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''Deux Nus'' (''Two Nudes'', ''Two Women'' and ''Dones en un paisatge'') is an early Cubist painting by the French artist and theorist Jean Metzinger. The work was exhibited at the first Cubist manifestation, in Room 41 of the 1911 Salon des Indépendants, Paris. At this exhibition the Cubist movement was effectively launched before the general public by five artists: Metzinger, Gleizes, Le Fauconnier, Delaunay and Léger.〔(Steve Edwards, Paul Wood, ''Art of the Avant-gardes'', Yale University Press, 2004, ISBN 9780300102307 )〕〔(Christopher Green, 2009, Cubism, MoMA, Grove Art Online, Oxford University Press )〕 This was the first exhibition during which artists, writers, critics and the public at large encountered and spoke about Cubism.〔Daniel Robbins, 1985, Jean Metzinger in Retrospect, Jean Metzinger: At the Center of Cubism, University of Iowa Museum of Art, Iowa City, J. Paul Getty Trust, University of Washington Press〕 The result of the group show is a ''succès de scandale''. The following year Metzinger's ''Deux Nus'', titled ''Dones en un paisatge'', was exhibited at Galeries J. Dalmau, ''Exposició d'Art Cubista'', in Barcelona, 20 April through 10 May 1912 (cat. 45). This was the first avant-garde art exhibition in Spain.〔(Mercè Vidal i Jansà, ''1912, l'Exposició d'art cubista de les Galeries Dalmau'', Volume 6 of Les Arts i els artistes: Breviari, Edicions Universitat Barcelona, 1996, ISBN 8447513831 )〕〔(Peter Brooker, Sascha Bru, Andrew Thacker, Christian Weikop, ''The Oxford Critical and Cultural History of Modernist Magazines: Europe 1880 - 1940'', Oxford University Press, May 19, 2013, ISBN 0199659583 )〕 Judging from stylistic similarities with works such as ''Nu à la cheminée''—exhibited in Paris at the Salon d'Automne of 1910—and the fact that ''Two Nudes'' was exhibited in the spring of 1911 (18 March - 1 May) at the Salon des Indépendants, the painting is believed to have been painted during the latter half of 1910 or the outset of 1911.〔 Metzinger's ''Deux Nus'' (''Two Women'') is in the permanent collection of the Gothenburg Museum of Art (Göteborgs konstmuseum), Sweden.〔(Gothenburg Museum of Art, Jean Metzinger, ''Two Women'' )〕 ==Overview== Jean Metzinger appears to have placed aside his Divisionist style in favor of the faceting of form associated with analytic Cubism around 1908 or early 1909.〔''Jean Metzinger in Retrospect'', University of Iowa Museum of Art, Iowa City, J. Paul Getty Trust, University of Washington Press, pp. 9-23〕 A resident of Montmartre early on, Metzinger frequented the Bateau Lavoir and exhibited with Georges Braque at the Berthe Weill gallery. By 1910, the robust form of early analytic Cubism of Picasso, Braque and Metzinger (''Nu à la cheminée, Nude'', 1910) had become practically indistinguishable.〔〔Daniel Robbins, 1985, ''Jean Metzinger in Retrospect, Jean Metzinger: At the Center of Cubism'', University of Iowa Museum of Art, Iowa City, J. Paul Getty Trust, University of Washington Press〕 Instead of depicting the two nudes in the foreground, the rocks and trees in the background, from one point of view, Metzinger used a concept he wrote about for the first time in ''Note sur la peinture'' (published in ''Pan'', 1910),〔Jean Metzinger, ''Note sur la peinture'', Pan (Paris), October–November 1910〕 of 'mobile perspective' to portray objects from a variety of angles, resulting in a multitude of image fragments or facets. In ''Two Nudes'' the models are captured from multiple spatial view-points and at successive intervals in time shown simultaneously on the canvas.〔Joann Moser, Cubist Works, 1910–1921, p. 43, 1985, Jean Metzinger in Retrospect, The University of Iowa Museum of Art (J. Paul Getty Trust, University of Washington Press)〕 Art historian Patricia Railing writes of Metzinger's ''Two Nudes'': In ''Two Nudes'', Metzinger has treated the human body, trees and rocks in exactly the same manner. They are differentiated only by size, or by emphasising planes, from which the Russian term, plos'kost, plane surface, comes directly from the French, surface plane (in distinction to the curved plane). Metzinger sees everything as cubic multiples with which he "builds", as it were, stacking them, interlocking them, and bonding them together. Thus he creates a total environment where figures and setting make up a pictorial unit. () Although not particularly apparent due to the haziness of the contemporary photograph of Metzinger’s ''Two Nudes'', such a linear framework was the fundamental ordering principle of his painting and it can be seen clearly in his 1911 canvas, ''Tea Time / Le Goûter''.〔(Patricia Railing, ''Jean Metzinger and Liubov Popova’s Cubist "Figures"'', InCoRM Journal Vol. 1, No. 1, 2009 )〕 The similarity between Metzinger's work of 1910 and that of Picasso is exemplified in his ''Nu à la cheminée''. Though less so in ''Two Nudes'', both pictures merge the model with the environment, blurring the distinction between background and foreground. Metzinger, however—in contrast to the extreme faceting, simultaneous views and multiple perspective—has rendered his elegant nudes with grace; the tall and slender models expressing tenderness towards one another (with a hand placed on the shoulder).〔(Mark Antliff, Patricia Dee Leighten, ''Cubism and Culture'', Thames & Hudson, 2001 )〕 Mathematical and philosophical inferences known to have been essential aspects of Metzinger's work had little in common with the paintings of Picasso or Braque. Metzinger's interpretation targeted a wide audience—as opposed to private gallery collectors—exhibiting in abundance an underlying idealism, a temporal reconstruction of dissected subjects based on the principles of non-Euclidean geometry. These inferences were compelling because they offered a stimulating and intelligible rationale for his innovations—consistent with contemporary intellectual trends in literature; notably with the Abbaye de Créteil group and Bergson's philosophy.〔(David Cottington, ''Cubism and its Histories'', Manchester University Press, 2004 )〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Deux Nus」の詳細全文を読む スポンサード リンク
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