with the 1907 works of Matisse and Derain, which he perceived as perilous, 'an uncertain schematization, proscribing relief and volumes in the name of I know not what principle of pictorial abstraction.'His concerns deepened in 1909 as the work of Le Fauconier, Delaunay, Gleizes and Metzinger emerged as a unifying force. He condemned 'the frigid extravagances of a number of mystificators' and queried: 'Do they take us for dupes? Indeed are they fooled themselves? It;s a puzzle hardly worth solving. Let M. Metzinger dance along behind Picasso, or Derain, or Bracke [sic]...let M. Herbin crudely defile a clean canvas – that's their mistakes. We'll not join them...'

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 Salon d'Automne of 1911.

In Room 7 and 8 of the 1911 Salon d'Automne, held 1 October through November 8, at the Grand Palais in Paris, hung works by Gleizes, Portrait de Jacques Nayral and La Chasse. Metzinger exhibited Le goûter (Tea Time). Also present were Henri Le Fauconnier, Fernand Léger, Roger de La Fresnaye, André Lhote, Jacques Villon, Marcel Duchamp, František Kupka, Francis Picabia and the Cubist sculptors Alexander Archipenko, Joseph Csaky. The result was a public scandal which brought Cubism to the attention of the general public for the second time. The first was the organized group showing by Cubists in Salle 41 of the 1911 Salon des Indépendants (Paris), with Metzinger, Delaunay, le Fauconnier and Léger.The author of Portrait of Jacques Nayral later wrote of the exhibition that followed the infamous 1911 Salon des Indépendants:With the Salon d'Automne of that same year, 1911, the fury broke out again, just as violent as it had been at the Indépendants. I remember this Room 8 in the Grand Palais on the opening day. People were crushed together, shouting, laughing, calling for our heads. And what had we hung? Metzinger his lovely canvas entitled Le Goûter; Léger his sombre Nus dans un Paysage; Le Fauconnier, landscapes done in the Savoie; myself La Chasse and the Portrait de Jacques Nayral. How distant it all seems now! But I can still see the crowd gathering together in the doors of the room, pushing at those who were already pressed into it, wanting to get in to see for themselves the monsters that we were.The winter season in Paris profited from all this to add a little spice to its pleasures. While the newspapers sounded the alarm to alert people to the danger, and while appeals were made to the public authorities to do something about it, song-writers, satirists and other men of wit and spirit, provoked great pleasure among the leisured classes by playing with the word 'cube', discovering that it was a very suitable means of inducing laughter which, as we all know, is the principle characteristic that distinguishes man from the animals.(Albert Gleizes, 1925)In his review of the 1911 Salon d'Automne published in L'Intransigeant, written more as a counter attack in defense of Cubism, Guillaume Apollinaire expressed his views on the entries of Metzinger and Gleizes:The imagination of Metzinger gave us this year two elegant canvases of tones and drawing that attest, at the very least, to a great culture... His art belongs to him now. He has vacated influences and his palette is of a refined richness. Gleizes shows us the two sides of his great talent: invention and observation. Take the example of Portrait de Jacques Nayral, there is good resemblance, but there is not one form or color in this impressive painting that has not been invented by the artist. The portrait has a grandiose appearance that should not escape the notice of connoisseurs. This portrait covers [revêt] a grandiose appearance that should not elude connoisseurs... It is time that young painters turn towards  the sublime in their art. La Chasse, by Gleizes, is well composed and of beautiful colors and sings [chantant].Roger Allard remarked that the general public viewing the works Metzinger, Gleizes and Le Fauconnier at the Salon d'Automne of 1910 found the "deformation of lines" less humorous than the "deformation of color", except with regards to the human face. Christopher Green writes that the "deformations of lines" allowed by mobile perspective in the head of Metzinger's Tea-time and Gleizes's Jacques Nayral "have seemed tentative to historians of Cubism. In 1911, as the key area of likeness and unlikeness, they more than anything released the laughter." Green continues, "This was the wider context of Gris's decision at the Indépendants of 1912 to make his debut with a Homage to Pablo Picasso, which was a portrait, and to do so with a portrait that responded to Picasso's portraits of 1910 through the intermediary of Metzinger's Tea-time.Apollinaire took Picasso to the opening of the exhibition in 1911 to see the cubist works in Room 7 and 8. At about the time of this exhibition, Gleizes, through the intermediary of Apollinaire, meets Picasso and sees the work of Picasso and Braque for the first time. He gives his reaction in an essay published in another shortlived Abbaye dominated literary magazine, La Revue Indépendante. He considers that Picasso and Braque, despite the great value of their work, are engaged in an 'Impressionism of Form', which is to say that they give an appearance of formal construction which does not rest on any clearly comprehensible principle.Through the Salon d'Automne, Gleizes also enters into relations with the Duchamp brothers, Jacques Villon (1875-1963), Raymond Duchamp-Villon (1876-1918) and Marcel Duchamp (1887 1968). The studios of Jacques Villon and Raymond Duchamp-Villon at 7, rue Lemaître, become, together with Gleizes' studio at Courbevoie, a regular meeting place for the Cubist group, soon to become known as the Puteaux Group, or Section d'Or.Reviewing the Salon d'Automne of 1911, Huntly Carter in The New Age writes that "art is not an accessory to life; it is life itself carried to the greatest heights of personal expression." Carter continues: It was at the Salon d'Automne, amid the Rhythmists, I found the desired sensation. The exuberant eagerness and vitality of their region, consisting of two room remotely situated, was a complete contrast to the morgue I was compelled to pass through in order to reach it. Though marked by extremes, it was clearly the starting point of a new movement in painting, perhaps the most remarkable in modern times, It revealed not only that artists are beginning to recognise the unity of art and life, but that some of them have discovered life is based on rhythmic vitality, and underlying all things is the perfect rhythm that continues and unites them. Consciously, or unconsciously, many are seeking for the perfect rhythm, and in so doing are attaining a liberty or wideness of expression unattained through several centuries of painting. (Huntly Carter, 1911)

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 Salon d'Automne of 1911 of this artwork, Portrait of Jacques Nayral.

In Room 7 and 8 of the 1911 Salon d'Automne, held 1 October through November 8, at the Grand Palais in Paris, hung works by Gleizes, Portrait de Jacques Nayral and La Chasse. Metzinger exhibited Le goûter (Tea Time). Also present were Henri Le Fauconnier, Fernand Léger, Roger de La Fresnaye, André Lhote, Jacques Villon, Marcel Duchamp, František Kupka, Francis Picabia and the Cubist sculptors Alexander Archipenko, Joseph Csaky. The result was a public scandal which brought Cubism to the attention of the general public for the second time. The first was the organized group showing by Cubists in Salle 41 of the 1911 Salon des Indépendants (Paris), with Metzinger, Delaunay, le Fauconnier and Léger.The author of Portrait of Jacques Nayral later wrote of the exhibition that followed the infamous 1911 Salon des Indépendants:With the Salon d'Automne of that same year, 1911, the fury broke out again, just as violent as it had been at the Indépendants. I remember this Room 8 in the Grand Palais on the opening day. People were crushed together, shouting, laughing, calling for our heads. And what had we hung? Metzinger his lovely canvas entitled Le Goûter; Léger his sombre Nus dans un Paysage; Le Fauconnier, landscapes done in the Savoie; myself La Chasse and the Portrait de Jacques Nayral. How distant it all seems now! But I can still see the crowd gathering together in the doors of the room, pushing at those who were already pressed into it, wanting to get in to see for themselves the monsters that we were.The winter season in Paris profited from all this to add a little spice to its pleasures. While the newspapers sounded the alarm to alert people to the danger, and while appeals were made to the public authorities to do something about it, song-writers, satirists and other men of wit and spirit, provoked great pleasure among the leisured classes by playing with the word 'cube', discovering that it was a very suitable means of inducing laughter which, as we all know, is the principle characteristic that distinguishes man from the animals.(Albert Gleizes, 1925)In his review of the 1911 Salon d'Automne published in L'Intransigeant, written more as a counter attack in defense of Cubism, Guillaume Apollinaire expressed his views on the entries of Metzinger and Gleizes:The imagination of Metzinger gave us this year two elegant canvases of tones and drawing that attest, at the very least, to a great culture... His art belongs to him now. He has vacated influences and his palette is of a refined richness. Gleizes shows us the two sides of his great talent: invention and observation. Take the example of Portrait de Jacques Nayral, there is good resemblance, but there is not one form or color in this impressive painting that has not been invented by the artist. The portrait has a grandiose appearance that should not escape the notice of connoisseurs. This portrait covers [revêt] a grandiose appearance that should not elude connoisseurs... It is time that young painters turn towards  the sublime in their art. La Chasse, by Gleizes, is well composed and of beautiful colors and sings [chantant].Roger Allard remarked that the general public viewing the works Metzinger, Gleizes and Le Fauconnier at the Salon d'Automne of 1910 found the "deformation of lines" less humorous than the "deformation of color", except with regards to the human face. Christopher Green writes that the "deformations of lines" allowed by mobile perspective in the head of Metzinger's Tea-time and Gleizes's Jacques Nayral "have seemed tentative to historians of Cubism. In 1911, as the key area of likeness and unlikeness, they more than anything released the laughter." Green continues, "This was the wider context of Gris's decision at the Indépendants of 1912 to make his debut with a Homage to Pablo Picasso, which was a portrait, and to do so with a portrait that responded to Picasso's portraits of 1910 through the intermediary of Metzinger's Tea-time.Apollinaire took Picasso to the opening of the exhibition in 1911 to see the cubist works in Room 7 and 8. At about the time of this exhibition, Gleizes, through the intermediary of Apollinaire, meets Picasso and sees the work of Picasso and Braque for the first time. He gives his reaction in an essay published in another shortlived Abbaye dominated literary magazine, La Revue Indépendante. He considers that Picasso and Braque, despite the great value of their work, are engaged in an 'Impressionism of Form', which is to say that they give an appearance of formal construction which does not rest on any clearly comprehensible principle.Through the Salon d'Automne, Gleizes also enters into relations with the Duchamp brothers, Jacques Villon (1875-1963), Raymond Duchamp-Villon (1876-1918) and Marcel Duchamp (1887 1968). The studios of Jacques Villon and Raymond Duchamp-Villon at 7, rue Lemaître, become, together with Gleizes' studio at Courbevoie, a regular meeting place for the Cubist group, soon to become known as the Puteaux Group, or Section d'Or.Reviewing the Salon d'Automne of 1911, Huntly Carter in The New Age writes that "art is not an accessory to life; it is life itself carried to the greatest heights of personal expression." Carter continues: It was at the Salon d'Automne, amid the Rhythmists, I found the desired sensation. The exuberant eagerness and vitality of their region, consisting of two room remotely situated, was a complete contrast to the morgue I was compelled to pass through in order to reach it. Though marked by extremes, it was clearly the starting point of a new movement in painting, perhaps the most remarkable in modern times, It revealed not only that artists are beginning to recognise the unity of art and life, but that some of them have discovered life is based on rhythmic vitality, and underlying all things is the perfect rhythm that continues and unites them. Consciously, or unconsciously, many are seeking for the perfect rhythm, and in so doing are attaining a liberty or wideness of expression unattained through several centuries of painting. (Huntly Carter, 1911)

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 Salon d'Automne of 1911?

In Room 7 and 8 of the 1911 Salon d'Automne, held 1 October through November 8, at the Grand Palais in Paris, hung works by Gleizes, Portrait de Jacques Nayral and La Chasse. Metzinger exhibited Le goûter (Tea Time). Also present were Henri Le Fauconnier, Fernand Léger, Roger de La Fresnaye, André Lhote, Jacques Villon, Marcel Duchamp, František Kupka, Francis Picabia and the Cubist sculptors Alexander Archipenko, Joseph Csaky. The result was a public scandal which brought Cubism to the attention of the general public for the second time. The first was the organized group showing by Cubists in Salle 41 of the 1911 Salon des Indépendants (Paris), with Metzinger, Delaunay, le Fauconnier and Léger.The author of Portrait of Jacques Nayral later wrote of the exhibition that followed the infamous 1911 Salon des Indépendants:With the Salon d'Automne of that same year, 1911, the fury broke out again, just as violent as it had been at the Indépendants. I remember this Room 8 in the Grand Palais on the opening day. People were crushed together, shouting, laughing, calling for our heads. And what had we hung? Metzinger his lovely canvas entitled Le Goûter; Léger his sombre Nus dans un Paysage; Le Fauconnier, landscapes done in the Savoie; myself La Chasse and the Portrait de Jacques Nayral. How distant it all seems now! But I can still see the crowd gathering together in the doors of the room, pushing at those who were already pressed into it, wanting to get in to see for themselves the monsters that we were.The winter season in Paris profited from all this to add a little spice to its pleasures. While the newspapers sounded the alarm to alert people to the danger, and while appeals were made to the public authorities to do something about it, song-writers, satirists and other men of wit and spirit, provoked great pleasure among the leisured classes by playing with the word 'cube', discovering that it was a very suitable means of inducing laughter which, as we all know, is the principle characteristic that distinguishes man from the animals.(Albert Gleizes, 1925)In his review of the 1911 Salon d'Automne published in L'Intransigeant, written more as a counter attack in defense of Cubism, Guillaume Apollinaire expressed his views on the entries of Metzinger and Gleizes:The imagination of Metzinger gave us this year two elegant canvases of tones and drawing that attest, at the very least, to a great culture... His art belongs to him now. He has vacated influences and his palette is of a refined richness. Gleizes shows us the two sides of his great talent: invention and observation. Take the example of Portrait de Jacques Nayral, there is good resemblance, but there is not one form or color in this impressive painting that has not been invented by the artist. The portrait has a grandiose appearance that should not escape the notice of connoisseurs. This portrait covers [revêt] a grandiose appearance that should not elude connoisseurs... It is time that young painters turn towards  the sublime in their art. La Chasse, by Gleizes, is well composed and of beautiful colors and sings [chantant].Roger Allard remarked that the general public viewing the works Metzinger, Gleizes and Le Fauconnier at the Salon d'Automne of 1910 found the "deformation of lines" less humorous than the "deformation of color", except with regards to the human face. Christopher Green writes that the "deformations of lines" allowed by mobile perspective in the head of Metzinger's Tea-time and Gleizes's Jacques Nayral "have seemed tentative to historians of Cubism. In 1911, as the key area of likeness and unlikeness, they more than anything released the laughter." Green continues, "This was the wider context of Gris's decision at the Indépendants of 1912 to make his debut with a Homage to Pablo Picasso, which was a portrait, and to do so with a portrait that responded to Picasso's portraits of 1910 through the intermediary of Metzinger's Tea-time.Apollinaire took Picasso to the opening of the exhibition in 1911 to see the cubist works in Room 7 and 8. At about the time of this exhibition, Gleizes, through the intermediary of Apollinaire, meets Picasso and sees the work of Picasso and Braque for the first time. He gives his reaction in an essay published in another shortlived Abbaye dominated literary magazine, La Revue Indépendante. He considers that Picasso and Braque, despite the great value of their work, are engaged in an 'Impressionism of Form', which is to say that they give an appearance of formal construction which does not rest on any clearly comprehensible principle.Through the Salon d'Automne, Gleizes also enters into relations with the Duchamp brothers, Jacques Villon (1875-1963), Raymond Duchamp-Villon (1876-1918) and Marcel Duchamp (1887 1968). The studios of Jacques Villon and Raymond Duchamp-Villon at 7, rue Lemaître, become, together with Gleizes' studio at Courbevoie, a regular meeting place for the Cubist group, soon to become known as the Puteaux Group, or Section d'Or.Reviewing the Salon d'Automne of 1911, Huntly Carter in The New Age writes that "art is not an accessory to life; it is life itself carried to the greatest heights of personal expression." Carter continues: It was at the Salon d'Automne, amid the Rhythmists, I found the desired sensation. The exuberant eagerness and vitality of their region, consisting of two room remotely situated, was a complete contrast to the morgue I was compelled to pass through in order to reach it. Though marked by extremes, it was clearly the starting point of a new movement in painting, perhaps the most remarkable in modern times, It revealed not only that artists are beginning to recognise the unity of art and life, but that some of them have discovered life is based on rhythmic vitality, and underlying all things is the perfect rhythm that continues and unites them. Consciously, or unconsciously, many are seeking for the perfect rhythm, and in so doing are attaining a liberty or wideness of expression unattained through several centuries of painting. (Huntly Carter, 1911)

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 Salon d'Automne of 1911 discussed?

In Room 7 and 8 of the 1911 Salon d'Automne, held 1 October through November 8, at the Grand Palais in Paris, hung works by Gleizes, Portrait de Jacques Nayral and La Chasse. Metzinger exhibited Le goûter (Tea Time). Also present were Henri Le Fauconnier, Fernand Léger, Roger de La Fresnaye, André Lhote, Jacques Villon, Marcel Duchamp, František Kupka, Francis Picabia and the Cubist sculptors Alexander Archipenko, Joseph Csaky. The result was a public scandal which brought Cubism to the attention of the general public for the second time. The first was the organized group showing by Cubists in Salle 41 of the 1911 Salon des Indépendants (Paris), with Metzinger, Delaunay, le Fauconnier and Léger.The author of Portrait of Jacques Nayral later wrote of the exhibition that followed the infamous 1911 Salon des Indépendants:With the Salon d'Automne of that same year, 1911, the fury broke out again, just as violent as it had been at the Indépendants. I remember this Room 8 in the Grand Palais on the opening day. People were crushed together, shouting, laughing, calling for our heads. And what had we hung? Metzinger his lovely canvas entitled Le Goûter; Léger his sombre Nus dans un Paysage; Le Fauconnier, landscapes done in the Savoie; myself La Chasse and the Portrait de Jacques Nayral. How distant it all seems now! But I can still see the crowd gathering together in the doors of the room, pushing at those who were already pressed into it, wanting to get in to see for themselves the monsters that we were.The winter season in Paris profited from all this to add a little spice to its pleasures. While the newspapers sounded the alarm to alert people to the danger, and while appeals were made to the public authorities to do something about it, song-writers, satirists and other men of wit and spirit, provoked great pleasure among the leisured classes by playing with the word 'cube', discovering that it was a very suitable means of inducing laughter which, as we all know, is the principle characteristic that distinguishes man from the animals.(Albert Gleizes, 1925)In his review of the 1911 Salon d'Automne published in L'Intransigeant, written more as a counter attack in defense of Cubism, Guillaume Apollinaire expressed his views on the entries of Metzinger and Gleizes:The imagination of Metzinger gave us this year two elegant canvases of tones and drawing that attest, at the very least, to a great culture... His art belongs to him now. He has vacated influences and his palette is of a refined richness. Gleizes shows us the two sides of his great talent: invention and observation. Take the example of Portrait de Jacques Nayral, there is good resemblance, but there is not one form or color in this impressive painting that has not been invented by the artist. The portrait has a grandiose appearance that should not escape the notice of connoisseurs. This portrait covers [revêt] a grandiose appearance that should not elude connoisseurs... It is time that young painters turn towards  the sublime in their art. La Chasse, by Gleizes, is well composed and of beautiful colors and sings [chantant].Roger Allard remarked that the general public viewing the works Metzinger, Gleizes and Le Fauconnier at the Salon d'Automne of 1910 found the "deformation of lines" less humorous than the "deformation of color", except with regards to the human face. Christopher Green writes that the "deformations of lines" allowed by mobile perspective in the head of Metzinger's Tea-time and Gleizes's Jacques Nayral "have seemed tentative to historians of Cubism. In 1911, as the key area of likeness and unlikeness, they more than anything released the laughter." Green continues, "This was the wider context of Gris's decision at the Indépendants of 1912 to make his debut with a Homage to Pablo Picasso, which was a portrait, and to do so with a portrait that responded to Picasso's portraits of 1910 through the intermediary of Metzinger's Tea-time.Apollinaire took Picasso to the opening of the exhibition in 1911 to see the cubist works in Room 7 and 8. At about the time of this exhibition, Gleizes, through the intermediary of Apollinaire, meets Picasso and sees the work of Picasso and Braque for the first time. He gives his reaction in an essay published in another shortlived Abbaye dominated literary magazine, La Revue Indépendante. He considers that Picasso and Braque, despite the great value of their work, are engaged in an 'Impressionism of Form', which is to say that they give an appearance of formal construction which does not rest on any clearly comprehensible principle.Through the Salon d'Automne, Gleizes also enters into relations with the Duchamp brothers, Jacques Villon (1875-1963), Raymond Duchamp-Villon (1876-1918) and Marcel Duchamp (1887 1968). The studios of Jacques Villon and Raymond Duchamp-Villon at 7, rue Lemaître, become, together with Gleizes' studio at Courbevoie, a regular meeting place for the Cubist group, soon to become known as the Puteaux Group, or Section d'Or.Reviewing the Salon d'Automne of 1911, Huntly Carter in The New Age writes that "art is not an accessory to life; it is life itself carried to the greatest heights of personal expression." Carter continues: It was at the Salon d'Automne, amid the Rhythmists, I found the desired sensation. The exuberant eagerness and vitality of their region, consisting of two room remotely situated, was a complete contrast to the morgue I was compelled to pass through in order to reach it. Though marked by extremes, it was clearly the starting point of a new movement in painting, perhaps the most remarkable in modern times, It revealed not only that artists are beginning to recognise the unity of art and life, but that some of them have discovered life is based on rhythmic vitality, and underlying all things is the perfect rhythm that continues and unites them. Consciously, or unconsciously, many are seeking for the perfect rhythm, and in so doing are attaining a liberty or wideness of expression unattained through several centuries of painting. (Huntly Carter, 1911)

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 Provenance.

Joseph Houot (Jacques Nayral)Mme Joseph HouotCommandant Georges Houot, La FlècheSold by Mme Georges Houot at Sotheby's, London, 5 December 1979, lot 92 reproduced in colorTate Modern, purchased at Sotheby's (Grant-in-Aid) 1979

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 Provenance of this artwork, Portrait of Jacques Nayral.

Joseph Houot (Jacques Nayral)Mme Joseph HouotCommandant Georges Houot, La FlècheSold by Mme Georges Houot at Sotheby's, London, 5 December 1979, lot 92 reproduced in colorTate Modern, purchased at Sotheby's (Grant-in-Aid) 1979

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 Provenance?

Joseph Houot (Jacques Nayral)Mme Joseph HouotCommandant Georges Houot, La FlècheSold by Mme Georges Houot at Sotheby's, London, 5 December 1979, lot 92 reproduced in colorTate Modern, purchased at Sotheby's (Grant-in-Aid) 1979

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 Provenance discussed?

Joseph Houot (Jacques Nayral)Mme Joseph HouotCommandant Georges Houot, La FlècheSold by Mme Georges Houot at Sotheby's, London, 5 December 1979, lot 92 reproduced in colorTate Modern, purchased at Sotheby's (Grant-in-Aid) 1979

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 Exhibitions.

Salon d'Automne, Paris, October–November 1911 (609)Salon de ‘La Section d'Or’, Galerie La Boëtie, Paris, October 1912 (38)Les Maîtres de l'Art Indépendant 1895–1937, Petit Palais, Paris, June–October 1937 (Room 28, 17)Le Cubisme (1907–1914), Musée National d'Art Moderne, Paris, January–April 1953 (64)II Bienal, São Paulo, December 1953–February 1954 (Cubist room 16)Albert Gleizes 1881–1953, Guggenheim Museum, New York, September–November 1964 (11, repr.)Musée National d'Art Moderne, Paris, December 1964–January 1965 (11, repr.)Museum am Ostwall, Dortmund, March–April 1965 (11, repr.) Tate ModernCubisti Cubismo, Complesso del Vittoriano, Rome, 8 March–23 June 2013Le cubisme, 17 October 2018 – 25 February 2019, Galerie 1, Centre Pompidou, Musée National d'Art Moderne, Paris. Kunstmuseum Basel, 31 March – 5 August 2019

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 Exhibitions of this artwork, Portrait of Jacques Nayral.

Salon d'Automne, Paris, October–November 1911 (609)Salon de ‘La Section d'Or’, Galerie La Boëtie, Paris, October 1912 (38)Les Maîtres de l'Art Indépendant 1895–1937, Petit Palais, Paris, June–October 1937 (Room 28, 17)Le Cubisme (1907–1914), Musée National d'Art Moderne, Paris, January–April 1953 (64)II Bienal, São Paulo, December 1953–February 1954 (Cubist room 16)Albert Gleizes 1881–1953, Guggenheim Museum, New York, September–November 1964 (11, repr.)Musée National d'Art Moderne, Paris, December 1964–January 1965 (11, repr.)Museum am Ostwall, Dortmund, March–April 1965 (11, repr.) Tate ModernCubisti Cubismo, Complesso del Vittoriano, Rome, 8 March–23 June 2013Le cubisme, 17 October 2018 – 25 February 2019, Galerie 1, Centre Pompidou, Musée National d'Art Moderne, Paris. Kunstmuseum Basel, 31 March – 5 August 2019

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 Exhibitions?

Salon d'Automne, Paris, October–November 1911 (609)Salon de ‘La Section d'Or’, Galerie La Boëtie, Paris, October 1912 (38)Les Maîtres de l'Art Indépendant 1895–1937, Petit Palais, Paris, June–October 1937 (Room 28, 17)Le Cubisme (1907–1914), Musée National d'Art Moderne, Paris, January–April 1953 (64)II Bienal, São Paulo, December 1953–February 1954 (Cubist room 16)Albert Gleizes 1881–1953, Guggenheim Museum, New York, September–November 1964 (11, repr.)Musée National d'Art Moderne, Paris, December 1964–January 1965 (11, repr.)Museum am Ostwall, Dortmund, March–April 1965 (11, repr.) Tate ModernCubisti Cubismo, Complesso del Vittoriano, Rome, 8 March–23 June 2013Le cubisme, 17 October 2018 – 25 February 2019, Galerie 1, Centre Pompidou, Musée National d'Art Moderne, Paris. Kunstmuseum Basel, 31 March – 5 August 2019

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 Exhibitions discussed?

Salon d'Automne, Paris, October–November 1911 (609)Salon de ‘La Section d'Or’, Galerie La Boëtie, Paris, October 1912 (38)Les Maîtres de l'Art Indépendant 1895–1937, Petit Palais, Paris, June–October 1937 (Room 28, 17)Le Cubisme (1907–1914), Musée National d'Art Moderne, Paris, January–April 1953 (64)II Bienal, São Paulo, December 1953–February 1954 (Cubist room 16)Albert Gleizes 1881–1953, Guggenheim Museum, New York, September–November 1964 (11, repr.)Musée National d'Art Moderne, Paris, December 1964–January 1965 (11, repr.)Museum am Ostwall, Dortmund, March–April 1965 (11, repr.) Tate ModernCubisti Cubismo, Complesso del Vittoriano, Rome, 8 March–23 June 2013Le cubisme, 17 October 2018 – 25 February 2019, Galerie 1, Centre Pompidou, Musée National d'Art Moderne, Paris. Kunstmuseum Basel, 31 March – 5 August 2019

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 Literature.

Guillaume Apollinaire in L'Intransigeant, 10 October 1911Fantasio, 15 October 1911, Albert Gleizes, Portrait of Jacques Nayral, Jean Metzinger, Le Gouter, Tea Time, 1911Jacques Nayral [pseudo. of Jacques Huot], Préface, Exposició d'art cubista, Galeries J. Dalmau, Barcelona, 20 April - 10 May 1912, p. 1-7, illustrated in the prefaceAlbert Gleizes and Jean Metzinger, Du "Cubisme", published by Eugène Figuière, Paris, 1912, translated to English and Russian in 1913Guillaume Apollinaire, Le Petit Bleu, March 20, 1912 (cf. Chroniques d'Art, 1960, p. 230).Guillaume Apollinaire, Méditations esthétiques. Les peintres cubistes (The Cubist Painters) Edition Figuière, Paris, 1913Albert Gleizes, ‘L'Epopée’ in Le Rouge et le Noir, October 1929, p. 64, repr.Bonfante, E. and Ravenna, J. Arte Cubista con "les Méditations esthétiques sur la Peinture" di Guillaume Apollinaire, Venice, 1945, no. LVIII.Musee d'Art Moderne de la Ville de Paris, Catalogue-Guide, Paris, 1961.Robbins, Daniel, Albert Gleizes 1881 – 1953, A Retrospective Exhibition, Published by The Solomon R. Guggenheim Foundation, New York, in collaboration with Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund, 1964 (catalogue no. 31).Joan A. Speers (ed.), Art at Auction: The Year at Sotheby Parke Bernet 1979–80, 1980, p. 114 in color; Tate Gallery 1978–80, p. 50 in colorThe Tate Gallery 1978-80: Illustrated Catalogue of Acquisitions, London 1981Varichon, Anne, Albert Gleizes – Catalogue Raisonné, Volume 1, Paris, Somogy éditions d'art/Fondation Albert Gleizes, 1998, ISBN 2-85056-286-6.Mark Antliff, Patricia Dee Leighten, Cubism and Culture, Thames & Hudson, 2001

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 Literature of this artwork, Portrait of Jacques Nayral.

Guillaume Apollinaire in L'Intransigeant, 10 October 1911Fantasio, 15 October 1911, Albert Gleizes, Portrait of Jacques Nayral, Jean Metzinger, Le Gouter, Tea Time, 1911Jacques Nayral [pseudo. of Jacques Huot], Préface, Exposició d'art cubista, Galeries J. Dalmau, Barcelona, 20 April - 10 May 1912, p. 1-7, illustrated in the prefaceAlbert Gleizes and Jean Metzinger, Du "Cubisme", published by Eugène Figuière, Paris, 1912, translated to English and Russian in 1913Guillaume Apollinaire, Le Petit Bleu, March 20, 1912 (cf. Chroniques d'Art, 1960, p. 230).Guillaume Apollinaire, Méditations esthétiques. Les peintres cubistes (The Cubist Painters) Edition Figuière, Paris, 1913Albert Gleizes, ‘L'Epopée’ in Le Rouge et le Noir, October 1929, p. 64, repr.Bonfante, E. and Ravenna, J. Arte Cubista con "les Méditations esthétiques sur la Peinture" di Guillaume Apollinaire, Venice, 1945, no. LVIII.Musee d'Art Moderne de la Ville de Paris, Catalogue-Guide, Paris, 1961.Robbins, Daniel, Albert Gleizes 1881 – 1953, A Retrospective Exhibition, Published by The Solomon R. Guggenheim Foundation, New York, in collaboration with Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund, 1964 (catalogue no. 31).Joan A. Speers (ed.), Art at Auction: The Year at Sotheby Parke Bernet 1979–80, 1980, p. 114 in color; Tate Gallery 1978–80, p. 50 in colorThe Tate Gallery 1978-80: Illustrated Catalogue of Acquisitions, London 1981Varichon, Anne, Albert Gleizes – Catalogue Raisonné, Volume 1, Paris, Somogy éditions d'art/Fondation Albert Gleizes, 1998, ISBN 2-85056-286-6.Mark Antliff, Patricia Dee Leighten, Cubism and Culture, Thames & Hudson, 2001

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 Literature?

Guillaume Apollinaire in L'Intransigeant, 10 October 1911Fantasio, 15 October 1911, Albert Gleizes, Portrait of Jacques Nayral, Jean Metzinger, Le Gouter, Tea Time, 1911Jacques Nayral [pseudo. of Jacques Huot], Préface, Exposició d'art cubista, Galeries J. Dalmau, Barcelona, 20 April - 10 May 1912, p. 1-7, illustrated in the prefaceAlbert Gleizes and Jean Metzinger, Du "Cubisme", published by Eugène Figuière, Paris, 1912, translated to English and Russian in 1913Guillaume Apollinaire, Le Petit Bleu, March 20, 1912 (cf. Chroniques d'Art, 1960, p. 230).Guillaume Apollinaire, Méditations esthétiques. Les peintres cubistes (The Cubist Painters) Edition Figuière, Paris, 1913Albert Gleizes, ‘L'Epopée’ in Le Rouge et le Noir, October 1929, p. 64, repr.Bonfante, E. and Ravenna, J. Arte Cubista con "les Méditations esthétiques sur la Peinture" di Guillaume Apollinaire, Venice, 1945, no. LVIII.Musee d'Art Moderne de la Ville de Paris, Catalogue-Guide, Paris, 1961.Robbins, Daniel, Albert Gleizes 1881 – 1953, A Retrospective Exhibition, Published by The Solomon R. Guggenheim Foundation, New York, in collaboration with Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund, 1964 (catalogue no. 31).Joan A. Speers (ed.), Art at Auction: The Year at Sotheby Parke Bernet 1979–80, 1980, p. 114 in color; Tate Gallery 1978–80, p. 50 in colorThe Tate Gallery 1978-80: Illustrated Catalogue of Acquisitions, London 1981Varichon, Anne, Albert Gleizes – Catalogue Raisonné, Volume 1, Paris, Somogy éditions d'art/Fondation Albert Gleizes, 1998, ISBN 2-85056-286-6.Mark Antliff, Patricia Dee Leighten, Cubism and Culture, Thames & Hudson, 2001

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 Literature discussed?

Guillaume Apollinaire in L'Intransigeant, 10 October 1911Fantasio, 15 October 1911, Albert Gleizes, Portrait of Jacques Nayral, Jean Metzinger, Le Gouter, Tea Time, 1911Jacques Nayral [pseudo. of Jacques Huot], Préface, Exposició d'art cubista, Galeries J. Dalmau, Barcelona, 20 April - 10 May 1912, p. 1-7, illustrated in the prefaceAlbert Gleizes and Jean Metzinger, Du "Cubisme", published by Eugène Figuière, Paris, 1912, translated to English and Russian in 1913Guillaume Apollinaire, Le Petit Bleu, March 20, 1912 (cf. Chroniques d'Art, 1960, p. 230).Guillaume Apollinaire, Méditations esthétiques. Les peintres cubistes (The Cubist Painters) Edition Figuière, Paris, 1913Albert Gleizes, ‘L'Epopée’ in Le Rouge et le Noir, October 1929, p. 64, repr.Bonfante, E. and Ravenna, J. Arte Cubista con "les Méditations esthétiques sur la Peinture" di Guillaume Apollinaire, Venice, 1945, no. LVIII.Musee d'Art Moderne de la Ville de Paris, Catalogue-Guide, Paris, 1961.Robbins, Daniel, Albert Gleizes 1881 – 1953, A Retrospective Exhibition, Published by The Solomon R. Guggenheim Foundation, New York, in collaboration with Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund, 1964 (catalogue no. 31).Joan A. Speers (ed.), Art at Auction: The Year at Sotheby Parke Bernet 1979–80, 1980, p. 114 in color; Tate Gallery 1978–80, p. 50 in colorThe Tate Gallery 1978-80: Illustrated Catalogue of Acquisitions, London 1981Varichon, Anne, Albert Gleizes – Catalogue Raisonné, Volume 1, Paris, Somogy éditions d'art/Fondation Albert Gleizes, 1998, ISBN 2-85056-286-6.Mark Antliff, Patricia Dee Leighten, Cubism and Culture, Thames & Hudson, 2001

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)


Dante's Dream

Prompt: Focus on Dante's Dream and explain the abstract.

Dante's Dream (full title Dante's Dream at the Time of the Death of Beatrice) is a painting from 1871 by the English Pre-Raphaelite painter Dante Gabriel Rossetti. It hangs in the Walker Art Gallery, Liverpool.He repeated a composition he had done in watercolour and gouache at a smaller scale in 1856. This is now in Tate Britain, measuring 48.7 cm (19.1 in) by 66.2 cm (26 in).Rossetti had a lifelong interest in the Italian poet Dante Alighieri.  The painting was inspired by Dante's poem La Vita Nuova. In this poem Dante dreams that he is led to the death-bed of Beatrice Portinari, who was the object of his unfulfilled love.  Dante, in black, stands looking towards the dying Beatrice who is lying on a bed.  Two female figures in green hold a canopy over her.  An angel in red holds Dante's hand and leans forward to kiss Beatrice.In the painting, Rossetti creates a visionary world with complex symbols.  The symbols include the green clothes of Beatrice's attendants, signifying hope; spring flowers in the foreground symbolising purity; and red doves for love.It is Rossetti's largest painting.  The model for Beatrice was Jane Morris, the wife of William Morris. Alexa Wilding & Marie Stillman posed as the grieving hand maidens. The Walker Art Gallery bought the painting directly from the artist in 1881 for £1575 (equivalent to £200,000 in 2023).  The acquisition was negotiated by Victorian novelist Hall Caine.  In 1897 it was sent to Berlin to be photographed, but was then noted to be "in a dirty condition".  Again in 1904 the painting was noted to be in "a bad condition" and it was considered that its condition had been worsened by its journey to and from Berlin.  The painting was sent in 1908 to the National Gallery in London to be relined, that is, for a new canvas to be glued to the original.  It was then returned to Liverpool. During the Second World War, it was removed from its stretcher, rolled and stored in the basement of the gallery.  In 1941 the painting was moved, together with other large paintings from the gallery, to Ellesmere College in Shropshire.  It was noted at this time that it had sustained some damage.  Conservation work was carried out on the painting in 1960 and in 1985.Dante's Dream is a painting in oil on canvas, measuring 216 centimetres (85 in) by 312.4 centimetres (123 in).  It was examined in 2003 and found to be in good condition, with no evidence of any recurrence of the former problems.

Category:Paintings in the Walker Art Gallery

File:Dante Gabriel Rossetti - Dante's Dream at the Time of the Death of Beatrice (1856).jpg

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti


Dante's Dream

Prompt: Explain the abstract of this artwork, Dante's Dream.

Dante's Dream (full title Dante's Dream at the Time of the Death of Beatrice) is a painting from 1871 by the English Pre-Raphaelite painter Dante Gabriel Rossetti. It hangs in the Walker Art Gallery, Liverpool.He repeated a composition he had done in watercolour and gouache at a smaller scale in 1856. This is now in Tate Britain, measuring 48.7 cm (19.1 in) by 66.2 cm (26 in).Rossetti had a lifelong interest in the Italian poet Dante Alighieri.  The painting was inspired by Dante's poem La Vita Nuova. In this poem Dante dreams that he is led to the death-bed of Beatrice Portinari, who was the object of his unfulfilled love.  Dante, in black, stands looking towards the dying Beatrice who is lying on a bed.  Two female figures in green hold a canopy over her.  An angel in red holds Dante's hand and leans forward to kiss Beatrice.In the painting, Rossetti creates a visionary world with complex symbols.  The symbols include the green clothes of Beatrice's attendants, signifying hope; spring flowers in the foreground symbolising purity; and red doves for love.It is Rossetti's largest painting.  The model for Beatrice was Jane Morris, the wife of William Morris. Alexa Wilding & Marie Stillman posed as the grieving hand maidens. The Walker Art Gallery bought the painting directly from the artist in 1881 for £1575 (equivalent to £200,000 in 2023).  The acquisition was negotiated by Victorian novelist Hall Caine.  In 1897 it was sent to Berlin to be photographed, but was then noted to be "in a dirty condition".  Again in 1904 the painting was noted to be in "a bad condition" and it was considered that its condition had been worsened by its journey to and from Berlin.  The painting was sent in 1908 to the National Gallery in London to be relined, that is, for a new canvas to be glued to the original.  It was then returned to Liverpool. During the Second World War, it was removed from its stretcher, rolled and stored in the basement of the gallery.  In 1941 the painting was moved, together with other large paintings from the gallery, to Ellesmere College in Shropshire.  It was noted at this time that it had sustained some damage.  Conservation work was carried out on the painting in 1960 and in 1985.Dante's Dream is a painting in oil on canvas, measuring 216 centimetres (85 in) by 312.4 centimetres (123 in).  It was examined in 2003 and found to be in good condition, with no evidence of any recurrence of the former problems.

Category:Paintings in the Walker Art Gallery

File:Dante Gabriel Rossetti - Dante's Dream at the Time of the Death of Beatrice (1856).jpg

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti


Dante's Dream

Prompt: How does Dante's Dream explain its abstract?

Dante's Dream (full title Dante's Dream at the Time of the Death of Beatrice) is a painting from 1871 by the English Pre-Raphaelite painter Dante Gabriel Rossetti. It hangs in the Walker Art Gallery, Liverpool.He repeated a composition he had done in watercolour and gouache at a smaller scale in 1856. This is now in Tate Britain, measuring 48.7 cm (19.1 in) by 66.2 cm (26 in).Rossetti had a lifelong interest in the Italian poet Dante Alighieri.  The painting was inspired by Dante's poem La Vita Nuova. In this poem Dante dreams that he is led to the death-bed of Beatrice Portinari, who was the object of his unfulfilled love.  Dante, in black, stands looking towards the dying Beatrice who is lying on a bed.  Two female figures in green hold a canopy over her.  An angel in red holds Dante's hand and leans forward to kiss Beatrice.In the painting, Rossetti creates a visionary world with complex symbols.  The symbols include the green clothes of Beatrice's attendants, signifying hope; spring flowers in the foreground symbolising purity; and red doves for love.It is Rossetti's largest painting.  The model for Beatrice was Jane Morris, the wife of William Morris. Alexa Wilding & Marie Stillman posed as the grieving hand maidens. The Walker Art Gallery bought the painting directly from the artist in 1881 for £1575 (equivalent to £200,000 in 2023).  The acquisition was negotiated by Victorian novelist Hall Caine.  In 1897 it was sent to Berlin to be photographed, but was then noted to be "in a dirty condition".  Again in 1904 the painting was noted to be in "a bad condition" and it was considered that its condition had been worsened by its journey to and from Berlin.  The painting was sent in 1908 to the National Gallery in London to be relined, that is, for a new canvas to be glued to the original.  It was then returned to Liverpool. During the Second World War, it was removed from its stretcher, rolled and stored in the basement of the gallery.  In 1941 the painting was moved, together with other large paintings from the gallery, to Ellesmere College in Shropshire.  It was noted at this time that it had sustained some damage.  Conservation work was carried out on the painting in 1960 and in 1985.Dante's Dream is a painting in oil on canvas, measuring 216 centimetres (85 in) by 312.4 centimetres (123 in).  It was examined in 2003 and found to be in good condition, with no evidence of any recurrence of the former problems.

Category:Paintings in the Walker Art Gallery

File:Dante Gabriel Rossetti - Dante's Dream at the Time of the Death of Beatrice (1856).jpg

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti


Dante's Dream

Prompt: In Dante's Dream, how is the abstract discussed?

Dante's Dream (full title Dante's Dream at the Time of the Death of Beatrice) is a painting from 1871 by the English Pre-Raphaelite painter Dante Gabriel Rossetti. It hangs in the Walker Art Gallery, Liverpool.He repeated a composition he had done in watercolour and gouache at a smaller scale in 1856. This is now in Tate Britain, measuring 48.7 cm (19.1 in) by 66.2 cm (26 in).Rossetti had a lifelong interest in the Italian poet Dante Alighieri.  The painting was inspired by Dante's poem La Vita Nuova. In this poem Dante dreams that he is led to the death-bed of Beatrice Portinari, who was the object of his unfulfilled love.  Dante, in black, stands looking towards the dying Beatrice who is lying on a bed.  Two female figures in green hold a canopy over her.  An angel in red holds Dante's hand and leans forward to kiss Beatrice.In the painting, Rossetti creates a visionary world with complex symbols.  The symbols include the green clothes of Beatrice's attendants, signifying hope; spring flowers in the foreground symbolising purity; and red doves for love.It is Rossetti's largest painting.  The model for Beatrice was Jane Morris, the wife of William Morris. Alexa Wilding & Marie Stillman posed as the grieving hand maidens. The Walker Art Gallery bought the painting directly from the artist in 1881 for £1575 (equivalent to £200,000 in 2023).  The acquisition was negotiated by Victorian novelist Hall Caine.  In 1897 it was sent to Berlin to be photographed, but was then noted to be "in a dirty condition".  Again in 1904 the painting was noted to be in "a bad condition" and it was considered that its condition had been worsened by its journey to and from Berlin.  The painting was sent in 1908 to the National Gallery in London to be relined, that is, for a new canvas to be glued to the original.  It was then returned to Liverpool. During the Second World War, it was removed from its stretcher, rolled and stored in the basement of the gallery.  In 1941 the painting was moved, together with other large paintings from the gallery, to Ellesmere College in Shropshire.  It was noted at this time that it had sustained some damage.  Conservation work was carried out on the painting in 1960 and in 1985.Dante's Dream is a painting in oil on canvas, measuring 216 centimetres (85 in) by 312.4 centimetres (123 in).  It was examined in 2003 and found to be in good condition, with no evidence of any recurrence of the former problems.

Category:Paintings in the Walker Art Gallery

File:Dante Gabriel Rossetti - Dante's Dream at the Time of the Death of Beatrice (1856).jpg

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti


Prompt: Focus on Statue of Francis Scott Key (San Francisco) and explain the abstract.

A memorial statue of Francis Scott Key stood in Golden Gate Park, San Francisco, in the U.S. state of California, from 1888 until 2020.

first Africans kidnapped from their homeland

Category:Vandalized works of art in California

Category:Monuments and memorials in California

Category:Outdoor sculptures in San Francisco

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Sculptures of men in California


Prompt: Explain the abstract of this artwork, Statue of Francis Scott Key (San Francisco).

A memorial statue of Francis Scott Key stood in Golden Gate Park, San Francisco, in the U.S. state of California, from 1888 until 2020.

first Africans kidnapped from their homeland

Category:Vandalized works of art in California

Category:Monuments and memorials in California

Category:Outdoor sculptures in San Francisco

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Sculptures of men in California


Prompt: How does Statue of Francis Scott Key (San Francisco) explain its abstract?

A memorial statue of Francis Scott Key stood in Golden Gate Park, San Francisco, in the U.S. state of California, from 1888 until 2020.

first Africans kidnapped from their homeland

Category:Vandalized works of art in California

Category:Monuments and memorials in California

Category:Outdoor sculptures in San Francisco

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Sculptures of men in California


Prompt: In Statue of Francis Scott Key (San Francisco), how is the abstract discussed?

A memorial statue of Francis Scott Key stood in Golden Gate Park, San Francisco, in the U.S. state of California, from 1888 until 2020.

first Africans kidnapped from their homeland

Category:Vandalized works of art in California

Category:Monuments and memorials in California

Category:Outdoor sculptures in San Francisco

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Sculptures of men in California


Prompt: Focus on Statue of Francis Scott Key (San Francisco) and explain the Original monument.

The monument to Francis Scott Key was commissioned by San Francisco businessman James Lick, who donated some $60,000 for a sculpture of Key to be raised in San Francisco's Golden Gate Park. The nation's first memorial to Key, it consisted of a sculpture of the seated Key, within a travertine monument displaying text from "The Star-Spangled Banner", and surmounted by a statue of Columbia and four eagles.  It was executed by sculptor William W. Story in Rome during 1885–1887, transported to San Francisco, and unveiled on July 4, 1888, near a new music stand.In the San Francisco earthquake of 1906, the monument was damaged and, when repaired, it was re-erected in a more prominent position in the park, on the south side of the Music Concourse. In 1967 it was dismantled and taken into storage to allow further expansion of the nearby California Academy of Sciences. When restored to public view, on July 4, 1977, it was placed in yet another location, at the eastern end of the Music Concourse. In the 2010s, the city of San Francisco completed a $140,000 renovation of the Key monument.

first Africans kidnapped from their homeland

Category:Vandalized works of art in California

Category:Monuments and memorials in California

Category:Outdoor sculptures in San Francisco

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Sculptures of men in California


Prompt: Explain the Original monument of this artwork, Statue of Francis Scott Key (San Francisco).

The monument to Francis Scott Key was commissioned by San Francisco businessman James Lick, who donated some $60,000 for a sculpture of Key to be raised in San Francisco's Golden Gate Park. The nation's first memorial to Key, it consisted of a sculpture of the seated Key, within a travertine monument displaying text from "The Star-Spangled Banner", and surmounted by a statue of Columbia and four eagles.  It was executed by sculptor William W. Story in Rome during 1885–1887, transported to San Francisco, and unveiled on July 4, 1888, near a new music stand.In the San Francisco earthquake of 1906, the monument was damaged and, when repaired, it was re-erected in a more prominent position in the park, on the south side of the Music Concourse. In 1967 it was dismantled and taken into storage to allow further expansion of the nearby California Academy of Sciences. When restored to public view, on July 4, 1977, it was placed in yet another location, at the eastern end of the Music Concourse. In the 2010s, the city of San Francisco completed a $140,000 renovation of the Key monument.

first Africans kidnapped from their homeland

Category:Vandalized works of art in California

Category:Monuments and memorials in California

Category:Outdoor sculptures in San Francisco

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Sculptures of men in California


Prompt: How does Statue of Francis Scott Key (San Francisco) explain its Original monument?

The monument to Francis Scott Key was commissioned by San Francisco businessman James Lick, who donated some $60,000 for a sculpture of Key to be raised in San Francisco's Golden Gate Park. The nation's first memorial to Key, it consisted of a sculpture of the seated Key, within a travertine monument displaying text from "The Star-Spangled Banner", and surmounted by a statue of Columbia and four eagles.  It was executed by sculptor William W. Story in Rome during 1885–1887, transported to San Francisco, and unveiled on July 4, 1888, near a new music stand.In the San Francisco earthquake of 1906, the monument was damaged and, when repaired, it was re-erected in a more prominent position in the park, on the south side of the Music Concourse. In 1967 it was dismantled and taken into storage to allow further expansion of the nearby California Academy of Sciences. When restored to public view, on July 4, 1977, it was placed in yet another location, at the eastern end of the Music Concourse. In the 2010s, the city of San Francisco completed a $140,000 renovation of the Key monument.

first Africans kidnapped from their homeland

Category:Vandalized works of art in California

Category:Monuments and memorials in California

Category:Outdoor sculptures in San Francisco

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Sculptures of men in California


Prompt: In Statue of Francis Scott Key (San Francisco), how is the Original monument discussed?

The monument to Francis Scott Key was commissioned by San Francisco businessman James Lick, who donated some $60,000 for a sculpture of Key to be raised in San Francisco's Golden Gate Park. The nation's first memorial to Key, it consisted of a sculpture of the seated Key, within a travertine monument displaying text from "The Star-Spangled Banner", and surmounted by a statue of Columbia and four eagles.  It was executed by sculptor William W. Story in Rome during 1885–1887, transported to San Francisco, and unveiled on July 4, 1888, near a new music stand.In the San Francisco earthquake of 1906, the monument was damaged and, when repaired, it was re-erected in a more prominent position in the park, on the south side of the Music Concourse. In 1967 it was dismantled and taken into storage to allow further expansion of the nearby California Academy of Sciences. When restored to public view, on July 4, 1977, it was placed in yet another location, at the eastern end of the Music Concourse. In the 2010s, the city of San Francisco completed a $140,000 renovation of the Key monument.

first Africans kidnapped from their homeland

Category:Vandalized works of art in California

Category:Monuments and memorials in California

Category:Outdoor sculptures in San Francisco

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Sculptures of men in California


Prompt: Focus on Statue of Francis Scott Key (San Francisco) and explain the Removal and Monumental Reckoning.

The statue was toppled by vandals on June 19, 2020, in the wake of the murder of George Floyd. A year later, on Juneteenth 2021, sculptor Dana King unveiled Monumental Reckoning, comprising 350 sculptures which now encircle the plinth of the empty monument. These 4 feet (1.2 meters) high sculptures represent the first Africans kidnapped from their homeland in Angola and sold into chattel slavery in Virginia in 1619. The words "Lift Every Voice" were also installed above the Spreckels Temple of Music in honor of the civil rights activist James Weldon Johnson, author of "Lift Every Voice and Sing", a hymn often referred to as the "Black national anthem".

Category:Vandalized works of art in California

Category:Monuments and memorials in California

Category:Outdoor sculptures in San Francisco

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Sculptures of men in California


Prompt: Explain the Removal and Monumental Reckoning of this artwork, Statue of Francis Scott Key (San Francisco).

The statue was toppled by vandals on June 19, 2020, in the wake of the murder of George Floyd. A year later, on Juneteenth 2021, sculptor Dana King unveiled Monumental Reckoning, comprising 350 sculptures which now encircle the plinth of the empty monument. These 4 feet (1.2 meters) high sculptures represent the first Africans kidnapped from their homeland in Angola and sold into chattel slavery in Virginia in 1619. The words "Lift Every Voice" were also installed above the Spreckels Temple of Music in honor of the civil rights activist James Weldon Johnson, author of "Lift Every Voice and Sing", a hymn often referred to as the "Black national anthem".

Category:Vandalized works of art in California

Category:Monuments and memorials in California

Category:Outdoor sculptures in San Francisco

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Sculptures of men in California


Prompt: How does Statue of Francis Scott Key (San Francisco) explain its Removal and Monumental Reckoning?

The statue was toppled by vandals on June 19, 2020, in the wake of the murder of George Floyd. A year later, on Juneteenth 2021, sculptor Dana King unveiled Monumental Reckoning, comprising 350 sculptures which now encircle the plinth of the empty monument. These 4 feet (1.2 meters) high sculptures represent the first Africans kidnapped from their homeland in Angola and sold into chattel slavery in Virginia in 1619. The words "Lift Every Voice" were also installed above the Spreckels Temple of Music in honor of the civil rights activist James Weldon Johnson, author of "Lift Every Voice and Sing", a hymn often referred to as the "Black national anthem".

Category:Vandalized works of art in California

Category:Monuments and memorials in California

Category:Outdoor sculptures in San Francisco

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Sculptures of men in California


Prompt: In Statue of Francis Scott Key (San Francisco), how is the Removal and Monumental Reckoning discussed?

The statue was toppled by vandals on June 19, 2020, in the wake of the murder of George Floyd. A year later, on Juneteenth 2021, sculptor Dana King unveiled Monumental Reckoning, comprising 350 sculptures which now encircle the plinth of the empty monument. These 4 feet (1.2 meters) high sculptures represent the first Africans kidnapped from their homeland in Angola and sold into chattel slavery in Virginia in 1619. The words "Lift Every Voice" were also installed above the Spreckels Temple of Music in honor of the civil rights activist James Weldon Johnson, author of "Lift Every Voice and Sing", a hymn often referred to as the "Black national anthem".

Category:Vandalized works of art in California

Category:Monuments and memorials in California

Category:Outdoor sculptures in San Francisco

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Sculptures of men in California


Niccoline Chapel

Prompt: Focus on Niccoline Chapel and explain the abstract.

The Niccoline Chapel (Italian: Cappella Niccolina) is a chapel in the Apostolic Palace in Vatican City. It is especially notable for its fresco paintings by Fra Angelico (1447–1451) and his assistants, who may have executed much of the actual work.  The name is derived from its patron, Pope Nicholas V, who had it built for use as his private chapel.The chapel is located in the Tower of Innocent III, in the most ancient part of the Apostolic Palace. The walls were decorated by Fra Angelico with images of two of the earliest Christian martyrs; the upper level has Episodes from the Life of St. Stephen, and the lower one Scenes from the life of St. Laurence. The vault is painted blue, decorated with stars, and features figures of the Four Evangelists in the corners. The pilasters are decorated with the eight Doctors of the Church.The chapel is not included in the usual tourist visit, but can be seen by special pre-booked groups.

Category:Paintings in the Vatican Museums

''St. Lawrence Receiving the Treasures of the Church'', 322 x 412 mm.

File:Fra Angelico - View of the chapel vaulting - WGA00600.jpg


Niccoline Chapel

Prompt: Explain the abstract of this artwork, Niccoline Chapel.

The Niccoline Chapel (Italian: Cappella Niccolina) is a chapel in the Apostolic Palace in Vatican City. It is especially notable for its fresco paintings by Fra Angelico (1447–1451) and his assistants, who may have executed much of the actual work.  The name is derived from its patron, Pope Nicholas V, who had it built for use as his private chapel.The chapel is located in the Tower of Innocent III, in the most ancient part of the Apostolic Palace. The walls were decorated by Fra Angelico with images of two of the earliest Christian martyrs; the upper level has Episodes from the Life of St. Stephen, and the lower one Scenes from the life of St. Laurence. The vault is painted blue, decorated with stars, and features figures of the Four Evangelists in the corners. The pilasters are decorated with the eight Doctors of the Church.The chapel is not included in the usual tourist visit, but can be seen by special pre-booked groups.

Category:Paintings in the Vatican Museums

''St. Lawrence Receiving the Treasures of the Church'', 322 x 412 mm.

File:Fra Angelico - View of the chapel vaulting - WGA00600.jpg