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Albert Gleizes
'Descente de Croix' (Descent from the Cross) — 1920s French Cubism
1928

Name: 'Descente de Croix' (Descent from the Cross) — 1920s French Cubism
Brand: Albert Gleizes
Rating: 5 (53 reviews)

$4,500

£3,392.71

€3,967.50

CA$6,369.31

A$6,483.97

CHF 3,734.02

MX$78,137.87

NOK 43,341.53

SEK 43,728.93

DKK 29,654.15

About the Item

Albert Gleizes, 'Descente de Croix', color pochoir, 1928, edition c. 50. Signed and dated in pencil. A fine, painterly impression, with fresh colors, on heavy, cream wove paper; the full sheet with margins (3 to 4 inches), in very good condition. The publisher's ink stamp 'EDITIONS MOLY-SABATA' beneath the image, lower left. Matted to museum standards, unframed. Image size 12 x 14 inches (305 x 356 mm); sheet size 18 x 22 inches (457 x 559 mm). ABOUT THE IMAGE After the 1927 painting 'Descente de Croix', one of three religious-themed works that Gleizes developed as preliminaries for murals at the church at Serrières, France, the project was terminated at its final phase, and Gleizes commissioned master printer Robert Pouyaud to create prints of the paintings, closely overseeing the production. ABOUT THE MEDIUM Pochoir is a refined stencil-based technique employed to create multiples or to add color to prints produced in other mediums. Characterized by its crisp lines and rich color, the print-making process was most popular from the late 19th century through the 1930s, with its center of activity in Paris. The pochoir process began with the analysis of an image’s composition, including color tones and densities. The numerous stencils (made of aluminum, copper, or zinc) necessary to create a complete image were then designed and hand-cut by the 'découpeur.' The 'coloristes' applied watercolor or gouache pigments through the stencils, skillfully employing a variety of different brushes and methods of paint application to achieve the desired depth of color and textural and tonal nuance. The pochoir process, by its handcrafted methodology, resulted in the finished work producing the effect of an original painting, and in fact, each print was unique. ABOUT THE ARTIST Albert Gleizes (1881-1953), born in Paris, France, was a pioneering figure in the development of abstract art and one of the leading proponents of Cubism. His contributions to the art world extended beyond his paintings; he was also a prolific writer and theoretician, advocating for a new approach to art that emphasized the geometric abstraction of form and a departure from representational traditions. Gleizes initially studied painting at the Académie Julian and the École des Beaux-Arts in Paris, where he was exposed to the academic conventions of the time. However, his artistic vision was profoundly influenced by encounters with avant-garde movements, including Fauvism and the work of Paul Cézanne. These influences led Gleizes to experiment with form and color, gradually moving away from traditional representation toward a more abstract and geometric style. After completing his secondary schooling, Gleizes spent four years in the French army and then began pursuing a career as a painter, primarily doing landscapes. Initially influenced by the Impressionists, he was only twenty-one years of age when his work titled ‘La Seine à Asnières’ was exhibited at the Société Nationale des Beaux-Arts in 1902. The following year, he was part of the first Salon d'Automne and soon came under the influence of Fernand Léger, Robert Delaunay, Jean Metzinger, and Henri Le Fauconnier. In 1907, Gleizes and some of his friends pursued the idea of creating a self-supporting community of artists that would allow them to develop their art free of any commercial concerns. For nearly a year, Gleizes , with other painters, poets, musicians, and writers, lived at a large house in Créteil, but a lack of funds forced them to give up their facility in early 1908, and Gleizes moved temporarily into La Ruche, the artist commune in the Montparnasse Quarter of Paris. In the early 1910s, Gleizes became associated with the Cubist movement, which was spearheaded by artists such as Pablo Picasso and Georges Braque. Cubism sought to represent the multidimensional aspects of reality by breaking down forms into geometric shapes and exploring multiple perspectives within a single composition. Gleizes's contributions to Cubism were significant, as he co-authored the influential treatise "Du Cubisme" (On Cubism) with Jean Metzinger in 1912, outlining the principles and theories behind the movement. With the outbreak of World War I, Albert Gleizes re-enlisted in the French army. He was put in charge of organizing entertainment for the troops and, as a result, was approached by Jean Cocteau to design the set and costumes for the William Shakespeare play, ‘A Midsummer Night's Dream.’ Discharged from the military in the fall of 1915, Gleizes and his new wife, Juliette Roche, the daughter of a prominent and wealthy French statesman, moved to New York City. From there, the couple sailed to Barcelona, Spain, where they were joined by Marie Laurencin, Francis Picabia, and his wife. The group spent the summer painting at the resort area of Tossa del Mar, and in December, Gleizes had the first solo exhibition of his works at the Galeries Dalmau in Barcelona. Returning to New York City, Gleizes began writing poetic sketches in verse and in prose. Traveling to Bermuda, he painted a number of landscapes, but when the war in Europe ended, he returned to France, where his career evolved into teaching through writing, and he became involved with the committee of the Unions Intellectuelles Françaises. In 1927, still dreaming of the communal days in Créteil, he founded an artist's colony at a rented house called the Moly-Sabata in Sablons near his wife's family home in Serrières in the Ardèche département in the Rhône Valley. In 1931, Gleizes was part of the committee of Abstraction-Création that acted as a forum for international non-representational art. By this time, his work reflected the strengthening of his spiritual convictions, and his 1932 book, La Forme et l’histoire, examines Celtic, Romanesque, and Oriental art. On tour in Poland and Germany, he gave lectures titled Art et Religion, Art et Production, and Art et Science. In 1937, Gleizes was hired to paint murals for the Exposition Internationale des Arts et Techniques dans la Vie Moderne at the Paris World’s Fair. He collaborated with Delaunay in the Pavillon de l'Air and with Léopold Survage and Fernand Léger for the Pavillon de l'Union des Artistes Modernes. At the end of 1938, Gleizes volunteered to participate in the free seminars and discussion groups for young painters set up by Robert Delaunay at his Paris studio. In the late 1930s, the wealthy American art connoisseur Peggy Guggenheim purchased a great deal of the new art in Paris, including works by Albert Gleizes. She brought these works to the United States, which today form part of the Peggy Guggenheim Collection. During World War II, Gleizes and his wife remained in France under the German occupation. His religious convictions deepened, and at the war's end, he was hailed by some as having laid out the principles for a renewal of religious art. In 1948, Gleizes accepted an offer from a publisher in Casablanca to create a series of etchings illustrating the ‘Pensées sur l'Homme et Dieu’ of Blaise Pascal. In 1951, he was made a jury member for the Prix de Rome, and the French government awarded him the Legion of Honor. In 1952, he completed his last major work, a fresco titled ‘Eucharist’ created for a Jesuit chapel in Chantilly. Throughout his career, Gleizes remained dedicated to exploring the formal possibilities of abstraction while also incorporating elements of rhythm, color, and dynamic movement into his compositions. His style evolved over time, reflecting his ongoing engagement with modernist ideas and his interest in spirituality and metaphysics. Albert Gelizes’ work is represented in numerous museums in the United States, the United Kingdom, and Europe including the British Museum (London), Los Angeles County Museum of Art, Musée d'Art Moderne de la Ville de Paris, Musée des Beaux-Arts de Lyon (Lyon, France), Musée de Grenoble (Grenoble, France), Musée National d'Art Moderne (Centre Georges Pompidou, Paris), Museum of Modern Art (New York), National Gallery of Art (Washington, D.C.), Peggy Guggenheim Collection (Venice, Italy), Solomon R. Guggenheim Museum (New York), The Metropolitan Museum of Art (New York), Philadelphia Museum of Art, Tate Modern (London).

Creator:
Albert Gleizes (1881-1953, French)
Creation Year:
1928
Dimensions:
Height: 12 in (30.48 cm)Width: 14 in (35.56 cm)
Medium:
Stencil
Movement & Style:
Cubist
Period:
1920-1929
Condition:
Gallery Location:
Myrtle Beach, SC
Reference Number:
Seller: 1011561stDibs: LU53235789942

Materials

Charcoal, Watercolor, Gouache

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