Jean Metzinger
French painter
Jean Metzinger
Jean Metzinger (June 24, 1883 – November 3, 1956) was a French painter, theorist, writer, critic and poet, born in Nantes, France. His earliest works, from 1900 to 1904, appear to have been influenced by the Neo-Impressionism of Georges Seurat and Henri Edmond Cross. Between 1904 and 1907 Metzinger worked in the Divisionist and Fauvism styles. From 1908 he was directly involved with Cubism, both as an artist and principle theorist of the movement.
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Frida Kahlo & Diego Rivera - Cặp họa sĩ danh tiếng nhất Mexico - Thể thao văn hóa
Google News - over 5 years
Rivera từng thử nghiệm với trường phái lập thể và năm 1915 một bức tranh tĩnh vật lớn đã đưa Rivera vào “vương quốc” triển lãm của các nghệ sĩ theo xu hướng lập thể như Jean Metzinger. Tuy nhiên, đối với một nhân vật như Rivera - một nhà cách mạng
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Frida Kahlo and Diego Rivera: Pallant House Gallery, review -
Google News - over 5 years
He, too, experimented with Cubism, but a large still life of 1915 places Rivera firmly in the realms of “salon” Cubists such as Jean Metzinger. Painted in a palette of soft yellow, light green, and scumbled grey, beige and black, the arrangement of
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The Listings
NYTimes - over 5 years
Art Museums and galleries are in Manhattan unless otherwise listed. Full reviews of recent art shows: Museums American Folk Art Museum: 'Super Stars: Quilts From the American Folk Art Museum' (through Sept. 25) In conjunction with the exhibition of quilts at the main museum, its branch is featuring 20 quilts in which stars figure
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Dernière (grande) vacation parisienne avant les vacances - La
Google News - over 5 years
... peinture de Jean Metzinger (120.000 euros). Entre 50 et 80.000 euros - estimations basses - on trouve une "Scène de maison close" vers 1930 d'Emile Bernard, un "Porait de femme assise" vers 1928 d'Edouard Vuillard, une gouache d'Amedeo Modigliani,
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Un día como hoy nace Ernesto Sábato y muere Rufino Tamayo - Terra México
Google News - over 5 years
Nace el pintor francés Jean Metzinger, artista cubista quien gracias a su talento como escritor es uno de los primeros en resaltar las prácticas de los pintores de Montmartre, barrio de París. Muere el 3 de noviembre de 1956. 1911
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His First Brush With the City of Light - New York Times
Google News - over 5 years
It includes a taste of Chagall at his best, as well as a smattering of Modiglianis and Soutines and a generous serving of influential if less beloved artists like Jean Metzinger, Jacques Lipchitz and Albert Gleizes. But it feels uninspired,
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Results of Swann Galleries' May Auction of Art, Press & Illustrated Books, and ... - Art Daily
Google News - almost 6 years
Other modern art highlights were Pablo Picasso and Pierre Reverdy, Le Chant des Morts, with 125 lithographs, signed by Picasso and Reverdy, one of only 20 hors commerce copies, Paris, 1946-48, $6480; Albert Gleizes and Jean Metzinger, Du Cubisme,
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价值50余万欧元的艺术品被缴获 - AMA
Google News - almost 6 years
其中包括Fernand Léger、Camille Pissaro、Pierre Antoine Gallien及Jean Metzinger的作品。 打击犯罪小组5月13日的这次行动成果颇丰,破获了一个入室盗窃团伙网络。巴黎16区的一位画商也将被审讯,警方在其家中查获了
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La police de Paris saisit des oeuvres d'art volées chez un présumé cambrioleur - The Canadian Press
Google News - almost 6 years
Des dessins signés Camille Pissaro et Fernand Léger, un tableau de Pierre Antoine Galien ainsi qu'une toile de Jean Metzinger intitulée «La rêveuse» ont été trouvés le 13 mai par les policiers de la Brigade de répression du banditisme (BRB) au domicile
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"Gedächtnis der Gesellschaft" - Morgenweb
Google News - almost 6 years
Als Capalbo anhand eines Stilllebens von Jean Metzinger Abstraktion erklärt, nickt ein kleines Mädchen bedächtig: "Das kann ich schon verstehen." Dass Willi Baumeister für sein Ölgemälde "Im Blau" von 1951 Höhlenmalerei zum Vorbild nahm, erraten weder
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ART REVIEW; When the Artists Voted For the Politics of Order
NYTimes - over 6 years
Boilerplate is safe box office, and we've gotten our share lately. So it's great that the Guggenheim Museum is giving us the opposite in its major fall exhibition, ''Chaos and Classicism: Art in France, Italy, and Germany, 1918-1936.'' With its high percentage of unfamiliar names, the exhibition won't pull crowds. Visitors with a stake in
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ART REVIEW | 'PICASSO AND THE AVANT-GARDE IN PARIS'; Picasso Leads the Way Through a Maze of Cubism
NYTimes - almost 7 years
Size alone does not a blockbuster make. That's the lesson of ''Picasso and the Avant-Garde in Paris,'' at the Philadelphia Museum of Art. Rethinking the museum blockbuster isn't necessarily a bad idea, even if it's a budgetary necessity. Exhibitions of Vermeer and van Gogh at the Metropolitan and the Modern have shown that the ''mini-blockbuster,''
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The Exile's Palette
NYTimes - over 8 years
CHAGALL A Biography By Jackie Wullschlager Illustrated. 582 pp. Alfred A. Knopf. $40 Ever wondered why so many figures in Marc Chagall's paintings fly? At age 79, Chagall described how his mother buoyed him, back when he was Moshka Shagal, ''her breasts so warmly nourishing and exalting me, and I feel I could swing from the moon.'' Jackie
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ART IN REVIEW; 'Works on Paper'
NYTimes - almost 13 years
Seventh Regiment Armory Park Avenue at 67th Street Through Sunday As art fairs go, ''Works on Paper'' must have one of the highest ratios of useful visual information to square footage. Prints, drawings, photographs, posters and illustrated books encourage dense presentations, including bins of unframed works for browsing. Spare elegance usually
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ART REVIEW; Building Up a Shimmer, Stroke by Careful Stroke
NYTimes - over 14 years
More than 100 years after its origination by the French painter Georges Seurat (1859-1891), neo-Impressionism has made it to Maine. Billed as the first show in the state's history ever devoted to the movement, ''Neo-Impressionism: Artists on the Edge'' is lighting up the Portland Museum of Art with the radiance so painstakingly achieved by its
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ART REVIEW; Sisters, for a Time, in Revolution
NYTimes - over 16 years
GIVE credit to Thomas Krens, the Guggenheim's director. He remains a genius hustler. For the opening yesterday of ''Amazons of the Avant-Garde,'' the exhibition of paintings by six Russian women from around the time of the Revolution, Mr. Krens invited President Vladimir Putin of Russia to stop by. Mr. Krens's latest multinational enterprise links
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London Buyers Ignore Auction Inquiry
NYTimes - over 16 years
As collectors and dealers gathered here last week for Christie's and Sotheby's big sales of Impressionist, modern and contemporary art, the auction houses' legal troubles in the United States seemed to make no difference to the buyers. Still, it was clear that the shadow cast by the federal antitrust investigation in New York had crossed the
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Reviews/Art; 'Works on Paper,' 1500's to Today
NYTimes - almost 26 years
This is the weekend for people who like their artworks on the small side to make their way to the Seventh Regiment Armory. There, the third annual "Works on Paper" exhibition is in full swing until 7 P.M. Sunday. With the haphazard profusion that only an art fair can muster, this year's "Works on Paper" condenses a great deal of human achievement,
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Learn about memorable moments in the evolution of Jean Metzinger
  • 1956
    Age 72
    The artist died in Paris on November 3, 1956.
    More Details Hide Details In the words of S.E. Johnson, an in-depth analysis of Metzinger's Pre-Cubist period—his first artistic peak—"can only class that painter, in spite of his youth, as being already one of the leading artistic personalities in that period directly preceding Cubism. In an attempt to understand the importance of Jean Metzinger in Modern Art, we could limit ourselves to three considerations. Firstly, there is the often overlooked importance of Metzinger's Divisionist Period of 1900–1908. Secondly, there is the role of Metzinger in the founding of the Cubist School. Thirdly, there is the consideration of Metzinger's whole Cubist Period from 1909 to 1930. In taking into account these various factors, we can understand why Metzinger must be included among that small group of artists who have taken a part in the shaping of Art History in the first half of the Twentieth Century."
  • 1943
    Age 59
    He later moved to Bandol in Provence where he lived until 1943 and then returned to Paris where he was given a teaching post for three years at the Académie Frochot in 1950.
    More Details Hide Details In 1913 Metzinger exhibited in New York City at the Exhibition of Cubist and Futurist Pictures, Boggs & Buhl Department Store, Pittsburgh. The show traveled to four other cities; Milwaukee, Cleveland, Pittsburgh and Philadelphia, over the course of one year. The Milwaukee exhibition of Cubist works—including paintings by Albert Gleizes, Fernand Léger, Marcel Duchamp and Jacques Villon—opened 11 May 1913. Metzinger's Man with a Pipe was reproduced on the cover of catalogue for the exhibition. Though he did not exhibit with his Cubist colleagues at the Armory Show of 1913, Metzinger contributed, through this exhibition and others, toward the integration of modern art into the United States. During the spring of 1916 Metzinger participated in one of the largest exhibitions of modern art in New York City organized by Walter Pach and a group of European and American artists in New York; The Annual Exhibition of Modern Art, held at Bourgeois Gallery. Initially, some American exhibitors were offended by the 'continental' nature of the show, but as Pack informed Matisse, "the petty nationalism that had one had tried to throw inside had failed to advance, and I am certain of that". The exhibition included works by Cézanne, Matisse, Duchamp, Picasso, Seurat, Signac, van Gogh, Duchamp-Villon, in addition to works by Pach, the Italian-born American Futurist painter Joseph Stella, and other American artists.
  • 1937
    Age 53
    Metzinger was commissioned to paint a large mural, Mystique of Travel, which he executed for the Salle de Cinema in the railway pavilion of the Exposition Internationale des Arts et Techniques dans la Vie Moderne, Paris 1937.
    More Details Hide Details Jean Metzinger had been appointed to teach at the Académie de La Palette, in Paris, 1912, where Le Fauconnier served as director. Among his many students were Serge Charchoune, Jessica Dismorr, Nadezhda Udaltsova, Varvara Stepanova, Aristarkh Lentulov, Vera Efimovna Pestel and Lyubov Popova. In 1913 Metzinger taught at the Académie Arenius and Académie de la Grande Chaumière.
  • 1930
    Age 46
    After 1930, until his death in 1956, Metzinger turned towards a more classical or decorative approach to painting with elements of Surrealism, still concerned with questions of form, volume, dimension, relative position and relationship of figures, along with visible geometric properties of space.
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  • 1929
    Age 45
    The two were married in 1929.
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  • 1924
    Age 40
    In subsequent stages of his career another important change is noticeable, from 1924 to 1930: a development that paralleled the 'mechanical world' of Fernand Léger.
    More Details Hide Details Throughout these years Metzinger continued to retain his own marked artistic individuality. These firmly constructed pictures are brightly colored and visually metaphoric, consisting of urban and still-life subject-matter, with clear references to science and technology. At the same time he was romantically involved with a young Greek woman, Suzanne Phocas.
  • 1923
    Age 39
    In 1923 Metzinger moved away from Cubism towards realism, while still retaining elements of his earlier Cubist style.
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  • 1922
    Age 38
    Metzinger himself, writing in 1922 by Montparnasse could claim quite confidently that this was not at all a betrayal of Cubism but a development within it. 'I know works,' he said, 'whose thoroughly classical appearance conveys the most personal most original the newest conceptions...
    More Details Hide Details Now that certain Cubists have pushed their constructions so far as to take in clearly objective appearances, it has been declared that Cubism is dead fact it approaches realization.' The strict constructive ordering that had become so pronounced in Metzinger's pre-1920 Cubist works continued throughout the subsequent decades, in the careful positioning of form, color, and in the way in which Metzinger delicately assimilates the union of figure and background, of light and shadow. This can be seen in many figures: From the division (in two) of the model's features emerges a subtle profile view—resulting from a free and mobile perspective used by Metzinger to some extent as early as 1908 to constitute the image of a whole—one that includes the fourth dimension. Both as a painter and theorist of the Cubist movement, Metzinger was at the forefront. It was too Metzinger's role as a mediator between the general public, Picasso, Braque and other aspiring artists (such as Gleizes, Delaunay, Le Fauconnier and Léger) that places him directly at the center of Cubism:
  • 1921
    Age 37
    His sweet, rich colour between 1921 and 1924 was unashamedly artificial, and is itself symptomatic of the fact that his return to lucid representation did not mean a return to nature approached naturalistically...
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    From that exhibition of 1921 Metzinger continued to cultivate a style that was not only less obscure, but clearly took subject-matter as its starting point far more than an abstract play with flat pictorial elements."
    More Details Hide Details Green continues: Yet, style, in the sense of his own special way of handling form and color, remained for Metzinger the determining factor, something imposed on his subjects to give them their special pictorial character.
    His exhibition at l'Effort Moderne at the outset of 1921 was exclusively of landscapes: his formal vocabulary remained rhythmic, linear perspective was avoided.
    More Details Hide Details There was a motivation to unite the pictorial and the natural. Christopher Green writes: "The willingness to adapt Cubist language to the look of nature was quickly to affect his figure painting too.
  • 1918
    Age 34
    A contract between the two dated 1 January 1918 modified the first contract; the engagement was now renewable every two years, and prices of Metzinger's works purchased by Rosenberg increased.
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    Metzinger's departure from Cubism circa 1918 would leave open the 'spatial' susceptibility to classical observation, but the 'form' could only be grasped by the 'intelligence' of the observer, something that escaped classical observation.
    More Details Hide Details In a letter to Léonce Rosenberg (September 1920) Jean Metzinger wrote of a return to nature that appeared to him both constructive and not at all a renunciation of Cubism.
  • 1914
    Age 30
    Metzinger's evolution toward synthesis in 1914–15 has its origins in the configuration of flat squares, trapezoidal and rectangular planes that overlap and interweave, a "new perspective" in accord with the "laws of displacement".
    More Details Hide Details In the case of Le Fumeur Metzinger filled in these simple shapes with gradations of color, wallpaper-like patterns and rhythmic curves. So too in Au Vélodrome. But the underlying armature upon which all is built is palpable. Vacating these non-essential features would lead Metzinger on a path towards Soldier at a Game of Chess (1914–15), and a host of works created after the artist's demobilization as a medical orderly during the war, such as L'infirmière (The Nurse) location unknown, and Femme au miroir, private collection. Before Maurice Raynal coined the term Crystal Cubism, one critic by the name of Aloës Duarvel, writing in L'Élan, referred to Metzinger's entry exhibited at Galerie Bernheim-Jeune (28 December 1915 – 15 January 1916) as 'jewellery' ("joaillerie"). For Metzinger, the Crystal period was synonymous with a return to "a simple, robust art". Crystal Cubism represented an opening up of possibilities. His belief was that technique should be simplified and that the "trickery" of chiaroscuro should abandoned, along with the "artifices of the palette". He felt the need to do without the "multiplication of tints and detailing of forms without reason, by feeling":
  • 1912
    Age 28
    But his monochromatic tonalities would last only until 1912, when both color and form would boldly combine to produce such works as Dancer in a café (Albright-Knox Art Gallery, Buffalo New York). "The works of Jean Metzinger" Apollinaire writes in 1912 "have purity.
    More Details Hide Details His meditations take on beautiful forms whose harmony tends to approach sublimity. The new structures he is composing are stripped of everything that was known before him." As a resident of la Butte Montmartre in Paris, Metzinger entered the circle of Picasso and Braque (in 1908). "It is to the credit of Jean Metzinger, at the time, to have been the first to recognize the commencement of the Cubist Movement as such" writes S. E. Johnson, "Metzinger's portrait of Apollinaire, the poet of the Cubist Movement, was executed in 1909 and, as Apollinaire himself has pointed out in his book The Cubist Painters (written in 1912 and published in 1913), Metzinger, following Picasso and Braque, was chronologically the third Cubist artist.
  • 1911
    Age 27
    Niels Bohr (1885–1962), the Danish physicist and one of the principle founders of quantum mechanics, had indeed hung in his office a large painting by Jean Metzinger, La Femme au Cheval (Woman with a horse) 1911–12 (now in the Statens Museum for Kunst, National Gallery of Denmark).
    More Details Hide Details This work is one of Metzinger's most conspicuous early examples of 'mobile perspective' implementation. Bohr's interest in Cubism, according to Miller, was anchored in the writings of Metzinger. Arthur Miller concludes: "If cubism is the result of the science in Art, the quantum theory is the result of art in science." In the epistemological words of Bohr, 1929: depending upon our arbitrary point of view we must, in general, be prepared to accept the fact that a complete elucidation of one and the same object may require diverse points of view which defy a unique description. (Niels Bohr, 1929) Within the context of Cubism, artists were forced into the position of re-evaluating the role of the observer. Classical linear and aerial perspective, uninterrupted surface transitions and chiaroscuro were pushed aside. What remained was a series of images obtained by the observer (the artist) in different frames of reference as the object was being painted. Essentially, observations became linked through a system of coordinate transformations. The result was Metzinger's 'total image' or a combination of successive images. In Metzinger's theory, the artist and the object being observed became equivocally linked so that the results of any observation seemed to be determined, at least partially, by actual choices made by the artist. "An object has not one absolute form; it has many," Metzinger wrote. Furthermore, part of the role of placing together various images was left to the observer (the one looking at the painting).
    In his Anecdotiques of 16 October 1911, the poet proudly states: "I am honored to be the first model of a Cubist painter, Jean Metzinger, for a portrait exhibited in 1910 at the Salon des Indépendants."
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    Metzinger, Gleizes, Le Fauconnier, Delaunay, Léger and Marie Laurencin were shown together in Room 41 of the 1911 Salon des Indépendants, which provoked the 'involuntary scandal' out of which Cubism emerged and spread in Paris, in France and throughout the world.
    More Details Hide Details Laurencin was included at the suggestion of Guillaume Apollinaire who had become an enthusiastic supporter of the new group despite his earlier reservations. Both Metzinger and Gleizes were discontent with the conventional perspective, which they felt gave only a partial idea of a subject's form as experienced in life. The idea that a subject could be seen in movement and from many different angles was born. In Room 7 and 8 of the 1911 Salon d'Automne (1 October – 8 November) at the Grand Palais in Paris, hung works by Metzinger (Le goûter (Tea Time)), Henri Le Fauconnier, Fernand Léger, Albert Gleizes, Roger de La Fresnaye, André Lhote, Jacques Villon, Marcel Duchamp, František Kupka and Francis Picabia. The result was a public scandal which brought Cubism to the attention of the general public for the second time. Apollinaire took Picasso to the opening of the exhibition in 1911 to see the cubist works in Room 7 and 8.
  • 1910
    Age 26
    In 1910 a group began to form which included Metzinger, Gleizes, Fernand Léger and Robert Delaunay, a longstanding friend and associate of Metzinger.
    More Details Hide Details They met regularly at Henri le Fauconnier's studio on rue Notre-Dame-des-Champs, near the Boulevard de Montparnasse. Together with other young painters, the group wanted to emphasize a research into form, in opposition to the Divisionist, or Neo-Impressionist, emphasis on color.
    Metzinger's early 1910 style had transited to a robust form of analytical Cubism.
    More Details Hide Details Louis Vauxcelles, in his review of the 26th Salon des Indépendants (1910), made a passing and imprecise reference to Metzinger, Gleizes, Delaunay, Léger and Le Fauconnier, as "ignorant geometers, reducing the human body, the site, to pallid cubes."
  • 1909
    Age 25
    A critique wrote of Metzinger's work exhibited during the spring of 1909:
    More Details Hide Details If M. J. Metzinger had really realized the "Nude" that we see at Madame Weill's, and wished to demonstrate the value of his work, the schematic figure that he shows us would serve this demonstration. As such, it is a skeletal frame without its flesh; this is better than flesh without a skeletal frame: the spirit at least finds some security. But this excess of abstraction interests us much more than possesses us.
  • 1908
    Age 24
    His concerns for color that had assumed a primary role both as a decorative and expressive device before 1908 had given way to the primacy of form.
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    By 1908 Metzinger experimented with the fracturing of form, and soon thereafter with complex multiple views of the same subject.
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    In 1908 Metzinger frequented the Bateau Lavoir and exhibited with Georges Braque at Berthe Weill's gallery.
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  • 1906
    Age 22
    Metzinger, followed closely by Delaunay—the two often painting together, 1906–07—would develop a new sub-style that had great significance shortly thereafter within the context of their Cubist works.
    More Details Hide Details Piet Mondrian, in the Netherlands, developed a similar mosaic-like Divisionist technique circa 1909. The Futurists later (1909–1916) would adapt the style, thanks to Gino Severini's Parisian experience (from 1907 onward), into their dynamic paintings and sculpture. In 1910 Gelett Burgess writes in The Wild Men of Paris: "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 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." "Instead of copying Nature," Metzinger explained circa 1909, "we create a milieu 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 ‘Ed Carpoe’) did not attempt to reproduce Nature realistically. Some phase of life suggested an emotion, as that of horror in ‘The Fall of the House of Ushur.’ That subjective idea he translated into art. He made a composition of it."
    Writing in 1906, Louis Chassevent recognized the difference, and as Daniel Robbins pointed out in his Gleizes catalogue, used the word "cube" which later would be taken up by Louis Vauxcelles to baptize Cubism: "M. Metzinger is a mosaicist like M. Signac but he brings more precision to the cutting of his cubes of color which appear to have been made mechanically".
    More Details Hide Details The interesting history of the word "cube" goes back at least to May 1901 when Jean Béral, reviewing Cross's work at the Indépendants in Art et Littérature, commented that he "uses a large and square pointillism, giving the impression of mosaic. One even wonders why the artist has not used cubes of solid matter diversely colored: they would make pretty revetments." (Robert Herbert, 1968)
    The height of his Neo-Impressionist work was in 1906 and 1907, when he and Delaunay did portraits of each other (Art market, London, and Museum of Fine Arts Houston) in prominent rectangles of pigment. (In the sky of Coucher de soleil, 1906–1907, Collection Rijksmuseum Kröller-Müller is the solar disk which Delaunay was later to make into a personal emblem.)"
    More Details Hide Details oil on canvas, 73 x 54 cm. Jean Metzinger's mosaic-like Divisionist technique had its parallel in literature; a characteristic of the alliance between Symbolist writers and Neo-Impressionist artists: I ask of divided brushwork not the objective rendering of light, but iridescences and certain aspects of color still foreign to painting. I make a kind of chromatic versification and for syllables I use strokes which, variable in quantity, cannot differ in dimension without modifying the rhythm of a pictorial phraseology destined to translate the diverse emotions aroused by nature. (Jean Metzinger, circa 1907) Robert Herbert interprets Metzinger's statement: "What Metzinger meant is that each little tile of pigment has two lives: it exists as a plane whose mere size and direction are fundamental to the rhythm of the painting and, secondly, it also has color which can vary independently of size and placement. This is only a degree beyond the preoccupations of Signac and Cross, but an important one.
    In 1906 Metzinger had acquired enough prestige to be elected to the hanging committee of the Salon des Indépendants.
    More Details Hide Details He formed a close friendship at this time with Robert Delaunay, with whom he shared an exhibition at Berthe Weill early in 1907. The two of them were singled out by one critic (Louis Vauxcelles) in 1907 as Divisionists who used large, mosaic-like 'cubes' to construct small but highly symbolic compositions. Robert Herbert writes: "Metzinger's Neo-Impressionist period was somewhat longer than that of his close friend Delaunay. At the Indépendants in 1905, his paintings were already regarded as in the Neo-Impressionist tradition by contemporary critics, and he apparently continued to paint in large mosaic strokes until some time in 1908.
    In 1906 Metzinger met Albert Gleizes at the Salon des Indépendants, and visited his studio in Courbevoie several days later.
    More Details Hide Details In 1907, at Max Jacob's room, Metzinger met Guillaume Krotowsky, who already signed his works Guillaume Apollinaire. In 1908 a poem by Metzinger, Parole sur la lune, was published in Guillaume Apollinaire's La Poésie Symboliste. From 21 December 1908 to 15 January 1909, Metzinger exhibited at the gallery of Wilhelm Uhde, rue Notre-Dame-des-Champs (Paris) with Georges Braque, Sonia Delaunay, André Derain, Raoul Dufy, Auguste Herbin, Jules Pascin and Pablo Picasso. 1908 continued with the Salon de la Toison d'Or, Moscow. Metzinger exhibited five paintings with Braque, Derain, van Dongen, Friesz, Manguin, Marquet, Matisse, Puy, Valtat and others. At the 1909 Salon d’Automne Metzinger exhibited alongside Constantin Brâncuși, Henri Le Fauconnier and Fernand Léger. Jean Metzinger married Lucie Soubiron in Paris on 30 December of the same year. By 1903, Metzinger was a keen participant in the Neo-Impressionist revival led by Henri-Edmond Cross. By 1904–05, Metzinger began to favor the abstract qualities of larger brushstrokes and vivid colors. Following the lead of Seurat and Cross, he began incorporating a new geometry into his works that would free him from the confines of nature as any artwork executed in Europe to date. The departure from naturalism had only just begun. Metzinger, along with Derain, Delaunay, Matisse, between 1905 and 1910, helped revivify Neo-Impressionism, albeit in a highly altered form.
    Again with the Fauves and associated artists, Metzinger exhibits at the 1906 Salon d'Automne, Paris.
    More Details Hide Details He exhibits six works at the 1907 Salon des Indépendants, followed by the presentation of two works at the 1907 Salon d'Automne.
    In 1906 Metzinger exhibits at the Salon des Indépendants.
    More Details Hide Details Once again he is elected member of the hanging committee, with Matisse, Signac and others.
  • 1904
    Age 20
    In 1904 Metzinger exhibited six paintings in the Divisionist style at the Salon des Indépendants and the Salon d’Automne (where he would show regularly throughout the crucial years of Cubism).
    More Details Hide Details In this exhibition Metzinger is directly associated with the artists soon to be known as Fauves: Camoin, Delaunay, Derain, van Dongen, Dufy, Friesz, Manguin, Marquet, Matisse, Valtat, Vlaminck and others. Matisse is in charge of the hanging committee, assisted by Metzinger, Bonnard, Camoin, Laprade Luce, Manguin, Marquet, Puy and Vallotton.
  • 1903
    Age 19
    He exhibited regularly in Paris from 1903, participating in the first Salon d'Automne the same year and taking part in a group show with Raoul Dufy, Lejeune and Torent, from 19 January-22 February 1903 at the gallery run by Berthe Weill (1865–1951), with another show November 1903.
    More Details Hide Details Metzinger exhibited at Berthe Weill's gallery 23 November-21 December 1905 and again 14 January-10 February 1907, with Robert Delaunay, in 1908 (6–31 January) with André Derain, Fernand Léger and Pablo Picasso, and 28 April-28 May 1910 with Derain, Rouault and Kees van Dongen. He would show four more times at Weill's gallery, 17 January-1 February 1913, March 1913, June 1914 and February 1921. It is at Berthe Weill's that he would meet Max Jacob for the first time. Berthe Weill was also the first Parisian art dealer to sell works of Picasso (1906). Along with Picasso and Metzinger, she helped discover Matisse, Derain, Amedeo Modigliani and Utrillo.
    Metzinger sent three paintings to the Salon des Indépendants in 1903, and subsequently moved to Paris with the proceeds from their sale.
    More Details Hide Details From the age of 20, Metzinger supported himself as a professional painter.
  • 1900
    Age 16
    His earliest works, from 1900 to 1904, were influenced by the Neo-impressionism of Georges Seurat and Henri-Edmond Cross.
    More Details Hide Details Between 1904 and 1907 Metzinger worked in the Divisionist and Fauvist styles with a strong Cézannian component, leading to some of the first proto-Cubist works. From 1908 Metzinger experimented with the faceting of form, a style that would soon become known as Cubism. His early involvement in Cubism saw him both as an influential artist and principal theorist of the movement. The idea of moving around an object in order to see it from different view-points is treated, for the first time, in Metzinger's Note sur la Peinture, published in 1910. Before the emergence of Cubism, painters worked from the limiting factor of a single view-point. Metzinger, for the first time, in Note sur la peinture, enunciated the interest in representing objects as remembered from successive and subjective experiences within the context of both space and time. Jean Metzinger and Albert Gleizes wrote the first major treatise on Cubism in 1912, entitled Du "Cubisme". Metzinger was a founding member of the Section d'Or group of artists.
  • 1883
    Born on June 24, 1883.
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