Matches in DBpedia 2014 for { ?s ?p Passy, Bridges of Paris, also called Les ponts de Paris (Passy), or Paysage à Passy, is a painting created in 1912 by the French artist, theorist and writer Albert Gleizes. The work was exhibited at the Salon de la Société Normande de Peinture Moderne, Rouen, 1912 (titled Passy); the Salon de la Section d'Or, Galerie La Boétie, Paris, 1912 (titled Passy); Manes Moderni Umeni, Vystava, Prague, 1914 (titled Paysage à Passy); and Galerie Der Sturm, Berlin, July, 1914.Passy was one of a small group of works chosen to be reproduced in the seminal treatise Du "Cubisme", written by Albert Gleizes and Jean Metzinger in 1912 and published by Eugène Figuière the same year. Executed in a highly personal Cubist style with multiple viewpoints and planar faceting, this is one of a number of paintings from 1912-13 involving the theme of the bridge in an urban landscape.In opposition to classical perspective as a mode of representation, Gleizes employed a new spatial model based in part on the pictorial space of the mathematician Henri Poincaré.This painting, in the collection of the Museum Moderner Kunst (mumok), Vienna, probably refers to the spirit of solidarity among the newly formed "Artists of Passy", during a time when factions had begun to develop within Cubism.. }
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- Passy,_Bridges_of_Paris_(Gleizes) abstract "Passy, Bridges of Paris, also called Les ponts de Paris (Passy), or Paysage à Passy, is a painting created in 1912 by the French artist, theorist and writer Albert Gleizes. The work was exhibited at the Salon de la Société Normande de Peinture Moderne, Rouen, 1912 (titled Passy); the Salon de la Section d'Or, Galerie La Boétie, Paris, 1912 (titled Passy); Manes Moderni Umeni, Vystava, Prague, 1914 (titled Paysage à Passy); and Galerie Der Sturm, Berlin, July, 1914.Passy was one of a small group of works chosen to be reproduced in the seminal treatise Du "Cubisme", written by Albert Gleizes and Jean Metzinger in 1912 and published by Eugène Figuière the same year. Executed in a highly personal Cubist style with multiple viewpoints and planar faceting, this is one of a number of paintings from 1912-13 involving the theme of the bridge in an urban landscape.In opposition to classical perspective as a mode of representation, Gleizes employed a new spatial model based in part on the pictorial space of the mathematician Henri Poincaré.This painting, in the collection of the Museum Moderner Kunst (mumok), Vienna, probably refers to the spirit of solidarity among the newly formed "Artists of Passy", during a time when factions had begun to develop within Cubism.".