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New possibilities opened up by the concept of four-dimensional space (and difficulties involved in trying to visualize it) helped inspire many modern artists in the first half of the twentieth century. Early Cubists, Surrealists, Futurists, and abstract artists took ideas from higher-dimensional mathematics and used them to radically advance their work. ==Early influence== French mathematician Maurice Princet was known as "le mathématicien du cubisme" ("the mathematician of cubism"). An associate of the School of Paris, a group of avant-gardists including Pablo Picasso, Guillaume Apollinaire, Max Jacob, Jean Metzinger, and Marcel Duchamp, Princet is credited with introducing the work of Henri Poincaré and the concept of the "fourth dimension" to the cubists at the Bateau-Lavoir during the first decade of the 20th century. Princet introduced Picasso to Esprit Jouffret's ''Traité élémentaire de géométrie à quatre dimensions'' (''Elementary Treatise on the Geometry of Four Dimensions'', 1903), a popularization of Poincaré's ''Science and Hypothesis'' in which Jouffret described hypercubes and other complex polyhedra in four dimensions and projected them onto the two-dimensional page. Picasso's ''Portrait of Daniel-Henry Kahnweiler'' in 1910 was an important work for the artist, who spent many months shaping it. The portrait bears similarities to Jouffret's work and shows a distinct movement away from the Proto-Cubist fauvism displayed in ''Les Demoiselles d'Avignon'', to a more considered analysis of space and form. Early cubist Max Weber wrote an article entitled "In The Fourth Dimension from a Plastic Point of View", for Alfred Stieglitz's July 1910 issue of ''Camera Work''. In the piece, Weber states, "In plastic art, I believe, there is a fourth dimension which may be described as the consciousness of a great and overwhelming sense of space-magnitude in all directions at one time, and is brought into existence through the three known measurements." Another influence on the School of Paris was that of Jean Metzinger and Albert Gleizes, both painters and theoreticians. The first major treatise written on the subject of Cubism was their 1912 collaboration ''Du "Cubisme"'', which says that: "If we wished to relate the space of the () painters to geometry, we should have to refer it to the non-Euclidian mathematicians; we should have to study, at some length, certain of Riemann's theorems." In a review of the 1913 Armory Show for the ''Philadelphia Enquirer'', the influence of the fourth dimension on avante-garde painting was discussed; the paper's art-critic describing how the artists' employed "..harmonic use of what may arbitrarily be called volume".〔ISBN 9780195162578〕 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「Fourth dimension in art」の詳細全文を読む スポンサード リンク
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