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''Portrait de l’éditeur Eugène Figuière'', also referred to as ''The Publisher Eugene Figuiere'' (''Portrait de Figuière'', ''L'Editeur Eugène Figuière'', ''Portrait d'un Editeur'', ''Portrait d'Eugène Figuière'' or ''Portrait of the Publisher Eugene Figuiere''), is a painting created in 1913 by the artist, theorist and writer Albert Gleizes. This work was exhibited at the Salon d'Automne, 1913 (no. 768) and Moderni Umeni, 45th Exhibition of SVU Mánes in Prague 1914 (no. 47), and several major exhibitions the following years. Executed in a highly Cubist idiom, the work nevertheless retains recognizable elements relative to its subject matter. The painting represents Eugène Figuière. Head of his own publishing company, Figuière strove to be identified with every modern development. In 1912 he published the first and only manifesto on Cubism entitled ''Du "Cubisme"'', written by Albert Gleizes and Jean Metzinger. In 1913 Figuière published ''Les Peintres Cubistes, Méditations Esthétiques (The Cubist Painters, Aesthetic Meditations)'', by Guillaume Apollinaire. The painting, purchased directly from the artist in 1948, is in the permanent collection of the Musée des beaux-arts de Lyon, France. ==Description== ''Portrait of Eugène Figuière'' is an oil painting on canvas with dimensions 143.5 by l01.5 cm (56.5 x 40 inches) signed and dated "Alb Gleizes 13", lower right. Studies for this work likely began during the spring or summer of 1913 while the full portrait was completed during the late summer or early fall of 1913. The work represents Eugène Figuière who is closely associated with Gleizes' friends from the Abbaye de Créteil, Jacques Nayral and Alexandre Mercereau.〔(Peter Brooke, ''Albert Gleizes, Chronology of his life, 1881-1953'' )〕 Eugène Figuière, head of his own publishing company, strove to be identified with every modern development. In this portrait which Salmon admired for its "fine and most adroit psychology", he is surrounded by his publications which were written by Gleizes' friends: Alexandre Mercereau, Georges Polti, Guillaume Apollinaire, Jean Metzinger, Paul Fort, Gustave Kahn, Henri-Martin Barzun and Jacques Nayral.〔(Robbins, Daniel, The Solomon R. Guggenheim Museum, New York, ''Albert Gleizes, 1881-1953, A Retrospective Exhibition'' ), September - October 1964, no. 23 (illustrated); this exhibition later travelled to Paris, Musée national d'Art moderne, December 1964 - January 1965, no. 9 and Dortmund, Museum am Ostwall, March - April 1965.〕 In this picture Gleizes merges the sitter with the environment, blurring the distinction between background and foreground. In addition to the simultaneous views and multiple perspective, the artist has included the image of a clock in the upper left quadrant (as in Metzinger's ''Nu à la cheminée, Nude'' of 1910), a fact that reveals Gleizes' didactic visual and literary reference to the mathematician and philosopher of science Henri Poincaré, and to the philosopher Henri Bergson's concept of 'duration'.〔(Mark Antliff, Patricia Dee Leighten, ''Cubism and Culture'', Thames & Hudson, 2001 )〕 Outlining his practice at the time, in an essay published in February 1913 in ''Montjoie!'' Gleizes writes: It is sufficient for me to say, quickly, that painters today only consider the object in relation to the totality of things and, with regard to itself, in relation to the totality of its aspects. As they are not unaware of the fact that a form which is more pronounced dominates those which are less pronounced, the plastic dynamism will be born from the rhythmic relations of objects to objects, as with the different aspects of one and the same object, juxtaposed—not superposed, as some would like to believe—with all the sensibility and taste of the painter for whom those are the only rules. (Gleizes, 1913)〔(Peter Brooke, ''For and Against the Twentieth Century'', Yale University Press, 2001 )〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Portrait de l’éditeur Eugène Figuière (Gleizes)」の詳細全文を読む スポンサード リンク
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