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71-508: Les Joueurs de football was left by the artist at Galeries Dalmau in 1916. Titled Jugadors de Futbol , the painting was reproduced in the avant-garde Catalan magazine L'Amic de les arts , November 1926. The caption included the inscription Collection Joseph Dalmau . It was purchased from the Dalmau family between 1953 and 1955 by Stephen Hahn and ( The Sidney Janis Gallery ); sold in 1955 to Nelson Aldrich Rockefeller , New York. Subsequently

142-571: A New York art dealer buying and selling paintings from the trunk of his car. An early champion of Jean Dubuffet , he eventually opened the Stephen Hahn Gallery at 75th Street and Madison Avenue. A founding member of the Art Dealers Association of America, he donated art to cultural institutions worldwide. His personal collection featured pieces by such modern masters as Picasso, Cezanne , and Matisse . Hahn

213-467: A Soccer Player (1913) Museum of Modern Art . Robert Delaunay worked on a series of rugby football scenes from 1912 to 1913, and again in 1924. André Lhote , later, painted the subject several times, between 1917 and 1937. In both the Gleizes painting and those of Delaunay, the identification with soccer has commonly been made, however, the ball is oval and the hands are being used; clearly identifying

284-504: A collection of emotions and thoughts. Life is not a 'purely retinal' experience. The apparition of The Football Players (1908) in the work of Henri Rousseau signaled the emergence of sporting events as a subject for art. Jean Metzinger painted At the Cycle-Race Track (Au Vélodrome) (1911–12) Peggy Guggenheim Collection ; Umberto Boccioni , Dynamism of a Cyclist (1913), Peggy Guggenheim Collection and Dynamism of

355-606: A fan (as was Delaunay) of foot and bicycle racing. Gleizes' Football Players dates from the same year as Delaunay’s Cardiff Team . Albert Gleizes 1912–13, lower left; center right reverse: 25 nov[e]mbre 191[?] Left 1916 by the artist at the Gallery Dalmau, Barcelona; Dalmau family, Barcelona; purchased 1953/1955 by Stephen Hahn and (Janis Gallery, New York); sold 1955 to Nelson Aldrich Rockefeller, New York; sold to (Marlborough-Gerson Gallery, Inc., New York); purchased May 1970 by National Gallery of Art (NGA). The details of

426-403: A rhythmic convention which is determined by one of them. This—its position on the canvas matters little—gives the painting a centre from which the gradations of colour proceed, or towards which they tend, according as the maximum or minimum of intensity resides there. According to the second method, in order that the spectator, himself free to establish unity, may apprehend all the elements in

497-414: A thousand tints which issue from the prism, and hasten to range themselves in the lucid region forbidden to those who are blinded by the immediate... There are two methods of regarding the division of the canvas, in addition to the inequality of parts being granted as a prime condition. Both methods are based on the relationship between color and form: According to the first, all the parts are connected by

568-522: A traditional curve in French painting from Courbet to ourselves as the latest arrivals, persuaded that the new order cannot be created independently of the permanent order. (Albert Gleizes, 1917) Gleizes' Football Players exemplifies the principle of mobile perspective and simultaneity elaborated upon in the Cubist manifesto Du "Cubisme" , written with Jean Metzinger . Football Players exemplifies, too,

639-408: Is his most varied and most colored canvas. I still see in the upper section some unpleasant and heavy smoke, but the composition is new, divers. Gleizes embarked upon a challenging composition that he masterfully arranged. The subject has returned to the painting and I’m not in the least proud to have predicted the return of what constitutes very foundation of pictorial art. This Élan vital constitutes

710-413: Is impossible to paint things "as they are", because it is impossible to know how and what they "really" are. Decoration must go by the board; decorative work is the antithesis of the picture, which "bears its pretext, the reason for its existence, within it". The authors are not afraid of the conclusions which they find resulting from their premisses. The ultimate aim of painting is to touch the crowd; but it

781-500: Is multiplied or it disappears. An ellipse may change its circumference because it is inscribed in a polygon. A form which is more emphatic than the surrounding forms may govern the whole picture, may imprint its own effigy upon everything. Those picture-makers who minutely imitate one or two leaves in order that all the leaves of a tree may seem to be painted, show in a clumsy fashion that they suspect this truth. An illusion, perhaps, but we must take it into account. The eye quickly interests

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852-405: Is no business of the painter to explain himself to the crowd. On the contrary, it is the business of the crowd to follow the painter in his transubstantiation of the object, "so that the most accustomed eye has some difficulty in discovering it". Yet the authors disapprove of "fantastic occultism" no less than of the negative truth conveyed by the conventional symbols of the academic painters. Indeed,

923-401: Is nothing real except the coincidence of a sensation and an individual mental direction. Far be it from us to throw any doubts upon the existence of the objects which strike our senses; but, rationally speaking, we can only have certitude with regard to the images which they produce in the mind. It therefore amazes us when well-meaning critics try to explain the remarkable difference between

994-652: Is our whole personality, contracting or dilating, that transforms the plane of the picture. Since in reaction this plane reflects the viewer's personality back upon his understanding, pictorial space may be defined as a sensible passage between two subjective spaces. The forms which are situated within this space spring from a dynamism which we profess to command. In order that our intelligence may possess it, let us first exercise our sensibility. There are only nuances ; form appears endowed with properties identical with those of colour. It can be tempered or augmented by contact with another form; it can be destroyed or emphasized; it

1065-555: Is testament to the close association of two artists, Metzinger and Gleizes, and to their shared social, cultural and philosophical conviction that painting represented more than a fleeting glimpse of the world in which they lived, that indeed by showing multiple facets of a subject captured at successive intervals in time simultaneously, a truer more complete image would emerge. We feared the dogmas and hermetic ideas, destructive acts disguised as new constructions, before they appeared as we knew they would. Rejecting nothing, we sketched out

1136-511: The Unanimist movement in poetry. In his capacity as Figuière's editorial assistant Nayral had selected for publishing Du "Cubisme" and Les Peintres Cubistes as part of a projected series on the arts. These writers and other Symbolists valued expression and subjective experience over an objective view of the physical world, embracing an antipositivist or antirationalist perspective. In Du "Cubisme" Gleizes and Metzinger explicitly related

1207-439: The total image was left to the creative intuition of the observer. The spectator now played an active role. Taken at face value, each of the constituent parts (the fragments or facets) are just as important as the whole. Yet, the total image , greater than the sum of the parts of which it is composed, now resides in the mind of the beholder. The dynamism of form implicit or explicit in the quantitative and qualitative properties of

1278-562: The 1910–1911 works of Picasso and Braque). A few months later, during the spring of 1911 at the Salon des Indépendants , the term "Cubisme" (derived by critics' attempts to derogatorily ridicule the "geometrical follies" that gave a "cubic" appearance to their work) would officially be introduced to the public in relation to these artists exhibiting in the 'Salle 41', which included Gleizes, Metzinger, Le Fauconnier, Léger, and Delaunay (but not Picasso or Braque, both absent from public exhibitions at

1349-565: The French spirit at the time. Romain Rolland described the Belle Époque generation as "Passionately in love with pleasure and violent games", in his 1912/13 novel Jean-Christophe . Art historian Daniel Robbins writes: The role of team sport, especially in the context of mass audience participation, reflects another interest of the artists of Passy. Jacques Nayral was occasionally a sports writer (cf. L’Action Nouvelle , February 25, 1914) and

1420-812: The State was seen as subsidizing Cubism. It was against this background of public anger and revolt that Gleizes and Metzinger wrote Du "Cubisme" . It was not solely an initiative to explain the new art, but an attempt to persuade the masses that their intentions were genuine. The 'Salle 41' Cubists, through Gleizes, were closely associated with the Abbaye de Créteil ; a group of writers and artists that included Alexandre Mercereau , Jules Romains , Georges Chennevière , Henri-Martin Barzun , Pierre Jean Jouve , Georges Duhamel , Luc Durtain , Charles Vildrac and René Arcos . Many were interested in notion of 'duration' proposed by

1491-794: The Stephen Hahn Gallery in New York City. Born in Hungary, Hahn moved to Paris at the age of twelve. His father was an art dealer who specialized in the Old Masters . During World War II, Stephen lived in Santo Domingo , spending 6 years there and working as a surveyor. After the war, he returned to Paris, where he attended the École du Louvre , and studied and taught at the Sorbonne . In 1952, he moved to New York City with his wife, Nancy, an American. Hahn began his career as

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1562-692: The Stephen Hahn gallery. The Camille Pissarro painting, "Rue St. Honoré, après midi, effet de pluie" which is disputed in the Cassirer v Thyssen case, was purchased in October 1976 by Baron Hans Heinrich Thyssen-Bornemisza from the Stephen Hahn Gallery after passing through the dealers Frank Perls and Knoedler. In another case, Picasso's “ Femme en Blanc ” (Woman in White) was purchased by Marilynn Alsdorf and her late husband, James from Stephen Hahn. When

1633-539: The advent of Cubism. Poincaré postulated that the laws believed to govern matter were created solely by the minds that 'understood' them and that no theory could be considered 'true'. "The things themselves are not what science can reach..., but only the relations between things. Outside of these relations there is no knowable reality", Poincaré wrote in his 1902 Science and Hypothesis . Metzinger and Gleizes wrote with reference to non-Euclidean geometry in Du "Cubisme" . It

1704-415: The authors of this book "painting is not—or is no longer—the art of imitating an object by means of lines and colours, but the art of giving our instinct a plastic consciousness". Many will follow them so far who will be unable or unwilling to follow them further on the road to cubism. Yet even to the unwilling their book will prove suggestive. Their theory of painting is founded upon a philosophic idealism. It

1775-409: The background. As the principle subject matter of this work Gleizes chose to represent a group of six or seven rugby football players. The action and contact between the players is palpable. Two of the men are holding on to the player with the ball (blue jersey) as if a tackle is imminent. In contrast to the impending violence of the sport, Gleizes has painted flowers along with some cubic shapes toward

1846-526: The bottom right of the picture. On the bottom left is a man, possibly a fallen player, holding what appears to be a round shaped item in his hand. Spectators are seen toward the upper right, while to the left, in the background, Gleizes has painted a town, a bridge and bellowing clouds or smoke. The rich juxtaposition of divers elements present within the piece are tied together in a Cubist idiom by an interlocking grid of diagonal lines, facets, intersecting plains and spheres. Painted during an ongoing debate over

1917-511: The concept of 'multiple perspective' to the Bergsonian sense of time. The faceted treatment of physical objects and space blurred the distinctions (by means of 'passage') between subject and abstraction, between representation and non-objectivity. Effects of non-Euclidean geometry were used to convey a psychophysical sense of fluidity of consciousness. These preoccupations are in tune with Jules Romains ’ theory of Unanimism , which stresses

1988-433: The drinker? We are frankly amused to think that many a novice may perhaps pay for his too literal comprehension of the remarks of one cubist, and his faith in the existence of an Absolute Truth, by painfully juxtaposing the six faces of a cube or the two ears of a model seen in profile. Does it ensue from this that we should follow the example of the impressionists and rely upon the senses alone? By no means. We seek

2059-562: The essential, but we seek it in our personality and not in a sort of eternity, laboriously divided by mathematicians and philosophers. Moreover, as we have said, the only difference between the impressionists and ourselves is a difference of intensity, and we do not wish it to be otherwise. There are as many images of an object as there are eyes which look at it; there are as many essential images of it as there are minds which comprehend it. But we cannot enjoy in isolation; we wish to dazzle others with that which we daily snatch from

2130-500: The evolution of this avant-garde artistic movement thirty-three years after the appearance of the first publication of Du "Cubism" . The collaboration between Albert Gleizes and Jean Metzinger that would lead to the publication of Du "Cubisme" began during the aftermath of the 1910 Salon d'Automne . At this massive Parisian exhibition, renowned for displaying the latest and most radical artistic tendencies, several artists including Gleizes, and in particular Metzinger, stood out from

2201-461: The exhibition that would include Gleizes, Metzinger, Henri Le Fauconnier , Fernand Léger , and Robert Delaunay (a friend and associate of Metzinger since 1906). They convened regularly at the studio of le Fauconnier where he worked on his ambitious allegorical painting entitled L'Abondance . "In this painting" writes Brooke, "the simplification of the representational form gives way to a new complexity in which foreground and background are united and

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2272-466: The eye. The convergence of classical perspective to evoke depth is treated in Du "Cubisme" as an illusion. "Moreover, we know that even the most serious infractions of the rules of perspective by no means detract from the spatiality of a painting. The Chinese painters evoke space, although they exhibit a strong partiality for divergence ." To establish pictorial space, we must have recourse to tactile and motor sensations, indeed to all our faculties. It

2343-439: The forms attributed to nature and those of modern painting by a desire to represent things not as they appear, but as they are. As they are! How are they, what are they? According to them, the object possesses an absolute form, an essential form, and we should suppress chiaroscuro and traditional perspective in order to present it. What simplicity! An object has not one absolute form; it has many. It has as many as there are planes in

2414-416: The general freedom of the artist to interpret the subject matter without producing photograph resemblance or ‘realistic’ portrayal of an object or event. For Metzinger and Gleizes, such a portrayal was simply an arbitrary convention. In the world of experience, things are not static, but in constant motion. Objects are rarely seen from one point of view, and the act of perception is systematically accompanied by

2485-408: The geometrical ideas of the focus and the ray, which imply the repetition-contrary to the principle of variety which guides us-of bright planes and sombre intervals in a given direction. Loving colour, we refuse to limit it, and subdued or dazzling, fresh or muddy, we accept all the possibilities contained between the two extreme points of the spectrum, between the cold and the warm tone. Here are

2556-515: The image of Cubism in France and abroad was founded on an extremely broad definition. "A more heterogeneous view of Cubism is certainly encouraged by the earliest promotional writings by its practitioners and associates", writes art historian Christopher Green: The Salon d’Automne of 1912 led to a debate on Cubism in the Chambre des Députés: since the exhibition was held in the State's Grand Palais ,

2627-414: The imagination, and dark that which the imagination has to penetrate. We do not mechanically connect the sensation of white with the idea of light, any more than we connect the sensation of black with the idea of darkness. We know that a precious stone in black, and in a mat black, can be more luminous than the white satin or the pink of its jewel case. Loving light, we refuse to measure it, and we avoid

2698-400: The importance of collective feelings in the breaking down of barriers between people. One major innovation made by Gleizes and Metzinger was the inclusion of the concept of simultaneity into not just the theoretical framework of Cubism, but into the physical paintings themselves. It was in part a concept born out of a conviction based on their understanding of Henri Poincaré and Bergson that

2769-422: The indeformability of figures in movement, so we need not insist upon this point. If we wished to relate the space of the [Cubist] painters to geometry, we should have to refer it to the non-Euclidean mathematicians; we should have to study, at some length, certain of Riemann's theorems. As for visual space, we know that it results from the agreement of the sensations of convergence and "accommodation" in

2840-413: The liberty of moving around objects." This is the concept of "mobile perspective" that would tend towards the representation of the "total image"; a series of ideas that still today define the fundamental characteristics of Cubist art. Setting the stage for Du "Cubisme" , Metzinger's Note sur la peinture not only highlighted the works of Picasso and Braque, on the one hand, Le Fauconnier and Delaunay on

2911-449: The mind in its errors. These analogies and contrasts are capable of all good and all evil; the masters felt this when they tried to compose with pyramids, crosses, circles, semicircles, etc. The Cubists, according to the 1912 manifesto written by Gleizes and Mtezinger, revealed a new manner of regarding light: According to them, to illuminate is to reveal; to colour is to specify the mode of revelation. They call luminous that which strikes

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2982-754: The most radical trends in painting and sculpture to date. Scheduled to take place at the Galerie La Boétie in Paris, October 1912, directly after the Salon d'Automne. Gleizes and Metzinger, in preparation for the Salon de la Section d'Or, published Du "Cubisme" , a major defense of Cubism, resulting in the first theoretical essay on the new movement; predating Les Peintres Cubistes, Méditations Esthétiques (The Cubist Painters, Aesthetic Meditations) by Guillaume Apollinaire (1913) and Der Weg zum Kubismus by Daniel-Henry Kahnweiler (1920). Before World War I

3053-414: The order assigned to them by creative intuition, the properties of each portion must be left independent, and the plastic continuum must be broken into a thousand surprises of light and shade. [...] Every inflection of form is accompanied by a modification of colour, and every modification of colour gives birth to a form. Gleizes and Metzinger continue: There is nothing real outside ourselves; there

3124-524: The other. It was also a tactical selection that highlighted the fact that only Metzinger himself was positioned to write about all four. Metzinger, uniquely, had been closely acquainted with the Montmartre group (gallery cubists) and the burgeoning Salon Cubists simultaneously. The Salon de la Section d'Or was an exhibition organized by the Salon Cubists with the goal of bringing together all

3195-678: The painting turned out to be Nazi-looted art that had belonged to the Bennigson family, the Bennigsons sued the Alsdorfs for the restitution of the painting and the Alsdorfs sued Hahn for having sold them looted art. Du %22Cubisme%22 Du "Cubisme" , also written Du Cubisme , or Du « Cubisme » (and in English, On Cubism or Cubism ), is a book written in 1912 by Albert Gleizes and Jean Metzinger . This

3266-444: The philosopher Henri Bergson , according to which life is experienced subjectively as a continual movement in the direction of time, with the past flowing into the present and the present merging into the future. Other Cubists showed affinities with this concept, and to Bergson's insistence on the 'elasticity' of our consciousness in both time and space. The Neo-Symbolist writers Jacques Nayral and Henri-Martin Barzun associated with

3337-432: The protection of the police or the military, it is not worth playing". Following this incidents, Scotland refused to face France at the 1914 tournament. France was implicitly excluded from further tournaments, but World War I did not permit the application of this exclusion. The related sport-themed work of Rousseau, Metzinger, Gleizes, Delaunay, Boccioni (and later Lhote), reflected the enthusiasm for sport that fascinated

3408-459: The provenance are provided in a letter of 10 February 1970 from Daniel Robbins to J. Carter Brown, copy in NGA curatorial files. Stephen Hahn (art dealer) Stephen Hahn (February 1, 1921 – April 2, 2011) was an American art dealer and collector. An expert on Picasso , Degas , and others, he held one of the most significant collections of twentieth century masters during his years operating

3479-404: The region of perception. What these writers say is marvelously applicable to geometrical form. Geometry is a science; painting is an art. The geometer measures; the painter savours. The absolute of the one is necessarily the relative of the other; if logic takes fright at this idea, so much the worse! Will logic ever prevent a wine from being different in the retort of the chemist and in the glass of

3550-425: The reminiscence of natural forms cannot be absolutely banished; not yet, at all events. An art cannot be raised to the level of a pure effusion at the first step. This is understood by the cubist painters, who indefatigably study pictorial form and the space which it engenders. This space we have negligently confounded with pure visual space or with Euclidian space. Euclid, in one of his postulates, speaks of

3621-447: The rest. The utilization of a non-conventional form of geometry had permeated the works of these artists who a priori had little or no contact between one another. In a review of the 1910 Salon d'Automne the poet Roger Allard (1885-1961) announced the appearance of a new school of French painters who—in contrast with Les Fauves and Neo-Impressionists —concentrated their attention on form rather than on color. A group formed following

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3692-591: The sense of movement that can be excited in the spectator using purely pictorial means". Brooke continues, "The drama can be seen very clearly expressed in Gleizes's painting Les Joueurs de football , in which a very powerful pictorial construction is undermined by the idea of aggressive movement, very rare for Gleizes, conveyed in the frozen gestures of the subject, the football players". Guillaume Apollinaire writes in Montjoie! on 18 March 1913: With his Joueurs de football , Albert Gleizes taken an enormous step. This

3763-402: The separation or distinction between space and time should be comprehensively challenged. New philosophical and scientific ideas were emerging based on non-Euclidean geometry , Riemannian geometry and the relativity of knowledge , contradicting notions of absolute truth . These ideas were disseminated and debated in widely available publications, and read by writers and artists associated with

3834-452: The subject of Gleizes' canvas. L’Oiseau bleu , the large poetic composition by Metzinger is the most important work painted by this much discussed artist. It is difficult to express in a few lines and without prior meditation all the invention, all the marvel [féérie] of this well painted work. We can no longer say, now, that Cubism is obscure [triste], gala rather, grand [noblesse], measure [mesure] and audacity. Les Joueurs de football

3905-479: The subject of the painting obscured by a network of interlocking geometrical elements". But it was Metzinger, a Montmartrois in close contact with Le Bateau-Lavoir and its habitués—including Guillaume Apollinaire , Max Jacob , Maurice Princet , Pablo Picasso and Georges Braque —who introduced to Gleizes and the others of the group, with his Nu à la cheminée (Nu) , 1910, an extreme species of 'analytic' Cubism (a term that would emerge years later to describe

3976-672: The subject of these works as depictions of rugby football games. The first rugby competition was held in 1892 as a one-off championship game between two Paris-based teams, the Racing Club de France and Stade Français . In 1900 rugby was played at the Paris Summer Olympics . France won the gold medal of the first ever rugby event at the Olympics . Racing Club made it to the championship final on 31 March 1912. France joined an international competition in 1910, and coined

4047-554: The term Tournoi des Cinq Nations ( Five Nations Championship ); a term that would last almost the entire century. On 1 January 1913, at the France-Scotland match, spectators threw themselves on the referee to express their dissatisfaction. The mounted police were forced to intervene charging. This violent incident led to the secretary of the Scottish Rugby Union to declare: "If the game can only be played under

4118-539: The time resulting from a contract with the Kahnweiler gallery). A seminal text written by Metzinger titled Note sur la peinture , published during the fall of 1910, closely coinciding with Salon d'Automne, cites Picasso, Braque, Delaunay and Le Fauconnier as painters who were realising a 'total emancipation' ['affranchissement fondementale'] of painting. The idea of moving around an object in order to see it from different view-points later treated in Du "Cubisme"

4189-423: The virtues of Cubism and Futurism , Les Joueurs de football is a prime example of the artists desire to reconcile the problem of representing the subject from different points of view simultaneously, and/or in successive stages of motion (both the physical displacement of an object and the movement of thought). Here, according to art historian Peter Brooke, Gleizes explores the movement of subjects in motion "with

4260-421: The work at the Salon des Indépendants, March 1913. Moving away from his quasi-monochromatic works of 1910 and 1911, Gleizes employs a wide array of primary colors, grays, earth tones and umbers. Unlike the preferred subject matter of Pablo Picasso and Georges Braque (e.g., still lives or guitar players), Gleizes has depicted a vast scene, combining a sporting event with a semi-urban or industrial landscape in

4331-575: The work was sold to the Marlborough-Gerson gallery, New York, and purchased May 1970 by the National Gallery of Art (NGA), Washington D.C. Les Joueurs de football is a large oil painting on canvas with dimensions 225.4 x 183 cm (88 3/4 x 72 1/16 in.) signed and dated "Albert Gleizes 1912–13", lower left. After at least one preliminary sketch, Gleizes began working on this painting in 1912 and finished it before exhibiting

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4402-496: The work, set in motion by the artist, could be reassembled and understood in a dynamic process no longer solely restricted to the artist and subject matter. The concept of observing a subject from different points in space and time simultaneously (multiple or mobile perspective) "to seize it from several successive appearances, which fused into a single image, reconstitute in time" developed by Metzinger (in his 1911 article Cubisme et tradition ) and touched upon in Du "Cubisme" ,

4473-479: The world of sense, and in return we wish others to show us their trophies. From a reciprocity of concessions arise those mixed images, which we hasten to confront with artistic creations in order to compute what they contain of the objective; that is of the purely conventional. Reviewing the English edition, Cubism , T. Fisher Unwin , 1913, a critic in The Burlington magazine for Connoisseurs writes: For

4544-747: Was a benefactor of the Music Academy of the West in Montecito near Santa Barbara, CA, with Hahn Hall being named after him. In 1969, seven paintings were stolen from the Hahn gallery. Valued at $ 500,000 in total, the works included pieces by Monet and Pissarro . Ironically, while the theft was occurring, Hahn was discussing the subject of art theft with the Art Dealers Association of America. Two paintings embroiled in Nazi-era restitution cases involved

4615-526: Was a central idea of Metzinger's Note sur la Peinture . Indeed, prior to Cubism painters worked from the limiting factor of a single view-point. Metzinger enunciated for the first time in Note sur la peinture the stimulating interest in representing objects as remembered from successive and subjective experiences within the context of both space and time. In that article, Metzinger notes that Braque and Picasso "discarded traditional perspective and granted themselves

4686-464: Was argued that Cubism itself was not based on any geometrical theory, but that non-Euclidean geometry corresponded better than classical, or Euclidean geometry , to what the Cubists were doing. The essential was in the understanding of space other than by the classical method of perspective; an understanding that would include and integrate the fourth dimension with 3-space . The reconstruction of

4757-506: Was not derived from Albert Einstein 's theory of relativity , though it was certainly influenced in a similar way, through the work of Jules Henri Poincaré (particularly Science and Hypothesis). Poincaré's writings, unlike Einstein's, were well known leading up to 1912. Poincaré's widely read book, La Science et l'Hypothèse , was published in 1902 (by Flammarion). Gleizes and Metzinger render homage to Cézanne in their 1912 Cubist manifesto Du "Cubisme" : For Metzinger and Gleizes, Cubism

4828-506: Was nothing less than an extension of a tradition in painting: The artist endeavours to enclose the unmeasurable sum of the affinities perceived between the visible manifestation and the tendency of his mind, write Metzinger and Gleizes: Let the picture imitate nothing; let it nakedly present its raison d'être . We should indeed be ungrateful were we to deplore the absence of all those things flowers, or landscape, or faces whose mere reflection it might have been. Nevertheless, let us admit that

4899-628: Was published by Eugène Figuière Éditeurs , Collection "Tous les Arts", in Paris in 1912. Prior to publication the book was announced in the Revue d'Europe et d'Amérique , March 1912; for the occasion of the Salon de Indépendants during the spring of 1912 in the Gazette des beaux-arts ; and in Paris-Journal , October 26, 1912. It is thought to have appeared in November or early December 1912. It

4970-516: Was subsequently published in English and Russian in 1913; a translation and analysis in the latter language by the artist, theorist and musician Mikhail Matiushin appeared in the March 1913 issue of Union of the Youth , where the text was quite influential. A new edition was published in 1947 with an avant-propos by Gleizes and an epilogue by Metzinger. The artists took the occasion to reflect upon

5041-432: Was the first major text on Cubism , predating Les Peintres Cubistes by Guillaume Apollinaire (1913). The book is illustrated with black and white photographs of works by Paul Cézanne (1), Gleizes (5), Metzinger (5), Fernand Léger (5), Juan Gris (1), Francis Picabia (2), Marcel Duchamp (2), Pablo Picasso (1), Georges Braque (1), André Derain (1), and Marie Laurencin (2). The highly influential treatise

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