There is a clear distinction between the cubists of Canweiler and the cubists of the Salon. Until 1914, Braque, Picasso and Leger (to a lesser extent), Gris received the support of the only interested art dealer in Paris, Daniel-Henri Canweiler, who guaranteed them an annual income for the exclusive right to acquire their work. I sold them only to a small circle of connoisseurs. His support gave artists the freedom to experiment in relative privacy. Picasso worked at Montmartre until 1912, while Braque and Gris remained there until the end of World War I. Leger settled on Montparnasse.
Albert Gleize Man on a Balcony (Portrait of Dr. Théo Morinaud) (1912, oil on canvas, 195.6 x 114.9 cm, Philadelphia Museum of Art). Finished in the same year as the book of Albert Glease “On Cubism” in collaboration with Jean Metzenge. Exhibited at the Autumn Salon in Paris in 1912, and at the Arsenal Exhibition in New York, Chicago and Boston in 1913.
At the same time, salon cubists built their reputation, first of all, regularly exhibiting at the Autumn Salon and the Salon Continue reading
Landscape is a young genre of fine art. The image of nature has emerged relatively recently in an independent niche. Until the XVII-XVIII centuries, the concept of “landscape” did not exist. Pieces of nature with scanty prints accompanied the flat icon-writing, interspersed in historical plots and myths. Its flowering story of nature reached around the middle of the XIX century. This leap is associated with the invention of a tube-like pigment of paints, when the artist could work away from the workshop and engage in an open air.
Plein air painting enriched and diversified landscape paintings, allowed to go on trips to write a number of thematic subjects – landscapes of the east, Oceania, rural expanses and forests. Continue reading