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Le Chemin, Paysage à Meudon (Gleizes)
''Le Chemin, Paysage à Meudon'' also known as ''Paysage avec personage'', is an oil on canvas painted in 1911 by the artist, theorist and writer Albert Gleizes. The work was exhibited at the Salon des Indépendants during the spring of 1911, Paris; Les Indépendants, Musée moderne de Bruxelles, 1911; Galeries J. Dalmau, ''Exposicio d'art cubista'', Barcelona, 1912; Galerie La Boétie, ''Salon de La Section d'Or'', 1912.〔(Site Rose-Valland, Musées Nationaux Récupération )〕 ''Le Chemin'' was identified by Hector Feliciano as having been plundered by the Nazis from the home of collector Alphonse Kann during World War II. It was returned to the heirs of Alphonse Kann in July 1997 and placed at public auctions in New York (1999) and London (2010) respectively.
==Description==
''Le Chemin, Paysage à Meudon'' is an oil painting on canvas with dimensions 146.4 x 114.4 cm (57.6 by 45 inches), signed and dated 'Albert Gleizes 1911' (lower right); signed again and titled 'Alb Gleizes Paysage' (on the reverse). This work, painted at the outset of 1911, represents a human figure walking through a hilly landscape with trees, houses or villas, a bridge over the Seine river, and a town with a church (possibly the Paroisse de Saint-Cloud) on the 'horizon', consistent with elements of the town in the southwestern suburbs of Paris, Meudon.
The term 'Cubism' was employed for the first time in June 1911 by Guillaume Apollinaire, speaking in the context of the Indépendants exhibition in Brussels which included this work by Gleizes, along with others by Robert Delaunay, Fernand Léger, and Henri Le Fauconnier. During the summer, Gleizes was in close contact with Jean Metzinger, who had recently moved to Meudon. Gleizes too lived and worked in the western suburbs of Paris (''la banlieue ouest''), 24 Avenue Gambetta, Courbevoie.〔(Armory Show entry form for Albert Gleizes' painting ''La Femme aux Phlox'' ). Walt Kuhn family papers, and Armory Show records, Archives of American Art, Smithsonian Institution. Document shows Gleizes' address〕 The Gleizes' family moved to Avenue Gambetta in 1887.〔(Peter Brooke, ''Albert Gleizes, Chronology of his life, 1881-1953'' )〕 Both artists were discontent with the conventional perspective mechanism. They had long conversations about the nature of form and perception. They agreed that traditional painting gave a static and incomplete idea of the subject as experienced in life. Things, they would conclude, are in fact dynamic, observed to move, are seen from different angles and can be captured at successive moments in time.〔
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