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FEW SURVIVING INSTITUTIONS are born of artists self-organizing in times of extreme stress. On February 15, 1931, in the depths of Poland’s interwar depression and deeply uneven modernization, Katarzyna Kobro and her husband, Władysław Strzemiński, attended the opening of a room in the new municipal museum of Łodz, an industrial city two hours southwest of Warsaw. Though “room” might sound modest, this particular one became central to the story of European modern art: Here, Kobro and Strzemiński, together with friends and colleagues such as Henryk Stażewski, presented the International Collection
Childhood
Albert was the son of a successful fabric merchant, Sylvan Gleizes (himself a keen amateur painter). His maternal uncle was Léon Commerre, an academic painter who won the
Prix de Rome in 1875, while his father s brother, Robert Gleizes, was a successful collector-dealer specializing in eighteenth century paintings. The Gleizes lived a comfortable life in Courbevoie in the Paris suburbs. Albert was very close to his two sisters, Suzanne and Mireille (he had an elder brother who sadly died in infancy), and they frequently appeared in his first paintings. Albert did not take to academic life and often played truant from his bourgeois school in
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