Due to a technical issue, some works listed as on view may not be at this time. We apologize for any inconvenience. Please contact 212 423 3618 with any questions or concerns.
Browse By Museum
Browse By Major Acquisition
- Solomon R. Guggenheim Founding Collection
- Karl Nierendorf Estate
- Katherine S. Dreier Bequest
- Thannhauser Collection
- The Hilla Rebay Collection
- Peggy Guggenheim Collection
- The Panza Collection
- The Robert Mapplethorpe Foundation Gift
- Deutsche Guggenheim Commissions
- The Bohen Foundation Gift
- Guggenheim UBS MAP Purchase Fund
Put over 1,200 Artworks
in Your Pocket
Download the free Guggenheim app to explore our collection, including works by Cezanne, Van Gogh, Kandinsky, and more.
Send a personalized greeting today!
Visit the Online Store to purchase exhibition catalogues, e-books, and more.
As in a number of his other paintings of this period, Albert Gleizes depicts a domestic interior scene in a self-consciously “modern” style. Here the seated woman is the wife of Raymond Duchamp-Villon, the sculptor who took part in the discussions of the Cubist group at Puteaux during the early 1910s. She is portrayed as the epitome of bourgeois complacency, in a large armchair, with her dog and two cats, sensible tie shoe, wedding band, and string of beads. Typically Cubist elements are the fusion of figure and ground, the frontal, centralized pose, the multiple views of the sitter’s face, the choppy brushstrokes defining and shading planes, and the patterning of areas to resemble collage. Futurist devices are the repetition of form to describe movement (the dog’s wagging tail) and planar intersections and force lines meant to express notions of the dynamic interpenetration of matter and atmosphere.