Artist: Pieter Lategan
Title: Redraw of Albert Gleizes Sketch of Jacques Nayral
Medium: A4 Paper Pencil, H, HB, B, B2
This is an image of Albert Gleizes brother in law which he has drawn. 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. He and Jean Metzinger wrote the first major treatise on Cubism. Albert spends four years in New York and played an important role in making America aware of modern art. He was the founder and participant in the Abbaye de Créteil.
The Abbaye de Créteil was a utopian ( is an imagined community or society that possesses highly desirable or nearly perfect qualities for its citizens. The opposite of a utopia is a dystopia) artistic and literary community founded during the month of October 1906. Créteil Abbey named after a gathering place in a suburb of Paris. The Abbaye de Créteil community lasted only two years – ending in February of 1908. The group was inspired by the French Renaissance writer Francois Rabelais, who had written about a self-supporting commune in a monastery called the Abbaye de Thelema that had championed group labor and intellectual self-improvement.
Albert Gleizes was born and raised in Paris. He began to paint self-taught around 1901 in the impressionist tradition. Albert Gleizes was directly involved with Cubism, both as an artist and principal theorist of the movement. In Gleizes’ paintings of the crucial year of 1910, writes Daniel Robbins, “we see the artist’s volumetric approach to Cubism and his successful union of a broad field of vision with a flat picture plane.”
In 1911 Gleizes exhibited his Portrait de Jacques Nayral. This portrait painting was described as Gleizes’ first major Cubist work. Jacques Nayral was a young modernist poet, dramatist, publisher, and occasional sports writer. He was a friend of Gleizes and married his sister Mireille in 1912. Gleizes began working on his portrait in 1910. He was delighted to paint a portrait of Nayral because his face corresponded well to the solid, faceted, architectural qualities he had sought. Nyaral was killed in action in December 1914, at the age of thirty-five, in an attack on a German trench near Arras.