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''La danse'' (also known as ''Bacchante'') is an oil painting created circa 1906 by the French artist and theorist Jean Metzinger (1883–1956). ''Bacchante'' is a pre-Cubist or Proto-Cubist work executed in a highly personal Divisionist style during the height of the Fauve period. ''Bacchante'' was painted in Paris at a time when Metzinger and Robert Delaunay painted portraits of one another, exhibiting together at the Salon d'Automne and the Berthe Weill gallery. ''Bacchante'' was exhibited in Paris during the spring of 1907 at the Salon des Indépendants (No. 3460), along with ''Coucher de soleil'' and four other works by Metzinger.〔(Jean Metzinger, ''Bacchante'', Société des artistes indépendants: catalogue de la 23ème exposition, 1907, no. 3460, p. 225 )〕 The painting was purchased by the art historian and collector Wilhelm Uhde and formed part of his collection until it was sequestered by the French government just before World War I. In 1921 the painting reappeared at the auction house Hôtel Drouot where it was presumably purchased by Kröller-Müller, and published in ''Catalogue of the paintings in the collection of Helene Kröller-Müller''.〔(Catalogus van de schilderijen verzameling van Mevrouw H. Kröller-Müller, Samensteller H.P. Bremmer, Published 1921(?) in 'S-Gravenhage, no. 844 (in Dutch) )〕 And as late as 1985 ''Bacchante'' was listed in ''Jean Metzinger In Retrospect'' as belonging to the collection of the Kröller-Müller Museum.〔Joann Moser, 1985, Jean Metzinger in Retrospect, ''Pre-Cubist Works, 1904-1909'', The University of Iowa Museum of Art, J. Paul Getty Trust, University of Washington Press, pp. 34, 35〕 ==Description== ''La danse (Bacchante)'' is an oil painting on canvas with dimensions 73 x 54 cm (28.75 by 21.25 in). The work represents a nude woman in a composition that contains a wide variety of exotic geometrized elements. Metzinger's bold use of color characteristic of his work between 1904 and 1907 is highly noticeable in ''Bacchante''. His brushstrokes are practically all the same size but their directions and colors vary giving rhythm to the overall work. The depth of field is flattened; the foreground blending in with background components. The subject matter is classical—reminiscent of Jean Auguste Dominique Ingres (an artist Metzinger greatly admired)—yet its treatment is everything but classical. This early work in the Divisionist style represents a Bacchante (or maenads). In Greek mythology, ''maenads'' were the female followers of Dionysus (Bacchus in the Roman pantheon), the most significant members of the Thiasus. Their name literally translates as "raving ones". Often the maenads were portrayed as inspired by Dionysus (also known as Bacchus) into a state of ecstatic frenzy, through a combination of dancing and drunken intoxication. In this state they would lose all self-control, begin shouting excitedly, and engage in uncontrolled sexual behavior. Many artists chose this subject over the centuries, probably due to these dramatic characteristics. Her body is depicted nude, seen from the front, with yellow and white highlights and turquoise reflections, the mythological reference serving as pretext for the nude. She is the primary subject of the work and is framed in an exotic setting that accentuates the arching curve of her back. She has a "deep voluptuousness," as in the works of Ingres (to use the term of Baudelaire), yet her timeless immobility makes her somehow chaste. The scene is seemingly calm and luxurious simultaneously. Metzinger's early quest for a 'total image' explains the lack of illusory depth, the profuse light, and the refusal to depict a marked difference between the foreground, background and the woman's frame. Metzinger added a conspicuously tropical setting presumably under the influence of Paul Gauguin's ''Mahana no atua, Day of the Gods'' (1894) or Henri (lLe Douanier) Rousseau's ''Le Rêve'' (two more painters the artist greatly admired). ''Bacchante'' is already typical of Metzinger's style, with its sumptuous textures, sinuous harmony of line (for example the arching trees and foliage), and depiction of the serene attitude and chaste sensuality of the Bacchante's body—all enlisted in Metzinger's quest for absolute perfection.〔(Alex Mittelmann, ''Jean Metzinger: Divisionism, Cubism, Neoclassicism and Post Cubism'', 2011 )〕 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「La danse, Bacchante」の詳細全文を読む スポンサード リンク
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