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Harvest Threshing
''Le Dépiquage des Moissons'', also known as ''Harvest Threshing'', and ''The Harvesters'', is an immense oil painting created in 1912 by the French artist, theorist and writer Albert Gleizes (1881–1953). It was first revealed to the general public at the Salon de la Section d'Or, ''Galerie La Boétie'' in Paris, October 1912 (no. 43). This work, along with ''La Ville de Paris'' (''City of Paris'') by Robert Delaunay, is the largest and most ambitious Cubist painting undertaken during the pre-War Cubist period. Formerly in the collection of the Solomon R. Guggenheim Museum in New York, this monumental painting by Gleizes is exhibited at the National Museum of Western Art, in Tokyo, Japan.
==Description==
The work is an oil painting on canvas with dimensions 269 x 353 cm (106 x 138 in), signed and dated lower right, Gleizes, 1912. "''Harvest Threshing''", wrote curator and art historian Daniel Robbins for the Gleizes Guggenheim Retrospective in 1964, "summarizes Gleizes' interest in presenting an epic panorama of mountains, valleys, clouds and smoke, towns, workers and wheat, a simultaneous celebration of the harvest, nature and man in idealistic harmony." Gleizes' painting, as Henri Le Fauconnier's ''Abundance'', likely takes its theme from the social and synthetic program of the Abbaye de Créteil, and too, from the poem of Henri-Martin Barzun, ''La Montagne, Poèmes légendaires'', part 5 of ''La Terrestre Tragedie'' (Paris, Mercure de France, 1908): ''Les Moissonneurs dans les Epis, armes de faux et de faucilles...'' (pp. 49–56).〔(Daniel Robbins, 1964, ''Albert Gleizes 1881 - 1953, A Retrospective Exhibition'', Published by The Solomon R. Guggenheim Foundation, New York, in collaboration with Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund. )〕
While the still-life and nude are common themes of pre-World War I Cubism, the work of Gleizes is characterized by ambitious subjects:〔(Peter Brooke, ''On "Cubism" in context'', 2012 )〕 the harvest, the hunt, the city, and, later, ''Broadway'' in New York City, and the ''Brooklyn Bridge'' (1915, Guggenheim, New York), one of his most abstract paintings of this period.〔(Daniel Robbins, MoMA, Oxford University Press )〕 Gleizes took this, according to Peter Brooke, as symbolic of the need to express the whole vast drama, the collection of unprecedented sensations of modern life.〔
''Harvest Threshing'' represents a big subject, rich in plastic possibilities. The interest of the painting resides in its rich and complex fabric of interwoven latticework, with 'the institution of relations between straight lines and curves' or the 'thousand surprises of fire and of shadow' proposed in ''Du "Cubisme"'' (co-authored with Jean Metzinger in 1912). The subject matter is entirely, as Le Fauconnier and Gleizes himself says, 'a pretext'. A pencil transcription done to scale by Geneviève Dalban, as Peter Brooke points out, reveals the greatness of the construction. "The 'duration' that has been so much talked about is entirely a matter of the length of time that can be spent looking at it, as one thing leads to another, in and out and round about, in an endless visual dance. It is a mark of the failure of the Cubist revolution – its hi-jacking by the champions of the subject – that nearly one hundred years later there are writers on art who can see in such a picture only peasants, a church tower, a rustic meal, mountains, clouds..."〔
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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