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Man on a Balcony

Man on a Balcony (also known as Portrait of Dr. Théo Morinaud and 'L'Homme au balcon), is a large oil painting created in 1912 by the French artist, theorist and writer Albert Gleizes (1881–1953). The painting was exhibited in Paris at the Salon d'Automne of 1912 (no. 689). The Cubist contribution to the salon created a controversy in the French Parliament about the use of public funds to provide the venue for such 'barbaric art'. Gleizes was a founder of Cubism, and demonstrates the principles of the movement in this monumental painting (over six feet tall) with its projecting planes and fragmented lines.[1] The large size of the painting reflects Gleizes's ambition to show it in the large annual salon exhibitions in Paris, where he was able with others of his entourage to bring Cubism to wider audiences.[2][3]

Man on a Balcony

1912

Oil on canvas

195.6 cm × 114.9 cm (77 in × 45.25 in)

In February 1913, Gleizes and other artists introduced the new style of modern art known as Cubism to an American audience at the Armory Show in New York City, Chicago and Boston. In addition to Man on a balcony (no. 196), Gleizes exhibited his 1910 painting Femme aux Phlox (Museum of Fine Arts, Houston).[4][5]


Man on a Balcony was reproduced in L'Excelsior, Au Salon d'Automne, Les Indépendants, 2 October 1912. It was then reproduced in Les Peintres Cubistes, Méditations Esthétiques, a collection of essays by Guillaume Apollinaire published in 1913[6][7] The painting was completed around the same time as Albert Gleizes co-authored with Jean Metzinger a major treatise titled Du "Cubisme" (the first and only manifesto on Cubism). Man on a Balcony was purchased at the 1913 Armory Show by the lawyer, author, art critic, private art collector, and American proponent of Cubism Arthur Jerome Eddy for $540. Gleizes' Man on a Balcony was the frontispiece of Arthur Jerome Eddy's book Cubists and Post-Impressionism, March 1914.[8] The painting later formed part of the Louise and Walter Conrad Arensberg Collection, 1950. It is currently in the permanent collection of the Philadelphia Museum of Art.

exhibited l'Homme au Balcon (Man on a Balcony), (Portrait of Dr. Théo Morinaud) 1912 (Philadelphia Museum of Art), also exhibited at the Armory show, New York, Chicago, Boston, 1913.

Albert Gleizes

Jean Metzinger entered three works: , La Plume Jaune (The Yellow Feather), Femme à l'Éventail (Woman with a Fan) (now at the Solomon R. Guggenheim Museum, New York), hung in the decorative arts section inside La Maison Cubiste (the Cubist House).

Dancer in cafe (Danseuse au café)

exhibited La Femme en Bleu (Woman in Blue), 1912 (Kunstmuseum, Basel) and Le passage à niveau (The Level Crossing), 1912 (Fondation Beyeler, Riehen, Switzerland)

Fernand Léger

Les Baigneuse (The bathers) 1912 (The National Gallery, Washington) and Les joueurs de cartes (Card Players)

Roger de La Fresnaye

The Huntsman (Haags Gemeentemuseum, The Hague, Netherlands) and Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) 1912 (Museum of Art, Rhode Island School of Design).

Henri Le Fauconnier

Le jugement de Paris, 1912 (Private collection)

André Lhote

Amorpha, Fugue à deux couleurs (Fugue in Two Colors), 1912 (Narodni Galerie, Prague), and Amorpha Chromatique Chaude.

František Kupka

1912, La Source (The Spring) (Museum of Modern Art, New York)

Francis Picabia

Family Life, 1912, sculpture

Alexander Archipenko

exhibited four elongated and highly stylized heads, sculptures

Amedeo Modigliani

exhibited the sculptures Groupe de femmes, 1911-1912 (location unknown), Portrait de M.S.H., no. 91 (location unknown), and Danseuse (Femme à l'éventail, Femme à la cruche), no. 405 (location unknown)

Joseph Csaky

The Salon d'Automne of 1912, held in Paris at the Grand Palais from 1 October to 8 November, saw the Cubists (listed below) regrouped into the same room XI. For the occasion, Danseuse au café was reproduced in a photograph published in an article entitled Au Salon d'Automne "Les Indépendants" in the French newspaper Excelsior, 2 Octobre 1912.[18] Excelsior was the first publication to privilege photographic illustrations in the treatment of news media; shooting photographs and publishing images in order to tell news stories. As such L'Excelsior was a pioneer of photojournalism.


The history of the Salon d'Automne is marked by two important dates: 1905, bore witness to the birth of Fauvism (with the participation of Metzinger), and 1912, the xenophobe and anti-modernist quarrel (with the participation of both Metzinger and Gleizes). The 1912 polemic leveled against both the French and non-French avant-garde artists originated in Salle XI where the Cubists exhibited their works. The resistance to avant-garde artists and foreigners (dubbed "apaches") was just the visible face of a more profound crises: that of defining modern French art, centered in Paris, and the dwindling of an artistic system crystallized around the heritage of Impressionism. Burgeoning was a new avant-garde system, the international logic of which—mercantile and médiatique—put into question the modern ideology elaborated upon since the late 19th century. What had begun as a question of aesthetics quickly turned political, and as in the 1905 Salon d'Automne, with his infamous "Donatello chez les fauves", the critic Louis Vauxcelles (Les Arts..., 1912) was most implicated in the deliberations. It was Vauxcelles who, on the occasion of the 1910 Salon des Indépendants, wrote disparagingly of 'pallid' cubes with reference to the paintings of Metzinger, Gleizes, Le Fauconnier, Léger and Delaunay.[19]


On 3 December 1912 the polemic reached the Chambre des députés and was debated at the Assemblée Nationale in Paris.[20][21]


This exhibition also featured La Maison cubiste. Raymond Duchamp-Villon designed facade of a 10 meter by 3 meter house, which included a hall, a living room and a bedroom. This installation was placed in the Art Décoratif section of the Salon d'Automne. The major contributors were André Mare, a decorative designer, Roger de La Fresnaye, Jacques Villon and Marie Laurencin. In the house were hung cubist paintings by Marcel Duchamp, Albert Gleizes, Fernand Léger, Roger de La Fresnaye, and Jean Metzinger (Woman with a Fan, 1912). Though in the Deco section of the Parisian salon, the installation would soon find its way into the Cubist room at the 1913 Armory Show in New York City.

List of works by Albert Gleizes

Guillaume Apollinaire, Les Peintres Cubistes, Méditations Esthétiques, Eugène Figuière Éditeurs, 1913

Jerome Eddy, Cubists and Post-Impressionism, A.C. McClurg & Co., Chicago, 1914

Willard Huntington Wright, Modern painting, its tendency and meaning, 3 editions, first published in 1915

Bulletin, Art Institute of Chicago, 1922

Ozenfant and jeanneret, La Peinture Moderne, Paris, 1924

Albert Gleizes, 'L'Epopée', Le Rouge et le Noir, 1929

Frank Jewett Mather, Modern Painting: A Study of Tendencies, 1931

René Édouard-Joseph, Dictionnaire biographique des artistes contemporains, 1910-1930, Published 1931

Arts Magazine, Volume 7, Art Digest Incorporated, 1932

Quarterly, Art Institute of Chicago, 1933

Charles Terrasse, André Gloeckner and Eveline Byam Shaw, La Peinture Française au XXe siècle (French Painting in the Twentieth Century), 1939

Bulletin of the Art Institute of Chicago, 1948

20th Century Art, from the Louise and Walter Arensberg Collection, The Art Institute of Chicago, October 20 to December 18, 1949

André Lhote, Figure painting, 1953

Philadelphia Museum or Art, Arensberg Catalogue, 1954

Madeleine Vincent, La peinture des XIXe et XXe siècles, 1956

François Fosca, Bilan du cubisme, 1956

Frank Trapp, The 1913 Armory Show in Retrospect, 1958

Guy Habasque, Cubism: Biographical and Critical Study, 1959

José Pierre, Le Futurisme Et Le Dadaïsme, 1966

José Pierre, Cubism, 1969

Albert Gleizes, Puissances Du Cubisme, 1969 (Collection of articles published between 1925 and 1946)

Daniel Robbins, Albert Gleizes, 1881-1953: A Retrospective Exhibition Solomon R. Guggenheim Museum, 1964

Calvin Tomkins, The world of Marcel Duchamp, 1887-, Time-Life Books, 1966

Douglas Cooper, The Cubist epoch, 1971

Painting and sculpture in Europe, 1880-1940, 1972

George Heard Hamilton

Richard H. Axsom, "Parade", Cubism as theater, 1974

John Malcolm Nash, Cubism, Futurism and Constructivism, 1974

Carl Zigrosser, A world of art and museums, Albert Gleizes, L'Homme au Balcon (sturdy crusader), 1975

Angelica Zander Rudenstine, The Guggenheim Museum collection: paintings, 1880-1945, 1976

Philip Alan Cecchettini, Don Whittemore, Art America: A Resource Manual, 1977

Patricia E. Kaplan, Susan Manso, Major European art movements, 1900-1945: a critical anthology, 1977

Edward F. Fry, Cubism, 1978

Revue de l'art, Issues 43-46, Flammarion, 1979

Anne D'Harnoncourt, Germano Celant, Futurism and the international avant-garde, Philadelphia Museum of Art, 1980

Cahiers du Musée national d'art moderne, 1981

Pierre Alibert, Albert Gleizes, Naissance Et Avenir Du Cubisme, 1982

Milton A. Cohen, E.E. Cummings paintings: the hidden career, 1982

Pierre Cabanne, Le cubisme, 1982

L'art sacré d'Albert Gleizes: 22 mai-31 août 1985, Musée des beaux-arts, Caen, 1985

Dewey F. Mosby, Vivian Endicott Barnett, Abstraction, Non-objectivity, Realism: Twentieth-century Painting, Solomon R. Guggenheim Museum, 1987

Milton A. Cohen, Poet and painter: the aesthetics of E.E. Cummings's early work, 1987

John Golding, Cubism: A History and an Analysis, 1907-1914, 1959, 1988

Milton Wolf Brown, The Story of the Armory Show, 1988

Pierre Alibert, Gleizes: biographie, 1990

Adele Heller, Lois Palken Rudnick, 1915, the cultural moment: the new politics, the new woman, the new psychology, the new art & the new theatre in America, 1991

Jean Jacques Lévêque, Les années de la Belle Époque: 1890-1914, 1991

Guillaume Apollinaire, Michel Décaudin, Pierre Caizergues, 1991

Painting and Sculpture in Europe: 1880-1940, 1993

George Heard Hamilton

Abraham A. Davidson, Early American modernist painting, 1910-1935, 1994

Bruce Altshuler, The avant-garde in exhibition: new art in the 20th century, 1994

Philadelphia Museum of Art, Paintings from Europe and the Americas in the Philadelphia Museum of Art: a concise catalogue, 1994

Francis M. Naumann, New York Dada, 1915-23, 1994

Helen Topliss, Modernism and Feminism: Australian Women Artists, 1900-1940, 1996

Dietrich Schubert, Kunstmuseum Winterthur, Dieter Schwarz, Lehmbruck, Brâncuși, Léger, Bonnard, Klee, Fontana, Morandi..., 1997

Anne Varichon, Daniel Robbins, Albert Gleizes: catalogue raisonné, 1998

Diego Rivera, Juan Coronel Rivera, Luis-Martín Lozano, Diego Rivera: Art & Revolution, 1999

Emmanuel Bénézit, Jacques Busse, Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, 1999

Ann Temkin, Susan Rosenberg, Twentieth Century painting and sculpture in the Philadelphia Museum of Art, 2000

Pierre Daix, Pour une histoire culturelle de l'art moderne: De David à Cézanne, 2000

Allan Antliff, Anarchist Modernism: Art, Politics, and the First American Avant-Garde, 2001

Martin Klepper, Joseph C. Schöpp, Transatlantic Modernism, 2001

Guillaume Apollinaire, LeRoy C. Breunig, Apollinaire on art: essays and reviews, 1902-1918, 2001

Peter Brooke, Albert Gleizes: For and Against the Twentieth Century, 2001

Русский авангард: проблемы репрезентации и интерпретации И. Н. Карасик, Йосеф Киблицкий, Государственный русский музей (Саинт Петерсбург, Руссиа), 2001 [Russian Avant-garde: The Problem of Representation and Interpretation, I. Karasik, Joseph Kiblitsky, State Russian Museum, Saint Petersbourg, 2001]

David Cottington, Cubism and Its Histories, 2004

Laura Mattioli Rossi, Boccioni's materia: a futurist masterpiece and the avant-garde in Milan and Paris, Solomon R. Guggenheim Museum, New York, February 6 - May 9, 2004, Volume 3

Anisabelle Berès, Galerie Berès, Au temps des cubistes: 1910-1920, 2006

Gregory Galligan, The Cube in the Kaleidoscope: The American Reception of French Cubism, 1918 –1938, 2007

Mark Antliff, Patricia Dee Leighten, A cubism reader: documents and criticism, 1906-1914, 2008

Khédija Laouani, Manuel d'histoire de la peinture: du classicisme aux mouvements..., 2008

Françoise Levaillant, Dario Gamboni, Jean-Roch Bouiller, Les bibliothèques d'artistes: XXe-XXIe siècles, 2010

Nancy Hopkins Reily, Georgia O'Keeffe, A Private Friendship, Part I: Walking the Sun Prairie Land, 2011

Fondation Albert Gleizes

Réunion des Musées Nationaux, Grand Palais, Agence photographique

Albert Gleizes 1881–1953, a retrospective exhibition, by Daniel Robbins. The Solomon R. Guggenheim Museum, New York, in collaboration with Musée national d'art moderne, Paris; Museum am Ostwall, Dortmund, published 1964

Arthur Jerome Eddy, Cubists and Post-Impressionism, A.C. McClurg & Co., Chicago, 1914, second edition 1919

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The Art Institute of Chicago Exhibition of Paintings from the Collection of the Late Arthur Jerome Eddy, 1922