IN PERSPECTIVE As seen in Guarding the Avant-Garde LÉONCE ROSENBERG, Léonce’s grand-niece, is cur- years in the nine- a Parisian collector, dealer, rently showing “Cubist Perspec- teen-teens, while and publicist, opened Galerie tives” (through December 21), works by art- L’Effort Moderne at the begin- an exhibition that looks at the ists such as Karl ning of 1918. Following World movement’s inception and leg- Knaths, Blanche War I, the gallery, which was acy, at her Manhattan gallery. Lazzell, and at 19, rue de la Baume, became Works by Serge Férat, the Kenneth Stubbs the foremost promoter of Paris’ Russian painter who settled s h o w c a s e t h e avant-garde, the Cubists in par- in Paris and was renamed by movement’s endurance in the the first to explain in print (a ticular. In keeping with family Guillaume Apollinaire (himself following decades at the artist 1910 issue of Pan) that Braque tradition, Marianne Rosenberg, of Polish stock); Henri Hayden, colony in Provincetown, Mas- and Picasso had rejected tradi- a Polish painter who sachusetts. Twenty-first cen- tional perspective and were rep- also moved to Paris tury artists Marcin Dudek, resenting multiple viewpoints of and spent summers Oleg Kudryashov, and Tom a subject in a single image. The painting in Brittany; John showcase Cubism’s influ- Windmill of Calvados layers and Auguste Herbin, a ence on contemporary art. rural elements of a landscape— Frenchman who dab- Jean Metzinger’s oil on trees, a field—with those of the ROSENBERG bled in Cubism before pieced panel The Windmill of city—factories, brick, windows. gaining acclaim later Calvados (1918) is a standout of Hayden’s Nature morte, a 1918 on for his geomet- the show. Metzinger, a French gouache on board, is a lively & ric abstractions, rep- artist and writer who fell in with still life marrying a multitude CO. resent Cubism’s early Apollinaire’s circle in 1908, was of textures. 34 ART&ANTIQUES NOVEMBER 2016.