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Bords de la Marne (Gleizes)
''Bords de la Marne'', also called ''Les Bords de la Marne'' and ''The Banks of the Marne'', is a proto-Cubist oil painting on canvas created in 1909 by the French artist, theorist and writer Albert Gleizes. In this work can be seen a departure from the representation of the observable world. The subject is treated neither as a confined symbolic allegory nor as a cultural background indicated by specific real appearance, but is instead presented in concrete and precise geometric terms. The development of Cubist and abstract art in the work of Gleizes was necessarily a transformation from the synthetic preoccupation with his subject matter. The passage of Gleizes' painting from an epic visionary figuration to total abstraction was foreshadowed during his proto-Cubist period. ''Bords de la Marne'' measures 54 × 65 cm, and is currently in the permanent collection of the Musée des Beaux-Arts de Lyon.
==History==
Gleizes' concern for construction, structural rhythms and simplification was dominant even through his short-lived Fauve-like period, when his color brightest and impasto thickest. By treating his subject matter in geometric terms and by modifying curves to become sharp, angled lines, Gleizes consistently held his compositions to the surface of the picture plane. He began to divide the surface into a series of interlocking angles and rectangles of contrasting forms. The overall rose tonality was employed by Gleizes to counter the illusion of depth. In the process Gleizes created some of his first Proto-Cubist works. His awareness of Paul Cézanne—even in the handling of paint—is evident during this period that lasted roughly from 1907 to 1909, though the process of geometric simplification is more akin to Symbolism, Pont Aven and Les Nabis principles than to Cézanne. ''Bords de la Marne'' and other painting by Gleizes during this phase (e.g., ''Paysage dans les Pyrènnes (Landscape in the Pyrenees Mountains)'', 1908, and ''Paris, Les Quais'', 1908), also bear marked affinity to the work of Henri Le Fauconnier, despite the fact that the two artists had not yet become friends or known about each other's work.〔(Robbins, Daniel, The Solomon R. Guggenheim Museum, New York, ''Albert Gleizes, 1881-1953, A Retrospective Exhibition'', 1964 )〕
Though the physical scope and appearance of the world at the time reflected the vast changes in progress, Gleizes expected much more. His vision responded to the conditions of modern life but he did not seek to imitate those conditions, as Gleizes later accused the Futurist artists of doing.〔Albert Gleizes, ''Des 'ismes'; vers une Renaissance plastique, Tradition et Cubisme'', Paris, Povolovzky, 1927, p. 168 (first published in La Vie des Lettres et des Arts, 1921)〕 Gleizes and his former associates of the Abbaye de Créteil (notably Jules Romains, Henri-Martin Barzun and René Arcos) dreamed of a synthetic concept of the possibilities of the future, one of collectivity, multiplicity and simultaneity. "Their vision" writes art historian Daniel Robbins, "invariably encompassed broad subjects which, although dealing with reality, were restricted neither by the limitations of physical perception nor by a separation of scientific fact from intellectual meaning—even symbolic meaning. Even their images of simultaneity were synthetic because scope was too vast, both physically and symbolically, for one man's limited participation".〔
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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