The Cubist Painters"After more than fifty years, it is wonderful to have a new translation, particularly one by a specialist in Apollinaire. This translation, needless to say, is consistently excellent."—Bulletin international des études sur Guillaume Apollinaire "The Cubist Painters needs an accompanying commentary if one is to understand it, let alone do justice to its many flashes of insight. In Peter Read, renowned especially for his work on Apollinaire's relationships with contemporary artists, it has found not only the ideal translator, but also the ideal interpreter. . . . In this thoughtful, and loving, version, the rediscovery of The Cubist Painters is a pleasure. "—Elizabeth Cowling, Modern Language Review "Peter Read's excellent English translation of Les Peintres cubistes is the first since 1944. . . . His accompanying essay surveys the poet's career as an art critic and offers a running commentary on the book, which proved to be the only one Apollinaire was to publish on art. . . . And Read identifies a thread of essential consistency running throughout the anthology, pregnant with meaning for twentieth-century art to come: Apollinaire's insistence on the self-referentiality and autonomy of modern art-the new painting, abstract or otherwise, had no real subject other than artistic expression itself."—Times Literary Supplement "[Read's] text . . . restores to The Cubist Painters a poetic dimension sometimes suppressed in Abel's version. This is the principal virtue of the new translation, yet this virtue is not simply one of fidelity, for Read's translation also serves to clarify the position of Apollinaire's 1913 text in relation to other early accounts of Cubism. . . . His account of the genesis of the book and of Apollinaire's revisions of the proofs are particularly valuable. "—Simon Dell, Art History: Journal of the Association of Art Historians "As visually accurate as it is literate."—Courier and Advertiser, Fife, Scotland |
Contents
On Painting | 5 |
Picasso | 31 |
Albert Gleizes | 48 |
Fernand Léger | 64 |
Note | 83 |
Apollinaire as Art Critic Before The Cubist Painters | 87 |
Genesis of the Book | 100 |
Structure Style and Modern Beauty | 108 |
The Cubist Painters and the Enemies of Cubism | 119 |
Aesthetic Meditations The Cubist Painters | 123 |
Critical Response to The Cubist Painters | 206 |
Translations | 217 |
Conclusion | 219 |
Biographical Notes | 222 |
| 224 | |
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Common terms and phrases
1912 Salon d'automne abstract acrobats admired Aesthetic Meditations Albert Gleizes André Salmon appeared April architecture art criticism artists Bateau-Lavoir beauty Braque's canvas catalogue Cézanne Cliché Kahnweiler Collection colours compositions contemporary art creativity Cubist Painters Décaudin Derain Douanier Duchamp-Villon elements emphasises exhibition expression Fauconnier Fernand Léger Figuière France Francis Picabia French Futurist Gallery Gallimard Georges Braque Guillaume Apollinaire Harlequin Instinctive Cubism invented Jean Metzinger Joan Rosselet Juan Gris Kupka L'Intransigeant landscape light literary Louis Vauxcelles manuscript Marcel Duchamp Marie Laurencin Matisse Metzinger's MLLE MARIE LAURENCIN modern art movement Musée national d'art Museum nature Pablo Picasso passage Peintres Cubistes Peter Read Picasso and Braque Pierre Daix plastic poet poetry portrait prose published pure painting Puteaux reality reference Robert Delaunay Rose Periods Rousseau Salon d'automne Salon des Indépendants sculptor second proofs Section d'or Seurat Soirées de Paris studio style suggests tion translated word young painters