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Jean Dominique Antony Metzinger (June 24, 1883 – November 3, 1956) was a major 20th-century French painter, theorist, writer, critic and poet, who along with Albert Gleizes, developed the theoretical foundations of Cubism.〔André Salmon, ''La Jeune Peinture française, Histoire anecdotique du cubisme'', (''Anecdotal History of Cubism''), Paris, Albert Messein, 1912, Collection des Trente〕〔(André Salmon, ''Anecdotal History of Cubism'', quoted in Herschel Browning Chipp ''et al'', ''Theories of Modern Art: A Source Book by Artists and Critics'', University of California Press, 1968, ISBN 0-520-01450-2. p. 205 )〕〔(André Salmon on French Modern Art, by André Salmon, Cambridge University Press, Nov 14, 2005, ISBN 0-521-85658-2 )〕〔(Guillaume Apollinaire, ''The Cubist Painters'' (''Les Peintres cubistes, Méditations Esthétiques'', 1913), translation and accompanying commentary by Peter F. Read, University of California Press, 1 oct. 2004 )〕 His earliest works, from 1900 to 1904, were influenced by the Neo-impressionism of Georges Seurat and Henri-Edmond Cross. 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.〔Jean Metzinger, October–November 1910, "Note sur la peinture" Pan: 60〕 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. Metzinger was at the center of Cubism both because of his participation and identification of the movement when it first emerged, because of his role as intermediary among the Bateau-Lavoir group and the Section d'Or Cubists, and above all because of his artistic personality. During the First World War Metzinger furthered his role as a leading Cubist with his co-founding of the second phase of the movement, referred to as Crystal Cubism. He recognized the importance of mathematics in art, through a radical geometrization of form as an underlying architectural basis for his wartime compositions. The establishing of the basis of this new perspective, and the principles upon which an essentially non-representational art could be built, led to ''La Peinture et ses lois (Painting and its Laws)'', written by Albert Gleizes in 1922-23. As post-war reconstruction began, a series of exhibitions at Léonce Rosenberg's Galerie de L'Effort Moderne were to highlight order and allegiance to the aesthetically pure. The collective phenomenon of Cubism—now in its advanced revisionist form—became part of a widely discussed development in French culture, with Metzinger at its helm. Crystal Cubism was the culmination of a continuous narrowing of scope in the name of a return to order; based upon the observation of the artists relation to nature, rather than on the nature of reality itself. In terms of the separation of culture and life, this period emerges as the most important in the history of Modernism.〔(Christopher Green, ''Late Cubism'', MoMA, Grove Art Online, Oxford University Press, 2009 )〕 For Metzinger, the classical vision had been an incomplete representation of real things, based on an incomplete set of laws, postulates and theorems. He believed the world was dynamic and changing in time, that it appeared different depending on the point of view of the observer. Each of these viewpoints were equally valid according to underlying symmetries inherent in nature. For inspiration, Niels Bohr, the Danish physicist and one of the principle founders of quantum mechanics, hung in his office a large painting by Metzinger, ''La Femme au Cheval'',〔Abraham Pais, ''Niels Bohr's Times: In Physics, Philosophy, and Polity'', Clarendon Press, 1991, p. 335, ISBN 0198520492〕 a conspicuous early example of 'mobile perspective' implementation (also called simultaneity).〔Miller, A., 2002, ''Einstein, Picasso: space, time and the beauty that causes havoc'', Basic Books, New York, 2001, pp. 166-169, 256-258〕 ==Early life== Jean Metzinger came from a prominent military family. His great-grandfather, Nicolas Metzinger (18 May 1769 – 1838),〔(Royal Ancestry file, Jean Metzinger family members )〕 Captain in the 1st Horse Artillery Regiment, and Chevalier of the Legion of Honour, had served under Napoleon Bonaparte.〔(Leonore, culture.gouv.fr database, Nicolas Metzinger )〕 A street in the Sixième arrondissement of Nantes (Rue Metzinger) was named after Jean's grandfather, Charles Henri Metzinger (10 May 1814 – ?).〔(Notices sur les rues de Nantes 1906, Wikisource )〕 Following the early death of his father, Eugène François Metzinger, Jean pursued interests in mathematics, music and painting, though his mother, a music professor by the name of Eugénie Louise Argoud, had ambitions of his becoming a medical doctor.〔Jean Metzinger, 1883-1956: exposition, Nantes, École des beaux-arts, Atelier sur l'herbe, 4 au 26 janvier 1985〕 Jean's younger brother Maurice (born 24 Oct. 1885) would become a musician, excelling as a cellist.〔 By 1900 Jean was a student at Académie Cours Cambronne in Nantes, working under Hippolyte Touront, a well-known portrait painter who taught an academic, conventional style of painting.〔 Metzinger, however, was interested in the current trends in painting.〔Jean Metzinger, ''Le Cubisme était né, Souvenirs'', Chambéry, Editions Présence, 1972〕 Metzinger sent three paintings to the Salon des Indépendants in 1903, and subsequently moved to Paris with the proceeds from their sale. From the age of 20, Metzinger supported himself as a professional painter. He exhibited regularly in Paris from 1903, participating in the first Salon d'Automne〔(Salon d'automne; Société du Salon d'automne ), Catalogue des ouvrages de peinture, sculpture, dessin, gravure, architecture et art décoratif. Exposés au Petit Palais des Champs-Élysées, 1903〕 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. 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.〔(Marianne Le Morvan, ''Berthe Weill: 1865–1951 – La petite galeriste des grands artistes'', 2011, ISBN 978-2-296-56097-0 )〕 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.〔(Mendelson, Ezra,1994, Should we take notice of Berthe Weill, Reflections on the domain of Jewish history )〕 In 1904 Metzinger exhibited six paintings in the Divisionist style at the Salon des Indépendants and the Salon d’Automne〔(Salon d'automne; Société du Salon d'automne ), Catalogue des ouvrages de peinture, sculpture, dessin, gravure, architecture et art décoratif. Exposés au Grand Palais des Champs-Élysées, 1904〕 (where he would show regularly throughout the crucial years of Cubism).〔Daniel Robbins, Jean Metzinger: At the Center of Cubism, 1985, Jean Metzinger in Retrospect, The University of Iowa Museum of Art, J. Paul Getty Trust, University of Washington Press, pp. 9–23〕 In 1905 Metzinger exhibited eight paintings at Salon des Indépendants.〔(Société des artistes indépendants: catalogue de la 21ème exposition, 1905 )〕 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.〔(Russell T. Clement, 1994, ''Les Fauves: A sourcebook'' )〕 In 1906 Metzinger exhibits at the Salon des Indépendants.〔(Société des artistes indépendants: catalogue de la 22ème exposition, 1906 )〕 Once again he is elected member of the hanging committee, with Matisse, Signac and others. Again with the Fauves and associated artists, Metzinger exhibits at the 1906 Salon d'Automne, Paris. He exhibits six works at the 1907 Salon des Indépendants, followed by the presentation of two works at the 1907 Salon d'Automne.〔〔(Salon d'automne; Société du Salon d'automne ), Catalogue des ouvrages de peinture, sculpture, dessin, gravure, architecture et art décoratif. Exposés au Grand Palais des Champs-Élysées, 1907〕 In 1906 Metzinger met Albert Gleizes at the Salon des Indépendants, and visited his studio in Courbevoie several days later. 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''.〔Guillaume Apollinaire, ''La Poésie symboliste. L'Après-midi des poètes: la Phalange nouvelle'', p. 131-242, Paris, édition 1908〕 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.〔MAM, Musée d'Art Moderne de la Ville de Paris, Paris 1937, L'Art Indépendant, ex. cat. ISBN 2-85346-044-4, Paris-Musées, 1987, P. 188〕 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.〔 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「Jean Metzinger」の詳細全文を読む スポンサード リンク
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