State of the Modern Art World

The first group exhibition of Cubism transpired at the 1911 Salon des Indépendants in Paris. The result of the show was major scandal. Both art critics and the public were outraged by the obscurity of the subject matter represented no longer as seen, but as cones, cubes and spheres. The predominance of sharp geometrical faceting and the fact that a group of artists are all working in similar directions, gave rise to the term 'Cubism'. Although similar terms (i.e., "cubes") had been used before in relation to the works of Jean Metzinger, Robert Delaunay (1906, 1907) and Braque (1908), the term "Cubism" emerged for the first time at the inauguration of the 1911 Indépendants; imposed by 'scandal-mongering journalists who wished to create sensational news' (in the words of Albert Gleizes). The term was used derogatorily to describe the diverse geometric concerns reflected in the paintings of five artists in continual communication with one another: Metzinger, Gleizes, Delaunay, Henri Le Fauconnier and Fernand Léger (but not Pablo Picasso or Georges Braque, both absent from the Salon exhibitions).

Some of the most conspicuous Cubists, roughly between 1911 and 1914, coming to prominence in the wake of their controversial showing at the 1911 Indépendants, were featured in the press during these crucial years. The following articles represent examples of such press coverage, where images accompany the text.

Paintings by Albert Gleizes, 1910-11, Paysage, Landscape; Juan Gris (drawing), Jean Metzinger, c.1911, Nature morte, Compotier et cruche décorée de cerfs. Published on the front page of El Correo Catalán, 25 April 1912

Source: Evelio Bulbena, Exposición cubista en el Salón Dalmau, Notas de Arte (?), El Correo Catalán, 25 d’abril de 1912

(center) Jean Metzinger, c.1913, Le Fumeur (Man with Pipe), Carnegie Museum of Art, Pittsburgh; (left) Alexander Archipenko, 1914, Danseuse du Médrano (Médrano II), (right) Archipenko, 1913, Pierrot-carrousel, Solomon R. Guggenheim Museum, New York. Published in Le Petit Comtois, 13 March 1914 (nameplate added for the record)

Source: Culture Besançon: Le Petit Comtois, Au Salon des Indépendants, 13 March 1914

Paintings by Fernand Léger, 1912, La Femme en Bleu, Woman in Blue, Kunstmuseum Basel; Jean Metzinger, 1912,  Dancer in a café, Albright-Knox Art Gallery; and sculpture by Alexander Archipenko, 1912, La Vie Familiale, Family Life (destroyed). Published in Les Annales politiques et littéraires, n. 1529, 13 October 1912 (nameplate added for the record)

Source, Gallica: Les Annales politiques et littéraires, n. 1529, 13 October 1912

Paintings by Gino Severini, 1911, Souvenirs de Voyage; Albert Gleizes, 1912, Man on a Balcony, L’Homme au balcon; Severini, 1912-13, Portrait de Mlle Jeanne Paul-Fort; Luigi Russolo, 1911-12, La Révolte. Published in Les Annales politiques et littéraires, n. 1916, 14 March 1920 (nameplate added for the record)

Source, Gallica: Les Annales politiques et littéraires, number 1916, 14 March 1920

Paintings by Gino Severini, 1911, La Danse du Pan-Pan, and 1913, L’autobus. Published in Les Annales politiques et littéraires, 15 March 1914 (nameplate added for the record)

Source, Gallica: Les Annales politiques et littéraires, Le Paradoxe Cubiste, 1920/03/14 (N1916)

Paintings by Henri Le Fauconnier, 1910-11, L'Abondance, Haags Gemeentemuseum; Jean Metzinger, 1911, Le Goûter, Tea Time, Philadelphia Museum of Art; Robert Delaunay, 1910-11, La Tour Eiffel. Published in La Veu de Catalunya, 1 February 1912 (nameplate added for the record)

Source: Xenius, Pel cubisme a l’estructuralisme, Página Artística de la Veu, La Veu de Catalunya, 1 February 1912

Jean Metzinger, 1910-11, Paysage; Gino Severini, 1911, La danseuse obsedante; Albert Gleizes, 1912, l'Homme au Balcon, Man on a Balcony (Portrait of Dr. Théo Morinaud). Published in Les Annales politiques et littéraires, Sommaire du n. 1536, décembre 1912 (nameplate added for the record)

Source, Gallica: Les Annales politiques et littéraires, Sommaire du n. 1536, December 1912

Jean Metzinger, c.1911, Nature morte, Compotier et cruche décorée de cerfs; Juan Gris, 1911, Study for Man in a Café; Marie Laurencin, c.1911, Testa ab plechs; August Agero sculpture, Bust; Juan Gris, 1912, Guitar and Glasses, or, Banjo and Glasses. Published in Veu de Catalunya, 25 April 1912 (nameplate added for the record)

Source: Veu de Catalunya, La. Any 22, núm. 4637-4652 (16-30 abr. 1912)

Jean Metzinger, Le Goûter, Tea Time, Philadelphia Museum of Art. Published in Le Journal, 30 September 1911 (nameplate added for the record)

Source: Le Journal, Le Salon d’Automne, Saturday 30 September 1911, p. 2

Paintings by Juan Gris, Bodegón; August Agero (sculpture); Jean Metzinger, 1910-11, Deux Nus, Two Nudes, Gothenburg Museum of Art; Marie Laurencin (acrylic); Albert Gleizes, 1911, Paysage, Landscape. Published in La Publicidad, 26 April 1912 (nameplate added for the record)

Source: Evelio Bulbena, Maurice Raynal, Exposición de obras de pintores cubistas. (Escrito expresamente para La Publicidad), Arte y Artistas, Suplemento Artístico de La Publicidad, 26 abril de 1912

Umberto Boccioni, 1911, La rue entre dans la maison; Luigi Russolo, 1911, Souvenir d’une nuit. Published in Les Annales politiques et littéraires, 1 December 1912

Source, Gallica: Les Annales politiques et littéraires, Le Cubisme devant les Artistes, 1912/12/01 (A30, T59, N1536)

Le Cubisme devant les Artistes, Les Annales politiques et littéraires, 1 December 1912.

This is the entire three page article titled Le Cubisme devant les Artistes. Various critics express their often severe opinions on the topic of Cubism and Futurism. On the third page, the French Cubist artist, theoretician and philosopher Albert Gleizes presents his response in defense of the new art. 

Source, Gallica: Les Annales politiques et littéraires, 1912/12/01 (A30, T59, N1536), pp. 473 - 475

Alexander Mittelmann

aka Coldcreation

alexmittelmann@gmail.com