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We could not think of going back to the symbolic measures of the ancients and the primitives. Such cheap magician's tricks did not appeal to us.
Jean Metzinger
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Cézanne showed us forms living in the reality of light; Picasso gives us a material report of their real life in the mind. He establishes a free, mobile perspective, in such a way that the shrewd mathematician Maurice Princet has deduced an entire geometry.
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Art belongs to the domain of the unreal and it is only when people try to make a reality of it that it falls apart.
Jean Metzinger
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The excuse that the painters were documenting reality was becoming ridiculous. Photographers and film makers went far beyond them. Already it could be said that a good portrait led one to think about the painter not the model.
Jean Metzinger
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I sought refuge in my schoolbooks, among the flowers of Greek poetry, or the magical figures of geometry.
Jean Metzinger
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Gleizes was only trying to reduce the curvature of natural volumes to adapt them more naturally and rigorously to the surface of the painting, a surface which he believed to be continuous with the wall and, for all practical purposes, with no curvature at all.
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We do not mechanically connect the sensation of white with the idea of light, any more than we connect the sensation of black with the idea of darkness. We admit that a black jewel, even if of a dead black, may be more luminous than the white or pink satin of its case. Loving light, we refuse to measure it, and we avoid the geometrical ideas of the focus and the ray, which imply the repetition-contrary to the principle of variety which guides us-of bright planes and sombre intervals in a given direction. Loving colour, we refuse to limit it, and subdued or dazzling, fresh or muddy, we accept all the possibilities contained between the two extreme points of the spectrum, between the cold and the warm tone.
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Whether it is Juan Gris taking objects apart, Picasso replacing them with objects of his own invention, or another who replaces conical perspective by a system based on the relations between perpendiculars, all that only goes to show that Cubism was not at all born out of an authoritative theory [mot d'ordre]; that it only marked among a few painters the will to be finished with an art that never ought to have survived the condemnation pronounced upon it by Pascal.
Jean Metzinger
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Some maintain that such a tendency distorts the curve of tradition. Do they derive their arguments from the future or the past? The future does not belong to them, as far as we are aware, and one be singularly ingenuous to seek to measure that which exists by that which exists no longer.
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Unless we are to condemn all modern painting, we must regard cubism as legitimate, for it continues modern methods, and we should see in it the only conception of pictorial art now possible. In other words, at this moment cubism is painting.
Jean Metzinger
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It used to be said of a woman: why she's a Velázquez infanta! Now it is said: she's a Renoir blonde! I have no doubt that, in the future, it will be proclaimed: she's as exuberant as a Delaunay, as noble as a Le Fauconnier, as beautiful as a Braque or Picasso.
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For the image possesses qualities which, under certain circumstances, can make it much more interesting than the object which inspired it. The portrait of a commonplace person can astound us with an air of distinction, reminding us that the best portrait is that which resembles the painter, not the model.
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This science gave me a taste for the arts. It is Number that gives value to sounds and silences, lights and shadows, forms and spaces. Michelangelo and Bach seemed to me like divine mathematicians [calculateurs]. Already I felt that only mathematics enables works that can last. Whether as a result of patient study, or of a stormy [fulgurante] intuition, number alone can reduce all our diversities of feeling to the strict unity of a mass, a fresco, or a sculpted head.
Jean Metzinger
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We could not do it in the way he meant. But from the rue Lamarck to the rue Ravignan, the attempt [prétention] 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 illusionistic trickery that belonged to another age.
Jean Metzinger
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That was how, in 1906, (11) Albert Gleizes was feeling his way towards Cubism and condemned in advance those who never saw anything in it other than a shibboleth [mot d'ordre]. It was still nothing more than a need he felt, the need not for an intellectual art but for an art that would be something other than a systematic absurdity. Quite clearly nature and the painting make up two different worlds which have nothing in common, and what is quite in its place in the one cannot also be in its place in the other.
Jean Metzinger
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If we wished to relate the space of the [Cubist] painters to geometry, we should have to refer it to the non-Euclidean mathematicians; we should have to study, at some length, certain of Riemann's theorems.
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I learned that Cézanne's success was not preventing the Neo-Impressionists from getting support. My knowledge of their technique was entirely literary.
Jean Metzinger
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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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Albert Gleizes did not know Montmartre, (9) had never seen anything of Picasso or Juan Gris, never heard Maurice Princet construct an infinite number of different spaces for the use of painters, but he described to me the absurdity of the museums in which mournful, extravagantly three dimensional crowds threaten to crush the visitor by jumping out of their frames.
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Let the picture imitate nothing; let it nakedly present its raison d'être. We should indeed be ungrateful were we to deplore the absence of all those things flowers, or landscape, or faces whose mere reflection it might have been. Nevertheless, let us admit that the reminiscence of natural forms cannot be absolutely banished; not yet, at all events. An art cannot be raised to the level of a pure effusion at the first step.
Jean Metzinger
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The house was filled with the piano and violin. I turned towards the art of painting.
Jean Metzinger
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In fact it is a stupidity, Maurice Princet told me in the presence of Juan Gris, to claim to be able to bring together in a single system of relations, colour, which is a sensation that only needs to be received, and form which is an organisation that has to be understood (14); and, introducing us to the non-Euclidean geometries, he urged us to create a geometry for painters.
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I wanted an art that was faithful to itself [loyal] 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 which in the first place would appear as a representation of the impossible.
Jean Metzinger
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My conviction was justified: art, that which lasts, is based on mathematics.
Jean Metzinger
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Already, a conscious courage is coming to life. Here are some of the painters: Picasso, Braque, Delaunay, Le Fauconnier... they are highly enlightened, and do not believe in the stability of any system, even if it were to call itself classical art... Their reason is poised between the pursuit of the fleeting and a mania for the eternal.
Jean Metzinger
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Quote of the day
Be a sinner and sin strongly, but more strongly have faith and rejoice in Christ.
Martin Luther
Jean Metzinger
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Born:
June 24, 1883
Died:
November 3, 1956
(aged 73)
Bio:
Jean Dominique Antony Metzinger was a major 20th-century French painter, theorist, writer, critic and poet, who along with Albert Gleizes, developed the theoretical foundations of Cubism.
Known for:
Two Nudes in an Exotic Landscape (1905)
Woman with a Fan (1913)
Coucher de soleil no. 1 (1906)
Dancer in a café (1912)
Le goûter (1911)
Most used words:
art
painting
painters
picasso
geometry
cubism
portrait
number
model
system
princet
future
forms
reality
black
Jean Metzinger on Wikipedia
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Albert Gleizes
French Painter
Pablo Picasso
Spanish Painter
Georges Braque
French Sculptor
Juan Gris
Spanish Sculptor
Fernand Léger
French Painter
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