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''Portrait of Jacques Nayral'' (also known as ''Portrait de Jacques Nayral''), is a large oil painting created in 1911 by the French artist, theorist and writer Albert Gleizes (1881–1953). It was exhibited in Paris at the Salon d'Automne of 1911 (no. 609), the Salon de la Section d'Or, 1912 (no. 38), and reproduced in ''Du "Cubisme"'' written by Jean Metzinger and Albert Gleizes in 1912, the first and only manifesto on Cubism. Metzinger in 1911 described Gleizes' painting as 'a great portrait'. ''Portrait of Jacques Nayral'', one of Gleizes' first major Cubist works,〔(Daniel Robbins, MoMA, From Grove Art Online, Oxford University Press, 2009 )〕 while still 'readable' in the figurative or representational sense, exemplifies the mobile, dynamic fragmentation of form characteristic of Cubism at the outset of 1911. Highly sophisticated in theory and in practice, this aspect of simultaneity would soon become identified with the practices of the Section d'Or. Here 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 )〕 Jacques Nayral (a pseudonym for Joseph Houot) was a young modernist poet, dramatist, publisher and occasional sports writer,〔(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 )〕 who shared with Gleizes a passion for the theories of Henri Bergson. He was a friend of Gleizes and married his sister Mireille in 1912. Gleizes began work on his portrait in 1910. The interfusion and interrelation between the sitter and the background of the painting reflect Bergson’s concepts about the simultaneity of experience. It was avant-garde works such as this widely exhibited portrait that fed the public outcry against Cubism. "Its scale echoes the large-scale paintings of the official exhibitions, while its style subverts that tradition". (Tate Modern)〔(Tate, London, Albert Gleizes, ''Portrait de Jacques Nayral'', 1911 )〕 Purchased in 1979, the painting is exhibited in the permanent collection of the Tate Modern in London. ==Description== ''Portrait of Jacques Nayral'' is an oil painting on canvas with dimensions 162 x 114 cm (63.8 by 44.9 inches), inscribed ‘Albert Gleizes 1911' (lower right). Studies for this work began in 1910 while the full portrait was completed during the late summer or early fall of 1911.〔(Peter Brooke, ''Albert Gleizes: For and Against the Twentieth Century'', New Haven and London, Yale University Press, 2001, ISBN 0-300-08964-3 )〕 The work represents an old friend of Gleizes, Jacques Nayral; the young author-dramatist who would marry Mireille Gleizes two years later. Nayral was a partisan of the synthetic-social ideas of the Abbaye, editor-in-chief for the publishing house of Figuière and directly responsible for the publication of ''Du «Cubisme»'' as well as for Apollinaire's ''Les Peintres Cubistes, Méditations Esthétiques'' and the projected series ''Tous les Arts''. The background of ''Portrait of Jacques Nayral'' depicts Gleizes' garden at 24 Avenue Gambetta in 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 western banlieue of Paris. Stylistically this painting fulfills the direction established in the unfinished portrait of Mme. Barzun", spring of 1911.(Daniel Robbins, 1964)〔〔(Jacques Barzun sitting in front of Albert Gleizes portrait of his mother Madame H. M. Barzun )〕〔(Jacques Barzun (ca. 2000). Behind Mr. Barzun is a portrait of Madame H. M. Barzun by Albert Gleizes (1911) )〕 A page from the periodical ''Fantasio'', 15 October 1911, features ''Portrait de Jacques Nayral'' by Albert Gleizes (1911) and ''Le goûter (Tea Time)'' by Jean Metzinger, juxtaposed with images of unidentified models, the man with his knees crossed and a book on his lap, the woman (clothed) holding a spoon and a tea cup, as if the sitters. The commentary by Roland Dorgelès is heavily ironic, with the headline reading ''Ce que disent les cubes...'' (''What the cubes say...'').〔(Christopher Green, ''Art in France: 1900-1940'', Yale University Press, 2000 )〕〔(Kubisme.info, Albert Gleizes en Jean Metzinger )〕 The complex forms that defined Metzinger's paintings of the period serve to ''suggest'' the underlying imagery (e.g., a nude, a horse, a dancer, a café-concert), rather than ''define'' the imagery; arousing the viewer's own creative intuition to decipher the 'total image.' This meant too, inversely, that the creative intuition of the artist would be aroused. No longer did the artist have to define or reproduce, painstakingly, the subject matter of a painting. The artist became to a large extent free, ''libre'', to place lines, shapes, forms and colors onto the canvas in accord with his or her own creative intuition. 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 of Jacques Nayral」の詳細全文を読む スポンサード リンク
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