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Les Baigneuses (Gleizes)
''Les Baigneuses'' (also known as ''The Bathers''), is an large oil painting created at the outset of 1912 by the French artist, theorist and writer Albert Gleizes (1881–1953). It was exhibited at the Salon des Indépendants in Paris during the spring of 1912; the Salon de la Société Normande de Peinture Moderne, Rouen, summer 1912; and the Salon de la Section d'Or, fall 1912.〔(Exhibit catalog for Salon de "La Section d'Or", 1912. Walter Pach papers, Archives of American Art, Smithsonian Institution )〕 The painting was reproduced in ''Du «Cubisme»'', written by Albert Gleizes and Jean Metzinger the same year: the first and only manifesto on Cubism. ''Les Baigneuses'', while still 'readable' in the figurative or representational sense, exemplifies the mobile, dynamic fragmentation of form and multiple perspective characteristic of Cubism at the outset of 1912. Highly sophisticated, both in theory and in practice, this aspect of simultaneity would soon become identified with the practices of the Section d'Or group. Gleizes deploys these techniques in "a radical, personal and coherent manner".〔(David Cottington, ''Cubism in the Shadow of War: The Avant-Garde and Politics in Paris, 1905-1914'', Yale University Press, 1998 )〕 Purchased in 1937, the painting is exhibited in the permanent collection of the Musée d'Art Moderne de la Ville de Paris.
==Description==
''Les Baigneuses'' is an oil painting on canvas with dimensions 105 x 171 cm (41.3 by 67.3 inches), signed Albert Gleizes and dated 1912, lower left. This work, painted at the outset of 1912, represents a series of naked elegant women at various points in the landscape foreground, their reflections along with the blue of the sky echoing off the water at the lower edge of the canvas. Beyond the bathers can be observed protruding rock-like formations or boulders—with highlights of primary color—that appear to espouse elements of the foreground. Above these cliffs are found several deciduous woody plants of the genus Populus. Though native to many areas of the Northern Hemisphere, the Poplar, with its fastigiate branches tapered towards the top, is especially iconic of the western suburbs of Paris (''la banlieue ouest'') where Gleizes lived, 24 Avenue Gambetta, Courbevoie.〔(Armory Show entry form for Albert Gleizes' painting ''La Femme aux Phlox'' ), not after 1913. 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'' )〕 Towards the end of the 19th century and extending through the early 20th century, Courbevoie witness a rapid growth in population, a surge in the development of crafts, industry and transport (including rail). Of course, such a scene of naked bathers would have been unthinkable in Courbevoie, or anywhere else near the Parisian capitol.
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