Albert Gleizes – Gallery of artworks created between 1910 and 1931

Albert Gleizes — one of the founding figures of Cubism, a painter and theorist who played a key role in shaping the language of the early avant-garde. Unlike many of his contemporaries, he sought not to dismantle the pictorial tradition but to rethink it through a new spatial logic — rhythmic, constructive, and independent of imitation of nature. His works are built on the interplay of planes and the search for a stable plastic “rhythm” that becomes the central element of composition.

The artistic world of Gleizes is rooted in a pursuit of harmony and internal structure. His theoretical work “Du ‘Cubisme’”, written together with Jean Metzinger, became one of the most influential texts of early Cubism and shaped the direction of the European avant-garde. Thanks to his analytical approach and consistency in artistic exploration, Gleizes secured a special place in the history of Modernism — as an artist striving for order and clarity where many saw only experimentation.

Gleizes was convinced that art should convey not outward likeness but the inner organization of form and space. His participation in Cubist exhibitions, his work with the “Section d’Or” group, and his active theoretical discussions established him as one of the central figures of the movement.

According to one interpretation, the restraint of some of his later works is linked to his gradual departure from the radical experiments of Cubism and his search for a more balanced, spiritually refined pictorial system.

The gallery features the most significant works by Albert Gleizes — the artist who, together with Jean Metzinger, laid the theoretical foundation of Cubism. Here you will find canvases that reveal how Gleizes gradually moved away from Classicism toward a powerful geometric structure, transforming composition into a rhythmic organism. Works such as “L'Homme au balcon”, “Portrait de Jacques Nayral”, or his dynamic urban scenes became not only milestones of his personal search but also anchor points in the development of the entire Cubist movement.
This selection offers an opportunity to see how the artist’s vision evolved: from the more object-based early Cubism to a mature system of plastic “rhythms” in which form and space cease to be objects of depiction and become independent participants in the composition.

Albert Gleizes - Les Arbres

1910, 41 × 27 cm

Albert Gleizes - Le Chemin

1911, 146 × 114 cm

Albert Gleizes - Paesaggio Di Meudon

1911, 22 × 17 cm

Albert Gleizes - Portrait De Jacques Nayral

1911, 162 × 114 cm

Albert Gleizes - Paysage

1911, 71 × 91 cm

Albert Gleizes - Landscape Paysage

1912, 37 × 43 cm

Albert Gleizes - Homme Au Balcon

1912, 196 × 115 cm

Albert Gleizes - Le Depiquage Des Moissons

1912, 269 × 353 cm

Albert Gleizes - Paisage

1912, 38 × 43 cm

Albert Gleizes - Tete Homme

1913, 27 × 29 cm

Albert Gleizes - Homme Au Hamac

1913, 130 × 155 cm

Albert Gleizes - Landscape With Mill

1913

Albert Gleizes - Arbre Et Fleuve

1914, 97 × 130 cm

Albert Gleizes - Femmes Assises Une Fentre

1914, 114 × 145 cm

Albert Gleizes - Portrait Of An Army Doctor

1914, 120 × 95 cm

Albert Gleizes - Portrait Of Igor Stravinsky

1914, 131 × 116 cm

Albert Gleizes - Landscape

1914, 73 × 92 cm

Albert Gleizes - Paysage Cubiste

1914, 28 × 35 cm

Albert Gleizes - Jazz

1915, 73 × 73 cm

Albert Gleizes - Key

1915, 99 × 76 cm

Albert Gleizes - Acrobats

1916, 121 × 85 cm

Albert Gleizes - On A Sailboat

1916

Albert Gleizes - In Port

1917, 153 × 120 cm

Albert Gleizes - Paysage Des Bermudes

1917, 81 × 70 cm

Albert Gleizes - Cavalaire Ou Le Village

1922, 105 × 75 cm

Albert Gleizes - Blu Sympfony

1931, 198 × 132 cm

Evaluating Gleizes’ work, relying on our own judgments and criteria, a sense of taste and balance, we have selected four paintings by Gleizes. One of the dynasty’s principles states:

There is nothing more complex than simplicity.

Albert Gleizes had a profound influence on the development of Cubism and the avant-garde. His theoretical writings, participation in the Section d'Or, teaching activities, and artistic explorations made him one of the key figures of European modernism. The geometrization of forms, rhythmic structure, and pursuit of order define his contribution to art history.

The works by Gleizes we selected are those in which Albert did not go too far. According to Gostev's, these are precisely the works that did not cross the line of perceptual simplicity:

Albert Gleizes - Paisaje Cerca De Montreuil

1914

Albert Gleizes - The Bridges Of Paris

1912, 60 × 73 cm

Albert Gleizes - Composition Avec Maison Et Eglise

1912, 39 × 33 cm

Albert Gleizes - Still Life

1916, 74 × 26 cm