Thyssen-Bornemisza Museo Nacional Search Ir al contenido principal

Navegación superior (EN)

About Us Support Become Friend Shop Tickets
Español
Visit Collection Exhibitions Activities Education Search
  • Visit
  • Collection
  • Exhibitions
  • Activities
  • Education

Thyssen - Navegación superior (EN)

About Us Support Become Friend Shop Tickets
Español
©
VEGAP, Madrid
Albert Gleizes

In Port

1917
Oil and sand on Cardboard.
153 x 120 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
555
(
1975.40
)
Room 42
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
View gigapixel
Discover some of the secrets and details invaluable to the human eye in this work.
Together with Jean Metzinger and Henri Le Fauconnier, Albert Gleizes was one of the organisers of “Salle 41” at the Salon des Indépendants of 1911, which marked the introduction to society of the Cubists, with the absence of Picasso and Braque. In 1912 he and Metzinger published Du Cubisme, the first theoretic essay on the movement. During the Great War the artist managed to avoid being called up and divided his residence between New York and Barcelona. In the summer of 1916, which he spent in Spain with his wife Juliette Roche, he came into close contact with the group of artists who had sought refuge there during the war, such as Francis Picabia, Robert and Sonia Delaunay, and Marie Laurencin and her German husband Otto van Watgen, and remained faithful to the Cubist language. As Kenneth E. Silver suggests, the war aroused stronger nationalist feelings that identified with Cubism for the former members of the avant-garde like Gleizes.

In Port is not only a statement in favour of Cubism but also a tribute by Albert Gleizes to the modern metropolis through a jumble of images of the port of Barcelona and the city of New York. A comparison of this painting with a photograph of Barcelona port at the beginning of the century shows that whereas the jagged outline of the buildings on the left is consonant with real life, the towers of the Vía Laietana, the cathedral and the church of Santa María del Mar have clearly been schematised in the painting. Distinguishable references to New York include the characteristic suspension cables of Brooklyn bridge. In addition, the undulating areas that can be made out among all these superimpositions represent the wake of a boat and the waves lapping the harbor. Christopher Green considers that the central theme of the painting is transport on account of the presence of the sea, the port buildings and the boat’s prow, and states that “the port represents the flow of experience through the space and time.”

The existence of numerous preparatory studies for this large oil painting suggests that the painter put great effort into it. There are two early studies of The Port of Barcelona, which he made while in the city — a horizontal ink drawing and a composition on paper which is published in the catalogue of the retrospective exhibition of Gleizes’s oeuvre held in 1964 — and four vertical compositions produced in New York between 1916 and 1918. The final work was purchased from the artist in 1936 by Solomon R. Guggenheim (1861‒1949) and remained in the collection of The Solomon R. Guggenheim Foundation for a fairly long period. It was shown in The Art of Tomorrow. The Museum of Non-Objective Art, the opening exhibition of the collection staged in 1939 by Hilla Rebay at its first premises on 54th Street in New York, and in the major retrospective of the artist’s work organised at the museum by Daniel Robbins in 1964. It entered the Thyssen-Bornemisza collection in 1975.

Paloma Alarcó
20th Century20th Century - European painting. Cubism and Its wakePaintingOil and sandCardboard
Listen
Download image Print page

Tours to find it

The Thaw at Vétheuil. El deshielo en Vétheuil, 1880
Tours
The path of the Waters. Art and well-being

Seas, lakes, springs, streams and rivers inundate the galleries of the Museo Nacional Thyssen-Bornemisza, beckoning us to enjoy a pleasant immersion that harmoniously links together art, history and nature.

Hotel Room. Habitación de hotel, 1931
Tours
A day in New York

An opportunity to turn travellers, and discover the throb and thrill of this fascinating city.

Products and publications

Catalogue Museo Thyssen-Bornemisza. Old Painting (English)

Catalogue Museo Thyssen-Bornemisza. Old Painting (English)

80.00 € 25.00 €

Watch Swatch+Thyssen van der Ast Gracious Bouquet

Watch Swatch+Thyssen van der Ast Gracious Bouquet

80.01 €

Delaunay, Sonia

Delaunay, Sonia

17.00 €

Spanish & Sisters x Lacroix crochet earrings

Spanish & Sisters x Lacroix crochet earrings

48.00 €

Visit online shop

More from the collection

Fortunato Depero
Fortunato Depero
Automaton with a Pipe
1917 - 1920
Fernand Léger
Fernand Léger
The Disc
1918
Auguste Herbin
Auguste Herbin
Head
1918
Juan Gris
Juan Gris
Bottle and Fruit-Dish
1919
  • Private and/or didactic use
  • Commercial use
Private and/or didactic use
In Port . En el puerto , 1917
In Port
Albert Gleizes

©

VEGAP, Madrid

Terms of Use

The exploitation rights of the images correspond to the Fundacion Coleccion Thyssen-Bornemisza, F.S.P. The Fundación authorizes the downloading of high-resolution images from its website for private use, use for educational and research purposes and non-commercial uses.

However, photographed works are protected by copyright. Therefore, regardless of the terms of use of the images set out below by the Foundation, it will be necessary to obtain a license from VEGAP (www.vegap.es), or from the corresponding collective management organization in the country where the work is going to be used or, where appropriate, from the holder of their rights in order to reproduce or exploit the work.

Use for educational and research purposes is understood as the non-commercial or advertising use of images in presentations, conferences, school or university work, in classes at regulated education institutions, as well as in academic publications, with a circulation of less than 1,000 copies, provided that it is non-profit.

Non-commercial use is understood as the use of the images in a context where no profit, monetary or commercial, is generated, directly or indirectly.

Any use other than those indicated above will require the prior written authorization of the Fundación.

Any request for educational and research use or for non-commercial use (including academic publications), should be directed by email to the Museum Photo Library through the email address archivo.fotografico@museothyssen.org. This department manages the worldwide distribution of the images of the works of the Museo Nacional Thyssen-Bornemisza and the management of their reproduction rights for those uses.

The user agrees to use the image of the website solely and exclusively for the purposes described above and in accordance with the following terms of use, which, however, do not apply to the reproduction of the works included in the photographs, as they are protected by Copyright.

Terms of use

  • If the image is used for reproduction, the work must be reproduced in its entirety. The image may not be manipulated, deformed, modified or altered in any way. In particular, no superposition (of images or texts) on the reproduction is allowed.
  • The reproduction of a detail or part of the work may only be made with the prior written authorization of the Fundación In this case, the credit line must include the following mention: “detail”.
  • Any total or partial reproduction of the images of the Fundación that has been previously authorized must be accompanied by the copyright text indicated by the owners or their copyright holders as well as the following mention: Provenance: Museo Nacional Thyssen-Bornemisza, Madrid”.
  • The user will send free of charge to the Museum Photo Library one (1) free copy of the edition, publication or reproduction to the following address: Archivo Fotografico, Museo Nacional Thyssen-Bornemisza, Paseo del Prado, 8 28014 Madrid, Spain.
Download image
Commercial use
In Port . En el puerto , 1917
In Port
Albert Gleizes

©

VEGAP, Madrid

Terms of Use

The Photo Library of the Museo Nacional Thyssen-Bornemisza offers sale and rental service of photographic material of all the works on its Permanent Collection.

To request images or permits for commercial use in academic or research publications, that is, catalogues of other institutions, monographs and other specialized publications, you should contact the Museum's Photo Library by email at the e-mail @email.

To request images or permits for other commercial or advertising uses (general publications, merchandising, exhibitions, audio-visual works, web pages, etc.), you should contact the Museum's Commercial Archive by email at the e-mail @email.

The Photo Library and the Museum's Commercial Archive manage the worldwide distribution of images of the Museo Thyssen-Bornemisza works, as well as their reproduction rights. The applicable rates are calculated based on the nature and proposed use of the images, as well as the availability of the requested image.

Requests for scans or new photographs will be reviewed on a case-by-case basis. Once approved, an additional fee will apply. Re-photographing a work will require a minimum of six weeks to complete.

However, photographed works are protected by copyright. Therefore, regardless of the terms of use of the photographs set out below by the Foundation, it will be necessary to obtain a license from  VEGAP (Visual Entidad de Gestión de Artistas Plásticos www.vegap.es) or from the corresponding collective management organizations in the country where the work is going to be used or, where appropriate, from the holder of their rights in order to reproduce or exploit the work.

Download image
Thyssen-Bornemisza Museo Nacional

Navegación secundaria (EN)

  • #Thyssenmultimedia
  • Press
  • Corporate events
  • Tourism
  • Join our team
  • Newsletter
Instagram
Facebook
X
Youtube
TikTok
iVoox
LinkedIn

The Museo Nacional Thyssen-Bornemisza would like to thanks for the collaboration of:

Fundación Mutua Madrileña Master Card Comunidad de Madrid
©2025 Thyssen-Bornemisza National Museum

Menú al pie (EN)

  • Legal terms and use of images
  • Public tenders
  • Transparency site
  • Accessibility and quality
  • Sustainability & 2030 Agenda
  • Contact
Ministry of Culture España es cultura | Spain is culture. The website promoting Spanish culture Paisaje de la Luz | Paseo del Prado y Buen Retiro. Paisaje de las Artes y las Ciencias
Certificación de Conformidad con el Esquema Nacional de Seguridad. Categoría Media. RD 311/2022