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''En Canot'', referred to in various publications as ''Im Boot'', ''Le Canot'', ''Femme au Canot et à l'Ombrelle'', ''En Bâteau'', ''In the Canoe'', ''The Boat'', ''On the Beach'', ''Am Strand'', ''Im Schiff'', ''V Člunu'' and ''Im Kanu'', is an oil painting by Jean Metzinger. The work was exhibited in Paris at the Salon d'Automne of 1913. The following year it was shown at ''Moderní umění, 45th Exhibition of SVU Mánes'' in Prague, February-March 1914 (a collection of works assembled by Alexandre Mercereau). This "Survey of Modern Art" was one of the last prewar exhibitions in Prague. ''En Canot'' was exhibited again, in July of the same year, at the Galerie Der Sturm, Berlin. The painting was acquired in 1916 by Georg Muche at Galerie Der Sturm. ''En Canot'' was exhibited in the Kronprinzenpalais, Nationalgalerie, Berlin, 1930, where it had been housed since 1927. The work was acquired by the Nationalgalerie in 1936 (on deposit by the Ministerium für Wissenschaft, Kunst und Volksbildung), where it was placed on display in Room 5. It was later confiscated by the Nazis around 1936, displayed at the Degenerate Art Exhibition (Entartete Kunst) in Munich and other cities, 1937–38, and has been missing ever since. ==Description== ''En Canot'' is a large oil painting on canvas with approximate dimensions , representing an elegantly dressed woman painted in a Cubist style holding an umbrella while she sits in a canoe or small boat. Water with undulating waves or ripples and two other boats are visible in the background. The vertical composition is divided, fragmented or faceted into series of non-Euclidean spherical arcs, hyperbolic triangles, rectangles, squares, planes or surfaces delineated by contrasting form.〔(Ludwig Steinfeld, ''Felix Ramholz: Der Sonntagsmaler Felix Muche-Ramholz'', Ernst Wasmuth Verlag Tübingen/Berlin 1993, ISBN 3803030587 )〕〔''Jean Metzinger in Retrospect'', Joann Moser, with an essay by Daniel Robbins, The University of Iowa Museum of Art, J. Paul Getty Trust, University of Washington Press), 1985〕 Aimed at a large audience of the Salon d'Automne rather than the intimate setting of a gallery—just as other paintings by Metzinger of the pre-World War I period such as ''L'Oiseau bleu (The Blue Bird)'' exhibited at the Salon des Indépendants in the spring of 1913—there can be found in ''En Canot'' a continuity that transits between the foreground and background. For example the two boats in the 'background' are smaller than the boat in the 'foreground' within which the model is sitting, consistent with classical perspective in that objects appear smaller as distance from the observer increases. However, to be perfectly consistent one would expect the boat on the top left of the composition to be smaller still than the boat just left of the models head. There is no perspectival fusion between objects close and far, yet the notion of depth perception has not been abolished. Overall, the spatial attributes of the scene are disjointed and flattened to the point where no absolute frame of reference can be determined.〔Daniel Robbins, ''Jean Metzinger, At the Center of Cubism'', in ''Jean Metzinger in Retrospect'', The University of Iowa Museum of Art, J. Paul Getty Trust, University of Washington Press), 1985, pp. 9–23〕 The Chronophotography of Eadweard Muybridge and Étienne-Jules Marey had a profound influence on the beginnings of Cubism. These photographic motion studies particularly interested artists that would later form a groups known as the Société Normande de Peinture Moderne and Section d'Or, including Jean Metzinger, Albert Gleizes and Marcel Duchamp. A predecessor to cinematography and moving film, chronophotography involved a series or succession of different images, originally created and used for the scientific study of movement. These studies would directly influence Marcel Duchamp's ''Nu descendant un escalier n° 2''〔Tomkins, Calvin (1996). Duchamp: A Biography. U.S.: Henry Holt and Company, Inc. ISBN 0-8050-5789-7〕 and could also be read into Metzinger's work of 1910-14, though rather than simultaneously superimposing successive images to depict the motion, Metzinger represents the subject at rest viewed from multiple angles; the dynamic role is played by the artist rather than the subject.〔(Étienne-Jules Marey, ''La Science du mouvement et l'image du temps'' ), (The Science of mouvement and the image of time)〕 Though not the first painting by Metzinger to employ the concept of multiple perspective—three years had passed since he first propounded the idea in ''Note sur la peinture'',〔Jean Metzinger, ''Note sur la peinture'', Pan (Paris), October–November 1910〕 published in 1910—''En Canot'' arguably exemplifies such pictorial processes, while still maintaining elements of recognizable form (the number "3", perhaps suggestive of a regatta, the woman, the umbrella, the boats); the extreme activity of geometric faceting visible in ''En Canot'' is not pushed to the point that any understandable link between physicality or naturalness is lost to the viewer. Yet, what is achieved is fundamentally anti-naturalistic.〔 The color schemes of other paintings executed during the same period, such as ''Le Fumeur'', ''Portrait de Max Jacob'', ''La Fumeuse'' (''The Smoker'') or ''La Femme à l'Éventail (Woman with a Fan)'', suggests that at the time of painting ''En Canot'' Metzinger had already moved away from the limited palette of 1911 and 1912.〔〔 On the opening day of the 1913 Salon d'Automne, art critic Louis Paillard, in a review published in ''Le Petit Journal'', writes of Metzinger's entry: :You can recognize without difficulty () that Metzinger sat a woman with an umbrella in a boat, a woman with her face cut into sections that we could reassemble easily enough, and which is not of unpleasant colors.〔(''Au Salon d'Automne'', by Louis Paillard, Le Petit journal, 14 November 1913 (Numéro 18585) ). Gallica, Bibliothèque nationale de France〕 Guillaume Apollinaire, in his review of the Salon d'Automne published in ''Les Soirées de Paris'', writes of ''En Canot'' (''Femme a l'ombrelle''): :I do not think the public resists, this year, the charm that exudes ''Femme a l'ombrelle'' by Metzinger . If one is sensitive to the beauty of the subject (), the variety of forms, to the flexibility () of the lines, to the fantasy of the composition, one can not look with indifference at this delicious canvas. :Let's compare it to the somber ''Lutte'' of the funerary Mr Valotton and we will have no qualms in passing to the cubist Jean Metzinger the Ingresque qualities we so lightly accorded Mr. Valotton. I love the delicious chinoiserie of your canvas, dear Metzinger, almost as much as the Chinese contours of Ingres.〔http://gallica.bnf.fr/ark:/12148/bpt6k32431f/f11.item Guillaume Apollinaire, ''Les Soirées de Paris, Chronique Mensuel'', n. 18 on November 15, 1913, pp. 7-8]. Gallica, Bibliothèque nationale de France〕 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「En Canot」の詳細全文を読む スポンサード リンク
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