Guillaume Apollinaire, Les Peintres Cubistes, 1913

''Les Peintres Cubistes, Méditations Esthétiques'' (English, ''The Cubist Painters, Aesthetic Meditations''), is a book written by

Guillaume Apollinaire Guillaume Apollinaire) of the Wąż coat of arms. (; 26 August 1880 – 9 November 1918) was a French poet, playwright, short story writer, novelist, and art critic of Polish descent. Apollinaire is considered one of the foremost poets of t ...

between 1905 and 1912, published in 1913. This was the third major text on

Cubism Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. In Cubist artwork, objects are analyzed, broken up and reassemble ...

; following '' Du "Cubisme"'' by

Albert Gleizes Albert Gleizes (; 8 December 1881 – 23 June 1953) was a French artist, theoretician, philosopher, a self-proclaimed founder of Cubism and an influence on the School of Paris. Albert Gleizes and Jean Metzinger wrote the first major treatise on ...

and

Jean Metzinger Jean Dominique Antony Metzinger (; 24 June 1883 – 3 November 1956) was a major 20th-century French painter, theorist, writer, critic and poet, who along with Albert Gleizes wrote the first theoretical work on Cubism. His earliest works, from 1 ...

(1912);Albert Gleizes and Jean Metzinger, ''Du "Cubisme"'', published by Eugène Figuière Éditeurs, Paris, 1912 (Eng. trans., London, 1913)Daniel Robbins, ''Jean Metzinger: At the Center of Cubism'', 1985, Jean Metzinger in Retrospect, The University of Iowa Museum of Art, J. Paul Getty Trust, University of Washington Press, pp. 9–23 and

André Salmon André Salmon (4 October 1881, Paris – 12 March 1969, Sanary-sur-Mer) was a French poet, art critic and writer. He was one of the early defenders of Cubism, with Guillaume Apollinaire and Maurice Raynal. Biography André Salmon was born in ...

, ''Histoire anecdotique du cubisme'' (1912).André Salmon, ''L'art vivant'', ''La Jeune Peinture française, Histoire anecdotique du cubisme'', (''Anecdotal History of Cubism''), Paris, Albert Messein, 1912, Collection des Trente. Translated in Mark Antliff and Patricia Leighten, ''A Cubism Reader, Documents and Criticism, 1906-1914'', pp. 41–61André Salmon, ''Anecdotal History of Cubism'', 1912, quoted in Herschel Browning Chipp ''et al'', ''Theories of Modern Art: A Source Book by Artists and Critics''
University of California Press, 1968, . pp. 199–206''André Salmon on French Modern Art''
by André Salmon, Cambridge University Press, Nov 14, 2005, pp. 55–60 ''Les Peintres Cubistes'' is illustrated with black and white photographs of works by

Pablo Picasso Pablo Ruiz Picasso (25 October 1881 – 8 April 1973) was a Spanish painter, sculptor, printmaker, ceramicist and Scenic design, theatre designer who spent most of his adult life in France. One of the most influential artists of the 20th ce ...

Georges Braque Georges Braque ( , ; 13 May 1882 – 31 August 1963) was a major 20th-century French painter, collagist, draughtsman, printmaker and sculptor. His most notable contributions were in his alliance with Fauvism from 1905, and the role he play ...

Juan Gris José Victoriano González-Pérez (23 March 1887 – 11 May 1927), better known as Juan Gris (; ), was a Spanish painter born in Madrid who lived and worked in France for most of his active period. Closely connected to the innovative artistic ge ...

, Marie Laurencin,

Fernand Léger Joseph Fernand Henri Léger (; February 4, 1881 – August 17, 1955) was a French painter, sculptor, and filmmaker. In his early works he created a personal form of cubism (known as " tubism") which he gradually modified into a more figurative, p ...

Francis Picabia Francis Picabia (: born Francis-Marie Martinez de Picabia; 22January 1879 – 30November 1953) was a French avant-garde painter, poet and typographist. After experimenting with Impressionism and Pointillism, Picabia became associated with Cubism ...

Marcel Duchamp Henri-Robert-Marcel Duchamp (, , ; 28 July 1887 – 2 October 1968) was a French painter, sculptor, chess player, and writer whose work is associated with Cubism, Dada, and conceptual art. Duchamp is commonly regarded, along with Pablo Picasso ...

and

Raymond Duchamp-Villon Raymond Duchamp-Villon (5 November 1876 – 9 October 1918) was a French sculptor. Life and art Duchamp-Villon was born Pierre-Maurice-Raymond Duchamp in Damville, Eure, in the Normandy region of France, the second son of Eugène and Lucie Duch ...

.Les peintres cubistes. Première série / Guillaume Apollinaire, Méditations esthétiques, Watsonline, Thomas J. Watson Library, The Catalog of the Libraries of The Metropolitan Museum of Art
/ref> Also reproduced are photographs of artists Metzinger, Gleizes, Gris, Picabia and Duchamp. In total, there are 46

halftone Halftone is the reprographic technique that simulates continuous-tone imagery through the use of dots, varying either in size or in spacing, thus generating a gradient-like effect.Campbell, Alastair. The Designer's Lexicon. ©2000 Chronicle, ...

portraits and reproductions. Published by Eugène Figuière Éditeurs, Collection "Tous les Arts", Paris, 1913, ''Les Peintres Cubistes'' was the only independent volume of art criticism published by Apollinaire, and represented a highly original critical source on

.Pamela A. Genova, ''The Poetics of Visual Cubism, Guillaume Apollinaire on Pablo Picasso, Studies in 20th Century Literature'', Vol. 27, Iss. 1, Article 3, 1 Jan. 2003
/ref> He elucidates the history of the Cubist movement, its new aesthetic, its origins, its development, and its various features. Apollinaire first intended this book to be a general collection of his writings on art entitled ''Méditations Esthétiques'' rather than specifically on Cubism. In the fall of 1912 he revised the page proofs to include more material on the Cubist painters, adding the subtitle, ''Les Peintres Cubistes''. When the book went to press, the original title was enclosed in

bracket A bracket is either of two tall fore- or back-facing punctuation marks commonly used to isolate a segment of text or data from its surroundings. Typically deployed in symmetric pairs, an individual bracket may be identified as a 'left' or 'r ...

s and reduced in size, while the subtitle ''Les Peintres Cubistes'' was enlarged, dominating the cover. Yet ''Les Peintres Cubistes'' appears only on the half t.p. and t.p. pages, while every other page has the title ''Méditations Esthétiques'', suggesting the modification was made so late that only the title pages were reprinted.Leroy C. Breunig and Jean-Claude Chevalier (eds), Paris: Hermann, 1965; Trans. Lionel Abel, ''The Cubist Painters: Aesthetic Meditations'', Wittenborn, New York, 1944, 1949 A portion of the text was translated into English and published with several images from the original book in ''The Little Review: Quarterly Journal of Art and Letters'', New York, Autumn 1922.''The Little Review: Quarterly Journal of Art and Letters'', Vol. 9, No. 1: Stella Number, editor: Margaret C. Anderson, New York, 1922-09 (Autumn 1922), pp. 41–59. The Modernist Journals Project, Brown University and The University of Tulsa
/ref>

Author

Guillaume Apollinaire, a French poet, playwright, short story writer, novelist, and art critic, served as a decisive interface between artists and poets of the early 20th century, joining the

visual arts The visual arts are art forms such as painting, drawing, printmaking, sculpture, ceramics, photography, video, filmmaking, design, crafts and architecture. Many artistic disciplines such as performing arts, conceptual art, and textile art ...

and literary circles. Italian by birth, Polish by name (Wilhelm Albert Włodzimierz Apolinary Kostrowicki), Parisian by choice, Apollinaire was a leading figure in early modernist poetry, a permutable figure whose work echoed the

Symbolists Symbolism was a late 19th-century art movement of French and Belgian origin in poetry and other arts seeking to represent absolute truths symbolically through language and metaphorical images, mainly as a reaction against naturalism and real ...

, the Cubists and foresaw the Surrealists. As an active figure in well-established literary journals from 1902 to his death in 1918, Apollinaire played a crucial role in the development of early modernism by founding his own artistic journals, by supporting galleries and exhibitions, as a collector of

avant-garde The avant-garde (; In 'advance guard' or ' vanguard', literally 'fore-guard') is a person or work that is experimental, radical, or unorthodox with respect to art, culture, or society.John Picchione, The New Avant-garde in Italy: Theoretica ...

art, and as an impassioned supporter of a diverse group of emerging artists. His pervasive influence on these artists is exemplified by a multitude of portraits of Apollinaire painted by artists such as

Henri Rousseau Henri Julien Félix Rousseau (; 21 May 1844 – 2 September 1910)
at the Louis Marcoussis Louis Marcoussis, formerly Ludwik Kazimierz Wladyslaw Markus or Ludwig Casimir Ladislas Markus, (1878 or 1883, Łódź – October 22, 1941, Cusset) was a painter and engraver of Polish origin who lived in Paris for much of his life and became ...

Amedeo Modigliani Amedeo Clemente Modigliani (, ; 12 July 1884 – 24 January 1920) was an Italian painter and sculptor who worked mainly in France. He is known for portraits and nudes in a modern style characterized by a surreal elongation of faces, necks, and ...

, Marie Laurencin, Marcel Duchamp,

Maurice de Vlaminck Maurice de Vlaminck (4 April 1876 – 11 October 1958) was a French painter. Along with André Derain and Henri Matisse, he is considered one of the principal figures in the Fauve movement, a group of modern artists who from 1904 to 1908 we ...

Giorgio de Chirico Giuseppe Maria Alberto Giorgio de Chirico ( , ; 10 July 1888 – 20 November 1978) was an Italian artist and writer born in Greece. In the years before World War I, he founded the '' scuola metafisica'' art movement, which profoundly infl ...

Mikhail Larionov Mikhail Fyodorovich Larionov (Russian: Михаи́л Фёдорович Ларио́нов; June 3, 1881 – May 10, 1964) was a Russian avant-garde painter who worked with radical exhibitors and pioneered the first approach to abstract Rus ...

Robert Delaunay Robert Delaunay (12 April 1885 – 25 October 1941) was a French artist who, with his wife Sonia Delaunay and others, co-founded the Orphism art movement, noted for its use of strong colours and geometric shapes. His later works were more abstra ...

Marc Chagall Marc Chagall; russian: link=no, Марк Заха́рович Шага́л ; be, Марк Захаравіч Шагал . (born Moishe Shagal; 28 March 1985) was a Russian-French artist. An early modernism, modernist, he was associated with se ...

, Pierre Savigny de Belay and

Henri Matisse Henri Émile Benoît Matisse (; 31 December 1869 – 3 November 1954) was a French visual artist, known for both his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known prim ...

. :"Apollinaire, like Baudelaire", writes Pamela A. Genova, "was a self-taught art critic, and he began his art theory naïve to the technical terminology and to the conventional precepts of the field. His work was spontaneous, impetuous, and ahead of its time, and like many ''avant-garde'' pioneers, he was often misunderstood, underestimated, or disregarded. Yet for one who began as a novice in the appreciation, analysis, and promotion of painting, the accuracy of Apollinaire's taste is uncanny, for his favorite painters or example the artists he includes in ''Les Peintres Cubistes''are now considered among the most influential artists of the century". As a close friend of all the Cubists, and Marie Laurencin's lover, Apollinaire witnessed the development of Cubism firsthand. He was in close contact with

Le Bateau-Lavoir The Bateau-Lavoir ("Washhouse Boat") is the nickname of a building in the Montmartre district of the 18th arrondissement of Paris that is famous in art history as the residence and meeting place for a group of outstanding early 20th-century artist ...

and its habitués—including Max Jacob, Maurice Princet, Picasso, Braque and Metzinger. He was also in close contact with the Groupe de Puteaux (or Section d'Or), based in the western suburbs of Paris—including the Duchamp brothers, Gleizes, Picabia and again Metzinger (who associated with both groups early on). Apollinaire coined several important terms of the avant-garde, such as Orphism (at the Salon de la

Section d'Or The Section d'Or ("Golden Section"), also known as Groupe de Puteaux or Puteaux Group, was a collective of Painting, painters, sculptors, poets and critics associated with Cubism and Orphism (art), Orphism. Based in the Parisian suburbs, the grou ...

in 1912)Hajo Düchting, ''Orphism'', MoMA, From Grove Art Online, 2009 Oxford University Press
/ref> and

Surrealism Surrealism is a cultural movement that developed in Europe in the aftermath of World War I in which artists depicted unnerving, illogical scenes and developed techniques to allow the unconscious mind to express itself. Its aim was, according to ...

(concerning the ballet ''

Parade A parade is a procession of people, usually organized along a street, often in costume, and often accompanied by marching bands, floats, or sometimes large balloons. Parades are held for a wide range of reasons, but are usually celebrations of s ...

'' in 1917), and was the first to adopt the term "Cubism" on behalf of his fellow artists (at the 1911 Salon des Indépendants, Brussels). He wrote about these and related movements such as

Fauvism Fauvism /ˈfoʊvɪzm̩/ is the style of ''les Fauves'' (French language, French for "the wild beasts"), a group of early 20th-century modern artists whose works emphasized painterly qualities and strong colour over the Representation (arts), repr ...

Futurism Futurism ( it, Futurismo, link=no) was an artistic and social movement that originated in Italy, and to a lesser extent in other countries, in the early 20th century. It emphasized dynamism, speed, technology, youth, violence, and objects suc ...

, and Simultanism. But his most compellingly original stance can be found in ''Les Peintres Cubistes'', in his analysis of the new

art movement An art movement is a tendency or style in art with a specific common philosophy or goal, followed by a group of artists during a specific period of time, (usually a few months, years or decades) or, at least, with the heyday of the movement defin ...

: "The new artists demand an ideal beauty, which will be, not merely the proud expression of the species, but the expression of the universe, to the degree that it has been humanized by light." (''Les Peintres Cubistes'', p. 18)

Volume

Guillaume Apollinaire's only book on art, ''The Cubist Painters, Aesthetic Meditations'' is an unsystematic collection of reflections and commentaries.Christopher Green, ''Cubism, Origins and application of the term'', and ''Meanings and interpretations'', MoMA, Grove Art Online, Oxford University Press, 2009
/ref> It was written between 1905 and 1912, and ultimately published in 1913. Composed of two parts, the volume demonstrates the poetic vision of Apollinaire. The first part, "On Painting" (''Sur la peinture''), is a manifesto for the new art form, consisting of seven chapters (22 pages), of which much of the text was written in 1912 and published in '' Les Soirées de Paris'' the same year.Herschel Browning Chipp, Peter Selz, ''Theories of Modern Art: A Source Book by Artists and Critics'', University of California Press, 1968, pp. 221-248
The second and larger section of the book (53 pages), under the heading "New Painters" (''Peintres nouveaux''), analyzes the work of ten artists most representative of the movement in the following order: Picasso, Braque, Metzinger, Gleizes, Laurencin, Gris, Léger, Picabia, Duchamp, and in the Appendix, Duchamp-Villon. In the section on Marie Laurencin, Apollinaire included a text a

Henri Rousseau Henri Julien Félix Rousseau (; 21 May 1844 – 2 September 1910)
at the La muse inspirant le poète

Included are four reproductions of the works by each artist (with the exception of Rousseau), and portrait photographs of Metzinger, Gleizes, Gris, Picabia, and Duchamp. A landmark in the history of art criticism, this essay synthesizes the aesthetic preoccupations of not just the Cubists, but of Apollinaire himself. The volume is valued today as a work of reference and a vintage example of creative modernist writing. This was the third attempt to define the new pictorial trend burgeoning during the years before the First World War, following '' Du "Cubisme"'' by Albert Gleizes and Jean Metzinger, 1912, and

, ''Histoire anecdotique du cubisme'' (''Anecdotal History of Cubism''), 1912.

Classification

In his analysis of the new

, Apollinaire makes a distinction between four different types of Cubism; scientific, physical, orphic and instinctive. The first, ''Scientific Cubism'', is the art of painting new ensembles with elements borrowed not from the reality of vision, but from the reality of knowledge. It is the tendency of 'pure' painting. The painters Apollinaire places in this category are: Picasso, Braque, Metzinger, Gleizes, Laurencin and Gris. The second, ''Physical Cubism'', is the discipline of constructing painting with elements borrowed mostly from the reality of vision. Its social role is well marked, but it is not a pure art. The 'physicist' who created this trend is Le Fauconnier. ''Orphic Cubism'' is the art of painting with elements borrowed not from visual reality, but entirely created by the artist and endowed by him with a powerful reality. The works of the Orphic artists simultaneously present a pure aesthetic pleasure, a construction to the senses and a sublime meaning. This is pure art, according to Apollinaire, that includes the work of R. Delaunay, Léger, Picabia and M. Duchamp. ''Instinctive Cubism'' is, according to Apollinaire, the art of painting elements borrowed not from visual reality, but suggestive of the artist's instinct and intuition. Instinctive Cubism includes a very large number of artists. Derived from French Impressionism, the movement spans ("is spreading") across all of Europe. The historical study of Cubism began in the late 1920s, drawing at first from ''Du "Cubisme"'' and Apollinaire's ''Les Peintres Cubistes''.Daniel Robbins, 1964, ''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, pp. 19-20
/ref> It came to rely heavily on Daniel-Henry Kahnweiler's book ''Der Weg zum Kubismus'' (published in 1920), which centered exclusively on the developments of Picasso, Braque, Léger, and Gris. The terms "Analytical Cubism" and "Synthetic Cubism" which subsequently emerged (overshadowing Apollinaire's classification scheme) have been widely accepted since the mid-1930s. However, both terms are historical impositions that occurred after the facts they identify. Neither phase was designated as such at the time corresponding works were created. "If Kahnweiler considers Cubism as Picasso and Braque," wrote Daniel Robbins, "our only fault is in subjecting other Cubists' works to the rigors of that limited definition." This interpretation of Cubism, formulated ''post facto'' as a means of understanding the works of Braque and Picasso, is difficult to apply to other Cubist's whose art fundamentally differed from the 'Analytic' or 'Synthetic' categories, compelled Kahnweiler to question their right to be called Cubists at all. According to Robbins, "To suggest that merely because these artists developed differently or varied from the traditional pattern they deserved to be relegated to a secondary or satellite role in Cubism is a profound mistake." Other terms have surfaced since. In his book, ''The Cubist Epoch'', Douglas Cooper divides Cubism into three phases: "Early Cubism" (from 1906 to 1908), when the movement was initially developed in the ateliers of Picasso and Braque; "High Cubism" (from 1909 to 1914), during which time

emerged as an important exponent (after 1911); and "Late Cubism" (from 1914 to 1921), the last phase of Cubism as a radical

movement. Cooper's restrictive use of these terms to distinguish the work of Braque, Picasso, Gris and Léger (to a lesser extent) implied an intentional value judgement, according to Christopher Green. The current trend in the classification of Cubist styles reflects Apollinaire's wider view of the movement, more so than others. Cubism is once again no longer definitively attached to the art of a specific group or even a movement. It embraces vastly disparate work; applying to artists in different socio-cultural environments and settings. And despite the difficulties of classification, Cubism, as predicted by Apollinaire in 1913, has been called the first and the most influential of all movements in 20th-century art.

''On Painting''

Apollinaire stressed the importance of what he perceived as virtues of the

plastic arts Plastic arts are art forms which involve physical manipulation of a plastic medium by molding or modeling such as sculpture or ceramics. Less often the term may be used broadly for all the visual arts (such as painting, sculpture, film and ...

: purity, unity, and truth; all of which would keep "nature in subjection". He deplored the violent attacks waged against the Cubist's preoccupation with geometry; geometrical figures being the essence of drawing. "Geometry, the science of space, its dimensions and relations, has always determined the norms and rules of painting." Before Cubism, the three dimensions of Euclidean geometry had been sufficient for artists. But according to Apollinaire, "geometry is to the plastic arts what grammar is to the art of the writer". Artists, just as scientists, no longer had to limit themselves to three spatial dimensions. They were guided by intuition, to preoccupy themselves with the new possibilities of spatial measurement which included the 'fourth dimension'. This fictitious realm represented the "immensity of space eternalizing itself in all directions at any given moment". This utopian expression stood for the aspiration and premonitions of artists who contemplated Egyptian, African, and oceanic sculptures; who meditated on various scientific works, and who lived "in anticipation of a sublime art".

''New Painters''

Picasso

Picasso, with his planes to denote volume, "gives an enumeration so complete" that objects are entirely transformed, "thanks to the effort of the spectator, who is forced to see all the elements simultaneously". In questioning whether Picasso's art is profound rather than noble, Apollinaire answers, "It does not dispense with the observation of nature, and acts upon us as intimately as nature itself." File:Pablo Picasso, 1909, Brick Factory at Tortosa, oil on canvas, 50.7 x 60.2 cm, The State Hermitage Museum, Saint Petersburg.jpg, Pablo Picasso, 1909, ''Brick Factory at Tortosa (L'Usine, Horta de Ebro)'', oil on canvas, 50.7 x 60.2 cm,

Hermitage Museum The State Hermitage Museum ( rus, Государственный Эрмитаж, r=Gosudarstvennyj Ermitaž, p=ɡəsʊˈdarstvʲɪn(ː)ɨj ɪrmʲɪˈtaʂ, links=no) is a museum of art and culture in Saint Petersburg, Russia. It is the larges ...

, Saint Petersburg File:Pablo Picasso, 1911-12, L'Homme à la clarinette (Man with a Clarinette), oil on canvas, 106 x 69 cm, Museo Thyssen-Bornemisza, Madrid.jpg,

, 1911–12, ''L'Homme à la clarinette (Man with a Clarinet)'', oil on canvas, 106 x 69 cm,

Museo Thyssen-Bornemisza The Thyssen-Bornemisza National Museum (in Spanish, the Museo Nacional Thyssen-Bornemisza (), named after its founder), or simply the Thyssen, is an art museum in Madrid, Spain, located near the Prado Museum on one of the city's main boulevards. I ...

, Madrid File:Pablo Picasso, 1912, Nature morte Espagnole (sol y sombra), oil and enamel on canvas, 46 x 63 cm, Lille Métropole Museum of Modern, Contemporary and Outsider Art.jpg,

, 1912, ''Nature morte Espagnole'' (''Sol y sombra''), oil and enamel on canvas, 46 x 63 cm,

Lille Métropole Museum of Modern, Contemporary and Outsider Art The Lille Métropole Museum of Modern, Contemporary and Outsider Art (LaM), formerly known as Villeneuve d'Ascq Museum of Modern Art, is an art museum in Villeneuve d'Ascq, France. With more than 4,500 artworks on a exhibition area, the LaM is ...

File:Pablo Picasso, 1912, Le violon (Jolie Eva), oil on canvas, 60 x 81 cm, Staatsgalerie Stuttgart.jpg,

, 1912, ''Le violon'' (''Jolie Eva''), oil on canvas, 60 x 81 cm,

Staatsgalerie Stuttgart The Staatsgalerie Stuttgart (, "State Gallery") is an art museum in Stuttgart, Germany, it opened in 1843. In 1984, the opening of the Neue Staatsgalerie (''New State Gallery'') designed by James Stirling transformed the once provincial gallery ...

Georges Braque

It was Braque who, at the

Salon des Indépendants Salon may refer to: Common meanings * Beauty salon, a venue for cosmetic treatments * French term for a drawing room, an architectural space in a home * Salon (gathering), a meeting for learning or enjoyment Arts and entertainment * Salon (Pa ...

of 1908, first exhibited to the public works whose geometric preoccupations began to dominate the composition. Picasso's work, though not exhibited, set the precedent. This transformation, believed Apollinaire, was in perfect harmony with the society in which the painter evolved. Braque's role was "heroic", his art "peaceful and admirable", writes the poet, "He expresses a beauty, a beauty full of tenderness, and the pearl-like quality of his pictures irradiates our understanding. He is an angelic painter." File:Georges Braque, 1908, Le Viaduc de L'Estaque (Viaduct at L'Estaque), oil on canvas, 73 x 60 cm, private collection.jpg, Georges Braque, 1908, ''Le Viaduc de L'Estaque (Viaduct at L'Estaque)'', oil on canvas, 73 x 60 cm,

Tel Aviv Museum of Art Tel Aviv Museum of Art ( he, מוזיאון תל אביב לאמנות ''Muzeon Tel Aviv Leomanut'') is an art museum in Tel Aviv, Israel. The museum is dedicated to the preservation and display of modern and contemporary art from Israel and aro ...

File:Georges Braque, 1910, Violon, verre et couteau (Still Life with Violin, Glass and Knife), oil on canvas, 51 × 67 cm, oval, National Gallery, Prague.jpg, Georges Braque, 1910, ''Violon, verre et couteau'' (''Still Life with Violin, Glass and Knife''), oil on canvas, 51 × 67 cm, oval,

National Gallery, Prague The National Gallery Prague ( cz, Národní galerie Praha, NGP), formerly the National Gallery in Prague (), is a state-owned art gallery in Prague, which manages the largest collection of art in the Czech Republic and presents masterpieces of Cze ...

File:Georges Braque, 1911, Nature Morte (The Pedestal Table), oil on canvas, 116.5 x 81.5 cm, Georges Pompidou Center, Paris.jpg, Georges Braque, 1911, ''Nature Morte (The Pedestal Table)'', oil on canvas, 116.5 x 81.5 cm, Georges Pompidou Center, Paris File:Georges Braque, 1911-12, Man with a Guitar (Figure, L’homme à la guitare), oil on canvas, 116.2 x 80.9 cm (45.75 x 31.9 in), Museum of Modern Art, New York.jpg, Georges Braque, 1911–12, ''Man with a Guitar (Figure, L'homme à la guitare)'', oil on canvas, 116.2 x 80.9 cm,

Museum of Modern Art The Museum of Modern Art (MoMA) is an art museum located in Midtown Manhattan, New York City, on 53rd Street between Fifth and Sixth Avenues. It plays a major role in developing and collecting modern art, and is often identified as one of t ...

Jean Metzinger

Metzinger, following Picasso and Braque, was chronologically the third Cubist artist, observed Apollinaire.S. E. Johnson, 1964, ''Metzinger, Pre-Cubist and Cubist Works, 1900–1930'', International Galleries, Chicago Describing Metzinger, Apollinaire claims this 'great painter's work had not yet been fully appreciated, despite the design, composition, the contrasted lights and an overall style'. His works were "set apart" above and beyond many of the works of his contemporaries. "It was then that Jean Metzinger, joining Picasso and Braque, founded the Cubist City." There was "nothing incomplete" in the works of Metzinger. His works were the "fruit of a rigorous logic" writes the author. When explaining the art of our epoch, "his work will be one of the surest documents". Metzinger's paintings contained their own 'explanation'. For Apollinaire this was a case "unique in the history of art". For Apollinaire, Metzinger had purity; "his meditations take beautiful forms whose harmony tends to approach the sublime... entirely stripped of all that was known before him. ..Each one of his pictures contains a judgment of the universe and his entire work resembles a nocturnal firmament when it is clear, free from all clouds and trembling with adorable lights. There is nothing incomplete in his works, poetry ennobles the smallest details." File:Jean Metzinger, 1910, Nu à la cheminée, published in Les Peintres Cubistes, 1913.jpg, Jean Metzinger, 1910, '' Nu à la cheminée (Nude)'', dimensions and whereabouts unknown 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)'', 1911, 75.9 x 70.2 cm,

Philadelphia Museum of Art The Philadelphia Museum of Art (PMoA) is an art museum originally chartered in 1876 for the Centennial Exposition in Philadelphia. The main museum building was completed in 1928 on Fairmount, a hill located at the northwest end of the Benjamin ...

. Also reproduced in '' Du "Cubisme"'' (1912) File:Jean Metzinger, 1911-12, La Femme au Cheval - The Rider.jpg, Jean Metzinger, 1911–12, '' La Femme au Cheval (Woman with a horse)'', oil on canvas, 162 x 130 cm,

Statens Museum for Kunst The National Gallery of Denmark ( da, Statens Museum for Kunst, also known as "SMK", literally State Museum for Art) is the Danish national gallery, located in the centre of Copenhagen. The museum collects, registers, maintains, researches and han ...

, Denmark File:Jean Metzinger, 1911-12, The Harbor, location unknown, reproduced in Du "Cubism" 1912.jpg, Jean Metzinger, 1911–12, '' Le Port (The Harbor)''. Exhibited at the 1912

, Paris. Also reproduced in '' Du "Cubisme"''

Albert Gleizes

The works of Gleizes show "powerful harmonies", but Apollinaire warns of confounding his paintings with the "theoretical cubism" of the "scientific painters". Referring to the writings of Gleizes, Apollinaire cites the will of the artist to "bring back his art to his simplest elements". Gleizes had understood the influence of Cézanne on the Cubists,Albert Gleizes, ''The Epic, From immobile form to mobile form, From Cézanne to Cubism'', Kubismus, 1928 and Le Rouge et le Noir, 1929, translation by Peter Brooke
/ref> writes Apollinaire. The work of Gleizes, he continues, has "a degree of plasticity such that all the elements which constitute the individual characters are represented with the same dramatic majesty". Majesty above all characterized the art of Gleizes, bringing a startling innovation to contemporary art, as few of the modern painters had done before. "This majesty arouses and provokes the imagination... the immensity of things. This art is vigorous... realized by a force of the same sort as that which realized the Pyramids and the Cathedrals, the constructions in metal, the bridges and the tunnels." File:Albert Gleizes, 1910, Femme aux Phlox, oil on canvas, 81 x 100 cm, exhibited Armory Show, New York, 1913, The Museum of Fine Arts, Houston..jpg, Albert Gleizes, 1910, '' La Femme aux Phlox (Woman with Phlox)'', oil on canvas, 81 x 100 cm, exhibited

Armory Show The 1913 Armory Show, also known as the International Exhibition of Modern Art, was a show organized by the Association of American Painters and Sculptors in 1913. It was the first large exhibition of modern art in America, as well as one of ...

, New York, 1913,

Museum of Fine Arts, Houston The Museum of Fine Arts, Houston (MFAH), is an art museum located in the Houston Museum District of Houston, Texas. With the recent completion of an eight-year campus redevelopment project, including the opening of the Nancy and Rich Kinder Buil ...

File:Albert Gleizes, La Chasse, 1911, oil on canvas, 123.2 x 99 cm.jpg, Albert Gleizes, 1911, '' La Chasse (The Hunt)'', oil on canvas, 123.2 x 99 cm File:Albert Gleizes, 1911, Nature morte (Still Life), published in Les Peintres Cubistes, 1913.jpg, Albert Gleizes, 1911, ''Nature morte'' (''Still Life''), requisition by the Nazis in 1937, and missing since File:Albert Gleizes, l'Homme au Balcon, 1912, oil on canvas, 195.6 x 114.9 cm, Philadelphia Museum of Art.jpg, Albert Gleizes, 1912, '' l'Homme au Balcon, Man on a Balcony (Portrait of Dr. Théo Morinaud)'', oil on canvas, 195.6 x 114.9 cm,

Marie Laurencin

The art of Laurencin (and women more generally) brought a "new vision full of the joy of the universe", an "entirely feminine aesthetic" writes Apollinaire. As an artist, he placed Laurencin between Picasso and Le Douanier Rousseau, not as a hierarchical indication, but as a statement of relationship. "Her art dances, like Salome, between that of Picasso, who like a new John the Baptist bathes all the arts in a baptism of light, and that of Rousseau, a sentimental Herod." The author states the similarities to dance and "rhythmic enumeration, infinitely gracious in painting". :"Feminine Art, the art of Laurencin, tends to become a pure arabesque humanized by an attentive observation of nature, which, being expressive, forsakes simple decoration while remaining just as agreeable." File:Marie Laurencin, 1909, Réunion à la campagne (Apollinaire et ses amis), oil on canvas, 130 x 194 cm, Musée Picasso, Paris.jpg, Marie Laurencin, 1909, ''Réunion à la campagne'' (''Apollinaire et ses amis''), oil on canvas, 130 x 194 cm,

Musée Picasso :''This article refers to the museum in Paris. There are a number of other Picasso museums.'' The Musée Picasso ( en, Picasso Museum) is an art gallery located in the Hôtel Salé ( en, Salé Hall) in rue de Thorigny, in the Marais district ...

, Paris File:Marie Laurencin, 1910-11, Les jeunes filles, Jeune Femmes (Young Girls), oil on canvas, 115 x 146 cm, Moderna Museet, Stockholm.jpg, Marie Laurencin, 1910–11, ''Les jeunes filles'' (''Jeune Femmes, Young Girls''), oil on canvas, 115 x 146 cm. Exhibited

, 1911, Moderna Museet, Stockholm File:Marie Laurencin, 1911, Die Jungen Damen, Les jeunes femmes, The young women.jpg, Marie Laurencin, 1911, ''Les jeunes femmes'' (''Die Jungen Damen, The young women'') File:Marie Laurencin, Femme à l'éventail, Reproduced in Du "Cubisme", 1912.jpg, Marie Laurencin, ''Femme à l'éventail'' (''Woman with a fan''). Also reproduced in '' Du "Cubisme"''

=Henri Rousseau

= Rousseau had past away in September 1910. Apollinaire made clear the great esteem held by the Cubist painters for his works, calling Rousseau the "Inhabitant of Delight". It was for Apollinaire the qualities of his work that made his painting "so charming to look at". Few artists had been mocked during their lifetime as Rousseau, and even fewer had faced with equal calm the hail of insults. And happily, writes Apollinaire, he "was able to find, in insults and mockeries, evidence that even the ill-intentioned could not disregard his work". Rousseau had painted two portraits of Apollinaire: "I often watched him at work, and I know the care he gave to the tiniest details; he had the capacity to keep the original and definitive conception of his picture always before him until he had realized it; and he left nothing, above all, nothing essential, to chance. Its nervous draftsmanship, variety, charm, and delicacy of tones make this work's excellence. His pictures of flowers show the resources of charm and emphasis in the soul and hand of the Douanier."

Juan Gris

Gris had "meditated on everything modern", painting "to conceive only new structures" and "materially pure forms".The Little Review: Quarterly Journal of Art and Letters, Vol. 9, No. 2: Miscellany Number, Anderson, Margaret C. (editor), New York, 1922-12, Winter 1922, pp. 49-60
/ref> Apollinaire compares the work of Gris with the "scientific cubism" of Picasso, "his only master", a type of drawing that was geometrical individualized, "a profoundly intellectual art, according to color a merely symbolic significance". His works had "purity, scientifically conceived", and "from this purity parallels are sure to spring". File:Juan Gris, 1912, La Guitare (Guitar and Glasses), oil on canvas, 30 x 58 cm, private collection.jpg, Juan Gris, 1912, ''La Guitare'' (''Guitar and Glasses''), oil on canvas, 30 x 58 cm, private collection File:Juan Gris, 1912, Les Cigares (The Packet of Cigars), oil on canvas, 22 x 28 cm, private collection.jpg, Juan Gris, 1912, ''Les Cigares'' (''The Packet of Cigars''), oil on canvas, 22 x 28 cm, private collection File:Juan Gris, 1912, Portrait (Etude pour le Portrait de Germaine Raynal), pencil and charcoal on paper, 36 x 26.5 cm, private collection.jpg, Juan Gris, 1912, ''Portrait'' (''Etude pour le Portrait de Germaine Raynal''), pencil and charcoal on paper, 36 x 26.5 cm, private collection File:Juan Gris - Man in a Café.jpg, Juan Gris, 1912, ''Man in a Café'', oil on canvas, 127.6 x 88.3 cm,

. Only the upper half of this painting was reproduced in ''Les Peintres Cubistes''

Fernand Léger

Léger is described as a talented artist. "I love his art because it is not scornful, because it knows no servility, and because it does not reason. I love your light colors 'couleurs légers'' O Fernand Léger! Fantasy does not lift you to fairylands, but it grants you all your joys." File:Fernand Léger, 1910, Nudes in the forest (Nus dans la forêt), oil on canvas, 120 x 170 cm, Kröller-Müller Museum.jpg, Fernand Léger, 1910, ''Nudes in the forest'' (''Nus dans la forêt''), oil on canvas, 120 x 170 cm,

Kröller-Müller Museum The Kröller-Müller Museum () is a national art museum and sculpture garden, located in the Hoge Veluwe National Park in Otterlo in the Netherlands. The museum, founded by art collector Helene Kröller-Müller within the extensive grounds of ...

File:Fernand Léger, 1911, Étude pour trois portraits (Study for Three Portraits), oil on canvas, 194.9 × 116.5 cm, Milwaukee Art Museum.jpg, Fernand Léger, 1911, ''Étude pour trois portraits'' (''Study for Three Portraits''), oil on canvas, 194.9 × 116.5 cm,

Milwaukee Art Museum The Milwaukee Art Museum (MAM) is an art museum in Milwaukee, Wisconsin. Its collection contains nearly 25,000 works of art. Location and Visit Located on the lakefront of Lake Michigan, the Milwaukee Art Museum is one of the largest art museu ...

File:Fernand Léger, 1912, Les Fumées, reproduced in Les Peintres Cubistes, 1913.jpg, Fernand Léger, 1912, ''Les Fumées'' File:Fernand Léger, Woman in Blue, Femme en Bleu, 1912, oil on canvas, 193 x 129.9 cm.jpg, Fernand Léger, ''La Femme en Bleu (Woman in Blue)'', 1912, oil on canvas, 193 x 129.9 cm, Kunstmuseum Basel

Francis Picabia

Just as the Impressionists and the Fauves, Picabia "translated light into color", arriving at "an entirely new art". His color was not just a "luminous transposition" without "symbolic significance". It was a "form and light of whatever is represented". As in the works of Robert Delaunay, color was for Picabia "the ideal dimension", one that incorporated all other dimensions. Form was symbolic, while the color remained formal. It was "a perfectly legitimate art, and surely a very subtle one". Color was saturated with energy and prolonged in space. The title for Picabia was intellectually inseparable from the work to which it referred, playing a role as actual objects. Analogous to Picabia's titles, real objects, "are the pictorial arabesques in the backgrounds of Laurencin's pictures. With Albert Gleizes this function is taken by the right angles which retain light, with Fernand Léger by bubbles, with Metzinger by vertical lines, parallel to the sides of the frame cut by infrequent echelons." Apollinaire found equivalence in the works of all the great painters. "It gives pictorial intensity to a painting, and this is enough to justify its legitimacy." It was not a question of abstraction, but of "direct pleasure". Surprise played an important role. "Can the taste of a peach be called abstract?" mused the author. Each picture of Picabia "has a definite existence, the limits of which are set by the title". Picabia's paintings were so far from ''a priori'' abstractions that "the painter can tell you the history of each one of them. ''Dance at the Spring'' is simply the expression of a plastic emotion experienced spontaneously near Naples". File:Francis Picabia, Paysage (Landscape), reproduced in Les Peintres Cubistes, 1913.jpg, Francis Picabia, Paysage (Landscape) File:Francis Picabia, 1911-12, Paysage à Cassis (Landscape at Cassis), oil on canvas, 50.3 × 61.5 cm, private collection.jpg, Francis Picabia, 1911–12, ''Paysage à Cassis'' (''Landscape at Cassis''), oil on canvas, 50.3 × 61.5 cm, private collection File:Francis Picabia, 1911, Paysage (Landscape), reproduced in Les Peintres Cubistes, 1913.jpg, Francis Picabia, c.1912, ''L'Arbre rouge'' (''Paysage'') File:Francis Picabia, 1912, Tarentelle, oil on canvas, 73.6 x 92.1 cm, Museum of Modern Art, New York.jpg, Francis Picabia, 1912, ''Tarentelle'', oil on canvas, 73.6 x 92.1 cm,

, New York

Marcel Duchamp

To date, Duchamp's production had been too spars and differed considerably from one painting to the next. Apollinaire hesitated to make any broad generalizations, noting rather Duchamp's apparent talent and his abandoning of "the cult of appearances". To free his art from all perceptions, Duchamp wrote the titles on the paintings themselves. "This literature, which so few painters have been able to avoid, disappears from his art, but not poetry. He uses forms and colors, not to render appearances, but to penetrate the essential nature of forms and formal colors... Perhaps it will be the task of an artist as detached from aesthetic preoccupations, and as intent on the energetic as Marcel Duchamp, to reconcile art and the people." File:Marcel Duchamp, 1910, Joueur d'échecs (The Chess Game), oil on canvas, 114 x 146.5 cm, Philadelphia Museum of Art.jpg, Marcel Duchamp, 1910, ''Joueur d'échecs'' (''The Chess Game''), oil on canvas, 114 x 146.5 cm,

File:Marcel Duchamp, 1911-12, Nude (Study), Sad Young Man on a Train (Nu -esquisse-, jeune homme triste dans un train), Peggy Guggenheim Collection, Venice.jpg, Marcel Duchamp, 1911–12, ''Nude (Study), Sad Young Man on a Train (Nu, esquisse, jeune homme triste dans un train)'', oil on cardboard mounted on Masonite, 100 x 73 cm,

Peggy Guggenheim Collection The Peggy Guggenheim Collection is an art museum on the Grand Canal in the Dorsoduro ''sestiere'' of Venice, Italy. It is one of the most visited attractions in Venice. The collection is housed in the , an 18th-century palace, which was the home ...

, Venice File:Marcel Duchamp, 1912, Le Roi et la Reine entourés de Nus vites (The King and Queen Surrounded by Swift Nudes), oil on canvas, 114.6 x 128.9 cm, Philadelphia Museum of Art.jpg, Marcel Duchamp, 1912, ''Le Roi et la Reine entourés de Nus vites'' (''The King and Queen Surrounded by Swift Nudes''), oil on canvas, 114.6 x 128.9 cm,

File:Duchamp - Nude Descending a Staircase.jpg, Marcel Duchamp, 1912, ''

Nude Descending a Staircase, No. 2 ''Nude Descending a Staircase, No. 2'' (French: ''Nu descendant un escalier n° 2'') is a 1912 painting by Marcel Duchamp. The work is widely regarded as a Modernist classic and has become one of the most famous of its time. Before its first pres ...

'', oil on canvas, 147 cm × 89.2 cm,

Appendix

Duchamp-Villon

The departure of sculpture from nature tends toward architecture, writes Apollinaire: "The utilitarian end aimed at by most contemporary architects is responsible for the great backwardness of architecture as compared with the other arts. The architect, the engineer should have sublime aims: to build the highest tower, to prepare for time and ivy the most beautiful of ruins, to throw across a harbor or a river an arch more audacious than the rainbow, and finally to compose to a lasting harmony, the most powerful ever imagined by man. Duchamp-Villon had this titanic conception of architecture. A sculptor and an architect, light is the only thing that count for him; but in all the arts, also, it is only light, the incorruptible light, that counts." File:Raymond Duchamp-Villon, 1911, Baudelaire, reproduced in Les Peintres Cubistes, 1913.jpg, Raymond Duchamp-Villon, 1911, ''Baudelaire'' File:Raymond Duchamp-Villon, 1911, Vasque décorative (detail), reproduced in Les Peintres Cubistes, 1913.jpg, Raymond Duchamp-Villon, 1911, ''Vasque décorative'' (detail) File:Raymond Duchamp-Villon, 1912, Croquis pour le Soleil, reproduced in Les Peintres Cubistes, 1913.jpg, Raymond Duchamp-Villon, 1912, ''Croquis pour le Soleil'' File:Raymond Duchamp-Villon, 1912, Projet d'hôtel, Maquette de la façade de la Maison Cubiste, published in Les Peintres Cubistes, 1913.jpg, Raymond Duchamp-Villon, 1912, Study for ''La Maison Cubiste, Projet d'Hotel (Cubist House)''

Note

Besides the artists of whom Apollinaire writes in preceding chapters, there were other artists and writers alike attached, "whether willingly or not", to the Cubist movement. ''Scientific Cubism'' was defended by Ricciotto Canudo, Jacques Nayral,

, Joseph Granié,

Maurice Raynal Portrait of Maurice Raynal (1911), by Juan Gris. Maurice Raynal (3 February 1884, Paris – 18 September 1954, Suresnes) was a French art critic and an ardent propagandist of cubism. Some publications *''Essai de Définition de la Peinture Cu ...

, Marc Brésil,

Alexandre Mercereau Alexandre Mercereau (22 October 1884, in Paris – 1945) was a French symbolist poet and critic associated with Unanimism and the Abbaye de Créteil. He founded the Villa Médicis Libre, which helped impoverished artists and operated as charitable ...

, Pierre Reverdy, André Tudesq, , Georges Deniker, Jacques Villon, and

Louis Marcoussis Louis Marcoussis, formerly Ludwik Kazimierz Wladyslaw Markus or Ludwig Casimir Ladislas Markus, (1878 or 1883, Łódź – October 22, 1941, Cusset) was a painter and engraver of Polish origin who lived in Paris for much of his life and became ...

. ''Physical Cubism'' was supported in the press by the writers listed above, in addition to ,

Olivier Hourcade Olivier is the French form of the given name Oliver. It may refer to: * Olivier (given name), a list of people and fictional characters * Olivier (surname), a list of people * Château Olivier, a Bordeaux winery * Olivier, Louisiana, a rural po ...

, Jean Marchand,

Auguste Herbin Auguste Herbin (29 April 1882 – 31 January 1960) was a French painter of modern art. He is best known for his Cubist and abstract paintings consisting of colorful geometric figures. He co-founded the groups Abstraction-Création and Salon des ...

, and Véra. ''Orphic Cubism'' was defended by Max Goth, Pierre Dumont and . Certain artists associated with ''Instinctive Cubism'' were supported by

Louis Vauxcelles Louis Vauxcelles (born Louis Meyer; 1 January 187021 July 1943) was a French art critic. He is credited with coining the terms '' Fauvism'' (1905) and ''Cubism'' (1908). He used several pseudonyms in various publications: Pinturrichio, Vasari, ...

, René Blum (ballet), Adilphe Basler,

Gustave Kahn Gustave Kahn (21 December 1859, in Metz – 5 September 1936, in Paris) was a French Symbolist poet and art critic. He was also active, via publishing and essay-writing, in defining Symbolism and distinguishing it from the Decadent Movement. P ...

Filippo Tommaso Marinetti Filippo Tommaso Emilio Marinetti (; 22 December 1876 – 2 December 1944) was an Italian poet, editor, art theorist, and founder of the Futurist movement. He was associated with the utopian and Symbolist artistic and literary community Abbaye d ...

, and Michel Puy. According to Apollinaire this trend included

Georges Rouault Georges Henri Rouault (; 27 May 1871, Paris – 13 February 1958) was a French painter, draughtsman and print artist, whose work is often associated with Fauvism and Expressionism. Childhood and education Rouault was born in Paris into a po ...

André Derain André Derain (, ; 10 June 1880 – 8 September 1954) was a French artist, painter, sculptor and co-founder of Fauvism with Henri Matisse. Biography Early years Derain was born in 1880 in Chatou, Yvelines, Île-de-France, just outside Paris. In ...

Raoul Dufy Raoul Dufy (; 3 June 1877 – 23 March 1953) was a French Fauvist painter. He developed a colorful, decorative style that became fashionable for designs of ceramics and textile as well as decorative schemes for public buildings. He is noted ...

, Auguste Chabaud,

Jean Puy Jean Puy (8 November 1876 in Roanne, Loire – 6 March 1960 in Roanne) was a French Fauvist artist. Life and work He studied architecture at the École nationale des beaux-arts de Lyon and painting with Jean-Paul Laurens at l'Académie Julian ...

Kees van Dongen Cornelis Theodorus Maria "Kees" van Dongen (26 January 1877 – 28 May 1968) was a Dutch-French painter who was one of the leading Fauves. Van Dongen's early work was influenced by the Hague School and symbolism and it evolved gradually into a r ...

, Gino Severini, and Umberto Boccioni. In addition to Duchamp-Villon, other Cubist sculptors included Auguste Agéro,

Alexander Archipenko Alexander Porfyrovych Archipenko (also referred to as Olexandr, Oleksandr, or Aleksandr; uk, Олександр Порфирович Архипенко, Romanized: Olexandr Porfyrovych Arkhypenko; February 25, 1964) was a Ukrainian and American ...

, and

Constantin Brâncuși Constantin Brâncuși (; February 19, 1876 – March 16, 1957) was a Romanian sculptor, painter and photographer who made his career in France. Considered one of the most influential sculptors of the 20th-century and a pioneer of modernism, ...

References

External links

Apollinaire, Guillaume, ''Sur la peinture'', ''Peintres nouveaux'', (Méditations esthétiques) Les Peintres cubistes, Figuière, 1913. (Full text in French)

Agence Photographique de la Réunion des musées nationaux et du Grand Palais des Champs-Elysées
{{DEFAULTSORT:Cubist Painters, Aesthetic Meditations, The Philosophy books Books about visual art Artists' books 1913 books French books Aesthetics books Contemporary philosophical literature Cubism Ethics books Works by Guillaume Apollinaire Books about ideologies Books about artists Articles containing video clips