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fair. But now, translated into the idiom of subjective beauty, into this strange Neo-Classic language, those same women, redrawn, appear in stiff, crude, nervous lines in patches of fierce color. Surely, Metzinger should know what such things mean. Picasso never painted a pretty woman, though we have noticed that he likes to associate with them. Czobel sees them through the bars of his cage, and roars out tones of mauve and cinnabar. Derain sees them as cones and prisms, and Braque as if they had been sawn out of blocks of wood by carpentersâ apprentices. But
Metzinger is more tender towards the sex. He arranges them as flowers are arranged on tapestry and wall paper; he simplifies them to mere patterns, and he carries them gently past the frontier of Poster Land to the world of the Ugly so tenderly that they are not much damagedâonly more faint, more vegetable, more anaemic.
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433:, where he may have seen Picasso's painting. There are differences, too, worth noting between the two works (aside from the size and colors which are unknown in the Metzinger case). While the dominant feature of Picasso's painting is the landscape, Metzinger chose to highlight the figures; the landscape playing only a secondary role in the overall composition. Metzinger's figures are much larger relative to the canvas. They are prominently and symmetrically displayed, and of lighter color contrast relative to Picasso's asymmetrical juxtaposition and subdued contrasting. Two of Metzinger's nudesâto the right and left of the dominant central figuresâare quite inconspicuous, as in Picasso's piece. In both paintings the nudes and landscape have become unified, not presuming a representation of reality.
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397:"So, music does not attempt to imitate Natureâs sounds, but it does interpret and embody emotions awakened by Nature through a convention of its own, in a way to be aesthetically pleasing. In some such way, we, taking out hint from Nature, construct decoratively pleasing harmonies and symphonies of color expression of our sentiment." (Jean Metzinger, circa 1909)
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importance. By many it was taken seriously. At first, the beginners had been called "The
Invertebrates." In the Salon of 1905 they were named "The Incoherents." But by 1906, when they grew more perfervid, more audacious, more crazed with theories, they received their present appellation of "Les Fauves"âthe Wild Beasts. And so, and so, a-hunting I would go!
615:. The background and foreground have become one. The only devices that indicate depth are (1) elevation in the picture plane; lower is closer and further is higher, and (2) objects in front of others obscure the object in the background, such as the central nude appears in front of the nude she holds with her right hand.
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aspect of the works. The simplification of representational form gave way to a new complexity; the subject matter of the paintings progressively became dominated by a network of interconnected geometric planes, the distinction between foreground and background no longer sharply delineated, and the depth of field limited.
714:, portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon. The article is titled: "The 'Cubists' Dominate Paris' Fall Salon" and subtitled, "Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do."
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his work suggested with such-and-such an archetype. It would be judged â exclusively â by what distinguished this artist from all the others. The age of the master and pupil was finally over; I could see about me only a handful of creators and whole colonies of monkeys. (Jean
Metzinger, Cubism was Born)
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As for
Picasso ... the tradition he came from had prepared him better than ours for a problem to do with structure. And Berthe Weil was right when she treated those who compared him/confused him with, a Steinlen or a Lautrec as idiots. He had already rejected them in their own century, a century
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is almost entirely CĂ©zannian, in its color, in its reduction to simplified forms and in its loose brushwork. Picasso still shows a sense of depth perspective through shading, despite some flattening of the surface. Metzinger's painting is less influenced by CĂ©zanne in its brushstrokes, hardly visible
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of our own, wherein our sentiment can work itself out through a juxtaposition of colors. It is hard to explain it, but it may perhaps be illustrated by analogy with literature and music. Your own Edgar Poe (he pronounced it âEd Carpoeâ) did not attempt to reproduce Nature realistically. Some phase of
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Whatâs
Metzinger? A scrupulously polite, well-dressed gentleman as ever was, in a scrupulously neat chamber, with a scrupulously well-ordered mind. He is complete as a wax figure, with long brown eyelashes and a clean-cut face. He affects no idiosyncrasies of manners or dress. One cannot question his
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schematic geometric arrangements was the result of an abstracting process not solely based on "axiomatics". These axiomatic abstractions, however, by themselves contain no assertions as to the reality that can be experienced, not in a logical sense deduced from experience, but free inventions of the
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Baigneuses (Bathers), it is apparent that
Metzinger was not following the lead of Picasso or Braque in their hermetic approach to paintingâhe had little interest in imitating, whether it be "an orb on a vertical plane" or anything elseâMetzinger was on a path leading to abstraction and to the almost
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Though the school was new to me, it was already an old story in Paris. It had been a nine-daysâ wonder. Violent discussions had raged over it; it had taken its place as a revolt and held it, despite the fulmination of critics and the contempt of academicians. The school was increasing in numbers, in
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There were no limits to the audacity and the ugliness of the canvasses. Still-life sketches of round, round apples and yellow, yellow oranges, on square, square tables, seen in impossible perspective; landscapes of squirming trees, with blobs of virgin color gone wrong, fierce greens and coruscating
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It was the search for beauty that had attracted
Metzinger to the abstract. Beauty depends not only on geometrical forms or simplified colors, but plainly beauty as it exists in itself. It wasn't just the simple result of a reductive approach to the elements of all the parts. It wasn't either just a
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I wanted an art that was faithful to itself and would have nothing to do with the business of creating illusions. I dreamed of painting glasses from which no-one would ever think of drinking, beaches that would be quite unsuitable for bathing, nudes who would be definitively chaste. I wanted an art
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I had measured the difference that separated art prior to 1900 from the art which I felt was being born. I knew that all instruction was at an end. The age of personal expression had finally begun. The value of an artist was no longer to be judged by the finish of his execution, or by the analogies
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on a surface that is rigorously flat. With this type of illusion other artist of his generation such as
Gleizes and Picasso wanted nothing to do. "Quite clearly" Metzinger notes, "nature and the painting make up two different worlds which have nothing in common ..." Already, in 1906, "it could
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They are the product of a reductive abstracting process, of an open, freewheeling process of synthesisâwhere a dialogue between components lead to the liberation from any particular classical foundation. They are combined harmoniously though pictographic imagery rendered in residuum abstractions of
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was virtually over by the spring of 1907. And by the Salon d'Automne of 1907 it had ended for many others as well. The shift from bright pure colors loosely applied to the canvas gave way to a more calculated geometric approach. The priority of simplified form began to overtake the representational
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The illusion had been maintained up to 1906 or 1907 through the negligence of those whose job it was to clear away the rubbish, but the break was achieved in 1908. No-one would again dare to look at a Puvis de
Chavannes or read Balzac. No-one, I mean, among those who walked above the Moulin Rouge,
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In spite of the crazy nature of the "Cubist" theories the number of those professing them is fairly respectable. Georges Braque, AndrĂ© Derain, Picasso, Czobel, Othon Friesz, Herbin, Metzingerâthese are a few of the names signed to canvases before which Paris has stood and now again stands in blank
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landscape with vegetation and a small body of water visible through reflections and from the woman on the left whose legs are submerged from the knees down. The central figure holds the trunk of a tree with her left arm and a woman with her right, forming a tight central mass. The two nudes at the
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As one would expect, Metzingerâs concept of painting was both more sophisticated and perceptive than CĂ©zanne, but fundamentally the shape of the misunderstandings that were to follow Cubism were the same as CĂ©zanne's, and so too were the implications. Metzinger had seen painting as rooted in the
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Metzinger once did gorgeous mosaics of pure pigment, each little square of color not quite touching the next, so that an effect of vibrant light should result. He painted exquisite compositions of cloud and cliff and sea; he painted women and made them fair, even as the women upon the boulevards
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But the nudes! They looked like flayed
Martians, like pathological chartsâhideous old women, patched with gruesome hues, lopsided, with arms like the arms of a Swastika, sprawling on vivid backgrounds, or frozen stiffly upright, glaring through misshapen eyes, with noses or fingers missing. They
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studio on the rue Lamarck to Picasso's Bateau Lavoir studio on the rue Ravignan, writes Metzinger, "the attempt to imitate an orb on a vertical plane, or to indicate by a horizontal straight line the circular hole of a vase placed at the height of the eyes was considered as the artifice of an
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and dislocations of CĂ©zanneâs transformations of natureâwith the conceptual aspect of multiple perspectives and non-Euclidean spacetime. The importance of Cubism, he accepted, was to emphasize the idea that everything visible (objects) and invisible (consciousness) has an
718:"Among all the paintings on exhibition at the Paris Fall Salon none is attracting so much attention as the extraordinary productions of the so-called "Cubist" school. In fact, dispatches from Paris suggest that these works are easily the main feature of the exhibition.
429:. Both stances are verbalized with the same abstract vocabulary. In both cases, the figures are camouflaged or blended with the background, their bodies forming part of the landscape. These works were completed at a time when Metzinger frequented the Bateau Lavoir in
335:. Those who had not transited through a Fauve stage, such as Picasso, also experimented with the complex fracturing of form. CĂ©zanne had thus sparked a wholesale transformation in the area of artistic investigation that would profoundly affect the development
550:. He gave informal lectures to the artists, many of whom were passionate about mathematical order. In 1910, Metzinger said of him, " lays out a free, mobile perspective, from which that ingenious mathematician Maurice Princet has deduced a whole geometry".
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1278:, The Little Review: Quarterly Journal of Art and Letters, Vol. 9, No. 1: Stella Number, Anderson, Margaret C. (editor), New York: Margaret C. Anderson, 1922â09 (Autumn 1922), Modernist Journals Project, Brown University and the University of Tulsa
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in four dimensions projected onto a two-dimensional page. Princet became estranged from the group after his wife left him for André Derain. However, Princet would remain close to Metzinger and participate in meetings of the
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Nearly conscious in someone like Michelangelo, or Paolo Uccello, quite intuitive in painters such as Ingres, or Corot, it works on the basis of numbers which belong to the painting itself, not to whatever it represents.
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748:, published years later, Cubism had been born out of the "need not for an intellectual art but for an art that would be something other than a systematic absurdity"; the idiocies of reproducing or copying nature in
153:, 8 October 1911, in an article titled "The 'Cubists' Dominate Paris' Fall Salon", and subtitled, "Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do".
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dialectic view of everything that led him just as simply to treat each object as opposed to the other, and therefore thoroughly distinct. The blurring of differences was against the entire tenor of the whole.
233:, as "ignorant geometers, reducing the human body, the site, to pallid cubes." The works of Metzinger, Le Fauconnier and Delaunay were exhibited together. Le Fauconnier showed the geometrically simplified
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apparent mathematical codes. In the case of Metzinger, his prowess in mathematics is well documented. In the case of Picasso, the mathematical association with his paintings has been made through
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1307:(Cubism was Born), Présence, Chambéry, 1972. (This text written by Jean Metzinger was supplied to the publisher Henri Viaud by Metzinger's widow Suzanne Phocas). Translation Peter Brooke
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Whether in advanced non-objective mathematical workings or abstract geometrical form, along with his non-representative dislocated outward appearance, Metzinger creates a pure imageâ
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706:, which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The 1911
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In light of the fact that Metzinger frequented the Bateau Lavoir since 1908 and exhibited with Georges Braque at Berthe Weill's gallery, introduced to Picasso by
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life suggested an emotion, as that of horror in âThe Fall of the House of Ushur.â That subjective idea he translated into art. He made a composition of it."
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was painted the same year; 1908. The differences between the two paintings suggest that, while Metzinger may have been influenced by Picasso (unlike
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Then the kingdom of the Fauves whose civilization had appeared so new, so powerful, so startling, took on suddenly the aspect of a deserted village.
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interviewed and wrote about artists and artworks in and around Paris. The result of Burgess' investigation was published after he visited the 1910
164:, likely an oil painting on canvas (as practically all Metzingers' works of the period), was painted in a vertical format with unknown dimensions.
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we had no intention of prolonging. Whether or not the Universe was endowed with another dimension, art was going to move into a different field.
501:(and perhaps Galilean relativity) prior to the development of Cubism: something that reflects in his pre-1907 works. The French mathematician
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center, treated in a light color, stand-out against a darker background. They are flanked on both sides by a standing and a sitting nude.
1168:, 1985, Jean Metzinger in Retrospect, The University of Iowa Museum of Art, J. Paul Getty Trust, University of Washington Press, pp. 9-23
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had emerged a growing accent on the power of the mind to create for itself, a growing spirit of abstraction, of invention, fabrication.
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824:-dimensional geometric basis (an idea he associated with âconstruct an infinite number of different spaces for the use of paintersâ).
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479:, oil on canvas, 60 x 73 cm, Musée Picasso, Paris, appears to have certain morphological and stylistic similarities with Metzinger's
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and Jean Metzinger. Princet is known as "le mathématicien du cubisme." He brought to the attention of these artists a book entitled
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588:, oil on canvas, 73 x 60 cm, private collection, appears to have certain morphological and stylistic similarities with Metzinger's
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191:, the massive anti-establishment art exhibition in Paris, and one year before the scandalous group exhibition that brought
139:(n. 4243). This black-and-white image of Metzinger's painting, the only known photograph of the work, was reproduced in
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In both paintings, the faces of the models have been left out, featureless, reduced to their simplest spherical form.
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experience of nature: four-dimensional and geometric. He stressed this heavily, and at the same time brought out the
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It was then that Jean Metzinger, joining Picasso and Braque, founded the Cubist City. (Guillaume Apolllinaire, 1913)
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earnestness and seriousness or sincerity. He is, perhaps, the most articulate of them all. Let us not call him prim.
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in 1906, his paintings were exhibited in Paris in the form of several large exhibitions and a retrospective at the
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What do they mean? Have those responsible for them taken leave of their senses? Is it art or madness? Who knows?"
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in his review of the 1910 Salon des Indépendants made a passing and imprecise reference to Metzinger, Gleizes,
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327:, CĂ©zanne's geometric simplifications and optical phenomena inspired not just Metzinger, Matisse, Derain and
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of 1907, greatly affecting the direction taken by the avant-garde artists in Paris. Prior to the advent of
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Metzinger's early interests in mathematics is well documented. He was familiar with the works of
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Agence Photographique de la Réunion des musées nationaux et du Grand Palais des Champs-Elysées
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to the attention of the general public. At the 1910 Indépendants Jean Metzinger showed his
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which in the first place would appear as a representation of the impossible. (Metzinger)
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Turning his attention to Metzinger's abode, Burgess writes in The Architectural Record:
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painting, now lost or missing, created circa 1908 by the French artist and theorist
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1070:, Société des artistes indépendants: catalogue de la 24Úme exposition, 1908, p. 285
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The colors of the painting, as well as its dimensions and whereabouts, are unknown
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be said that a good portrait led one to think about the painter not the model".
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Baigneuses, Deux nus dans un jardin exotique (Two Nudes in an Exotic Landscape)
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The work represents at least four nude women (or bathers) relaxing in a highly
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human mind, abstractions, construed by mathematical means. With works such as
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My conviction was justified: art, that which lasts, is based on mathematics.
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Gelett Burgess, "The Wild Men of Paris: Matisse, Picasso, and Les Fauves",
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Gelett Burgess, "The Wild Men of Paris: Matisse, Picasso, and Les Fauves",
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Aesthetic Meditations, On Painting, The Cubist Painters, Second Series
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Jean Metzinger, OctoberâNovember 1910, "Note sur la peinture" Pan: 60
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513:. He was a close associate of Pablo Picasso, Guillaume Apollinaire,
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Jean Metzinger, Divisionism, Cubism, Neoclassicism and Post-Cubism
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A travers les salons: promenades aux « Indépendants »
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yellows, violent purples, sickening reds and shuddering blues.
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promoted the work of Poincaré, along with the concept of the
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568:, Illustrated in Gelett Burgess, "The Wild Men of Paris",
459:, Illustrated in Gelett Burgess, "The Wild Men of Paris",
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Both Metzinger's studio on the rue Lamarck and Picasso's
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Jean Metzinger in Retrospect, Pre-Cubist works, 1904â1909
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Leading up to 1910, the draftsman, illustrator and poet
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studio on the rue Ravignan were above the Moulin Rouge.
331:, but the other artists who earlier exhibited with the
983:(Fatata te miti), 67.9 Ă 91.5 cm (26.7 Ă 36 in),
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illusionistic trickery that belonged to another age."
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and Guillaume Krotowsky (who already signed his works
135:. Possibly exhibited during the spring of 1908 at the
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which they would never even have thought of entering.
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treatment can be observed, but Metzinger vacates all
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Paysage aux deux figures (Landscape with Two Figures)
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Paysage aux deux figures (Landscape with Two Figures)
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Paysage aux deux figures (Landscape with Two Figures)
926:, oil on canvas, 15 x 19 cm, Private collection
907:, oil on canvas, 33 x 40 cm, Private collection
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Nature morte (Compotier et cruche décorée de cerfs)
884:, oil on canvas, 227 x 193 cm (89.4 x 76 in),
861:, oil on canvas, 64 x 80 cm (25.2 x 31.5 in),
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Traité élémentaire de géométrie à quatre dimensions
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defied anatomy, physiology, almost geometry itself!
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1333:Jean Metzinger Catalogue Raisonné entry page for
1305:Le Cubisme Ă©tait NĂ©: Souvenirs par Jean Metzinger
1142:Albert Gleizes, Chronology of his life, 1881â1953
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1009:, oil on canvas, 66 Ă 87 cm (26 Ă 34.3 in),
421:There is a close association between Metzinger's
417:, oil on canvas, 60 x 73 cm, Musée Picasso, Paris
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387:"Instead of copying Nature," says, "we create a
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1477:Man with a Pipe (Portrait of an American Smoker)
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149:, May 1910. The painting was also reproduced in
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694:was reproduced in the 8 October 1911 issue of
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586:Le Viaduc de L'Estaque (Viaduct at L'Estaque)
358:, Museum Kranenburgh, Bergen, the Netherlands
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802:The narrative of Metzinger outlined by his
253:. In the same exhibition hung the works of
2457:The Cubist Painters, Aesthetic Meditations
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698:. This article was published a year after
670:The "Cubists" Dominate Paris' Fall Salon,
662:total disintegration of recognizable form.
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339:. The Fauvism of Metzinger, Matisse and
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199:(the first Cubist portrait according to
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1166:Jean Metzinger: At the Center of Cubism
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1007:(Mahana no Atua, Te mahana nĆ te Atua)
529:(1903) a popularization of Poincaré's
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1429:Colored Landscape with Aquatic Birds
1202:Kubisme.info, Salon des Indépendants
1033:, oil on canvas, 175 x 241 cm,
2052:Portrait of Daniel-Henry Kahnweiler
309:ColecciĂłn Carmen Thyssen-Bornemisza
27:For works with similar titles, see
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2188:Still Life with Checked Tablecloth
2156:Nude Descending a Staircase, No. 2
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533:. In this book Jouffret described
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1048:List of works by Jean Metzinger
760:Le Cubisme Ă©tait NĂ©: Souvernirs
744:According to Metzinger, in his
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659:By 1908â09, in such studies as
2563:Douglas Cooper (art historian)
2529:Daniel Robbins (art historian)
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961:Three Bathers among the Irises
710:article, a review of the 1911
674:, 8 October 1911. Metzinger's
603:in this photograph. Its quasi-
402:Metzinger, Picasso, and Braque
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88:Black & white reproduction
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1:
702:, and two years prior to the
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2044:Portrait of Ambroise Vollard
572:, May 1910, location unknown
463:, May 1910, location unknown
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2612:Paintings by Jean Metzinger
2524:Paul Rosenberg (art dealer)
2180:Still Life with Candlestick
1871:Georges Ribemont-Dessaignes
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143:, "The Wild Men of Paris",
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2124:Portrait of Jacques Nayral
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1573:Fruit and a Jug on a Table
1565:Lady at her Dressing Table
1557:Soldier at a Game of Chess
1260:Russell T. Clement, 1994,
737:
600:Landscape with Two Figures
34:Painting by Jean Metzinger
26:
2474:
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2206:
2164:The Cathedral (KatedrĂĄla)
2068:Le pigeon aux petits pois
2036:Les Demoiselles d'Avignon
2027:
1926:
1726:
1670:
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1592:
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1191:, Gil Blas, 18 March 1910
564:Jean Metzinger, c. 1908,
455:Jean Metzinger, c. 1908,
280:Gelett Burgess writes in
243:Village dans les Montagne
108:
100:
92:
84:
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61:
52:
44:
39:
1969:Stanton Macdonald-Wright
1274:Guillaume Apolllinaire,
1262:Les Fauves: A sourcebook
1107:, May 1910, p. 412 (PDF)
1011:Art Institute of Chicago
570:The Architectural Record
507:fourth spatial dimension
461:The Architectural Record
301:Jean Metzinger, c.1905,
284:of the same exhibition:
2632:Paintings of Montmartre
2591:Fourth dimension in art
2512:Daniel-Henry Kahnweiler
2148:Les Joueurs de football
1405:Coucher de soleil no. 1
1224:Alex Mittelmann, 2012,
985:National Gallery of Art
197:Portrait of Apollinaire
2622:Proto-Cubist paintings
2552:John Quinn (collector)
1776:Raymond Duchamp-Villon
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584:Georges Braque, 1908,
531:Science and Hypothesis
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209:Portrait de René Arcos
189:Salon des Indépendants
137:Salon des Indépendants
2488:Guillaume Apollinaire
855:Jean-Honoré Fragonard
832:
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777:
775:Metzinger continues:
764:
700:The Wild Men of Paris
669:
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627:Guillaume Apollinaire
475:Pablo Picasso, 1908,
409:
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282:The Wild Men of Paris
251:Portrait of Maroussia
201:Guillaume Apollinaire
179:The Wild Men of Paris
1791:Roger de La Fresnaye
1736:Alexander Archipenko
1105:Architectural Record
1090:Architectural Record
1054:Notes and references
762:, Metzinger writes:
678:reproduced top right
566:Baigneuses (Bathers)
509:, to artists at the
499:Jules Henri Poincaré
457:Baigneuses (Bathers)
423:Baigneuses (Bathers)
146:Architectural Record
2004:Alexander Rodchenko
1944:Patrick Henry Bruce
1876:Jeanne Rij-Rousseau
1786:Henri Le Fauconnier
1746:Constantin BrĂąncuÈi
1718:Henri Le Fauconnier
1421:La danse, Bacchante
1030:Le bonheur de vivre
425:and Picasso's 1908
362:Burgess continues:
352:Henri le Fauconnier
315:After the death of
259:Maurice de Vlaminck
112:Whereabouts unknown
2568:Arthur Jerome Eddy
2116:La Femme aux Phlox
2092:La Femme au Cheval
2009:Nadezhda Udaltsova
1821:Jean Lambert-Rucki
1801:Natalia Goncharova
1469:Woman with a Horse
1187:Louis Vauxcelles,
987:, Washington, D.C.
696:The New York Times
680:
672:The New York Times
419:
360:
313:
247:Femme Ă l'Ă©ventail
214:L'Arbre (The Tree)
151:The New York Times
2599:
2598:
2465:La Maison Cubiste
2314:Chronophotography
2284:Neo-impressionism
1630:
1629:
1126:, October 8, 1911
1035:Barnes Foundation
654:"the total image"
116:
115:
16:(Redirected from
2644:
2518:LĂ©once Rosenberg
2482:Louis Vauxcelles
2422:Russian Futurism
2340:Cubist sculpture
2299:Symbolism (arts)
2215:Groupe de femmes
2132:Man on a Balcony
2100:Dancer in a café
2060:The Accordionist
2014:Marie Vassilieff
1979:Kazimir Malevich
1959:Lyonel Feininger
1909:
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1841:Jacques Lipchitz
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1620:Man in a Hammock
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1509:Woman with a Fan
1501:Dancer in a Café
1445:Nu à la cheminée
1413:Woman with a Hat
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1866:Francis Picabia
1826:Marie Laurencin
1816:FrantiĆĄek Kupka
1781:Alexandra Exter
1756:Robert Delaunay
1741:MarĂa Blanchard
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411:Pablo Picasso
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255:Henri Matisse
252:
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245:, along with
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30:
19:
2546:Wilhelm Uhde
2542:(art dealer)
2540:Berthe Weill
2520:(art dealer)
2514:(art dealer)
2494:André Salmon
2463:
2455:
2449:Du "Cubisme"
2447:
2427:Ego-Futurism
2367:Abstract art
2345:Czech Cubism
2330:Section d'Or
2309:Proto-Cubism
2254:Paul Gauguin
2249:Paul CĂ©zanne
2229:
2221:
2213:
2194:
2186:
2178:
2170:
2162:
2154:
2146:
2138:
2130:
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2106:
2098:
2090:
2082:
2076:La Coiffeuse
2074:
2066:
2058:
2050:
2042:
2034:
1994:Diego Rivera
1974:August Macke
1964:El Lissitzky
1939:Alice Bailly
1881:Diego Rivera
1806:Henri Hayden
1751:Joseph Csaky
1728:Section d'Or
1618:
1601:Du "Cubisme"
1599:
1571:
1563:
1555:
1547:
1539:
1531:
1523:
1517:Au VĂ©lodrome
1515:
1507:
1499:
1491:
1483:
1475:
1467:
1459:
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1436:
1435:
1427:
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1123:
1104:
1098:
1089:
1067:
1061:
1028:
1003:
1000:Paul Gauguin
978:
975:Paul Gauguin
960:
942:
923:
920:Paul CĂ©zanne
904:
901:Paul CĂ©zanne
881:
858:
834:
833:
827:
821:
816:
813:
808:
803:
801:
797:
792:
783:
778:
774:
765:
759:
757:
751:trompe-l'Ćil
749:
745:
743:
740:Proto-Cubism
734:Proto-Cubism
707:
699:
695:
691:
690:Metzinger's
689:
683:
675:
671:
660:
658:
653:
651:
644:
638:
630:
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597:
589:
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569:
565:
544:Section d'Or
537:and complex
530:
522:
488:
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460:
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426:
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396:
388:
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365:
361:
355:
317:Paul CĂ©zanne
314:
302:
287:
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279:
250:
246:
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238:
237:landscapes:
234:
212:
208:
196:
182:
174:
166:
161:
160:
150:
144:
129:Proto-Cubist
124:
119:
118:
117:
46:
2586:Armory Show
2460:(1913 book)
2452:(1912 book)
2397:Suprematism
2372:Synchromism
2350:Rondocubism
2294:Divisionism
2289:Pointillism
2269:Paul Signac
2111:(Metzinger)
2103:(Metzinger)
2095:(Metzinger)
2087:(Metzinger)
1949:Carlo CarrĂ
1904: [
1846:André Lhote
1027:, 1905â06,
957:Paul Ranson
903:, c. 1870,
886:Musée Fabre
882:The Bathers
859:The Bathers
829:(Metzinger)
704:Armory Show
356:Ploumanac'h
235:Ploumanac'h
207:showed his
157:Description
79: 1908
29:The Bathers
2606:Categories
2357:Die BrĂŒcke
2323:Influenced
2242:Influences
2207:Sculptures
1984:Franz Marc
1612:Portrayals
1485:The Harbor
1335:Baigneuses
1092:, May 1910
980:By the Sea
863:The Louvre
786:Montmartre
724:amazement.
692:Baigneuses
676:Baigneuses
639:visa versa
598:Picasso's
535:hypercubes
431:Montmartre
337:modern art
263:Raoul Dufy
162:Baigneuses
125:Baigneuses
101:Dimensions
47:Baigneuses
18:Baigneuses
2500:Max Jacob
2432:Vorticism
2199:(Picasso)
2159:(Duchamp)
2151:(Gleizes)
2143:(Gleizes)
2135:(Gleizes)
2127:(Gleizes)
2119:(Gleizes)
2084:Le goûter
2079:(Picasso)
2071:(Picasso)
2063:(Picasso)
2055:(Picasso)
2047:(Picasso)
2039:(Picasso)
2028:Paintings
1954:Paul Klee
1703:Juan Gris
1560:(1914â15)
1536:(c. 1913)
1528:(1912â13)
1496:(1911â12)
1488:(1911â12)
1480:(1911â12)
1472:(1911â12)
1456:(1910â11)
1453:Two Nudes
1440:(c. 1908)
1432:(c. 1907)
1424:(c. 1906)
1416:(c. 1906)
1408:(c. 1906)
1400:(1905â06)
1384:Paintings
1068:Baigneuse
922:1876â77,
784:From his
623:Max Jacob
609:Symbolist
539:polyhedra
515:Max Jacob
123:(French:
2496:(critic)
2484:(critic)
2417:Art Deco
2412:De Stijl
2382:Futurism
2223:Danseuse
2172:The City
1593:Writings
1541:En Canot
1461:Tea Time
1042:See also
1002:, 1894,
977:, 1892,
959:, 1890,
941:, 1890,
880:, 1853,
857:, 1765,
817:flatness
413:, 1908,
354:, 1908,
239:Le Ravin
223:Delaunay
169:abstract
109:Location
96:Painting
45:French:
2475:Related
2441:Related
2304:Fauvism
2234:(Csaky)
2226:(Csaky)
2218:(Csaky)
2183:(LĂ©ger)
2175:(LĂ©ger)
2167:(Kupka)
1671:Leaders
1437:Bathers
924:Bathers
905:Bathers
865:, Paris
809:Bathers
804:Bathers
758:In his
631:Bathers
590:Bathers
548:Puteaux
495:Riemann
481:Bathers
311:, Spain
127:) is a
120:Bathers
104:Unknown
40:Bathers
2582:(poet)
2576:(poet)
2502:(poet)
2392:Purism
2377:Tubism
2191:(Gris)
1927:Others
1896:Tobeen
1664:Cubism
1604:(1912)
1576:(1916)
1568:(1916)
1552:(1913)
1544:(1913)
1520:(1912)
1512:(1912)
1504:(1912)
1464:(1911)
1448:(1910)
686:, 1911
389:milieu
341:Derain
333:Fauves
329:Braque
325:Cubism
193:Cubism
93:Medium
62:Artist
1908:]
607:post-
605:Nabis
491:Gauss
227:LĂ©ger
2402:Dada
2231:Head
497:and
273:and
249:and
241:and
229:and
211:and
85:Type
72:Year
546:in
525:by
203:);
2608::
1906:fr
1284:^
1208:^
1149:^
1132:^
1113:^
1076:^
656:.
517:,
493:,
441:.
277:.
269:,
265:,
261:,
257:,
225:,
76:c.
1656:e
1649:t
1642:v
1369:e
1362:t
1355:v
822:n
31:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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