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''Le Goûter'', also known as ''Tea Time'' (''Tea-Time''), and ''Femme à la Cuillère'' (''Woman with a teaspoon'') is an oil painting created in 1911 by the French artist and theorist Jean Metzinger (1883–1956). It was exhibited in Paris at the Salon d'Automne of 1911, and the Salon de la Section d'Or, 1912.〔(Exhibit catalog for Salon de "La Section d'Or", 1912, Jean Metzinger, ''Le goûter (Tea Time)'', p. 11, no. 115. Walter Pach papers, Archives of American Art, Smithsonian Institution )〕 The painting was first reproduced (illustrated) in Chroniques Médico-Artistique, ''Le Sabotage Anatomique au Salon d'Automne'' (1911).〔(Chroniques Médico-Artistique, ''Le Sabotage Anatomique au Salon d'Automne'', Paris médical : la semaine du clinicien. - 1911, n° 04, partie paramédicale ). BIU Santé - Recherche dans les périodiques Medic@〕 The following year it was reproduced in ''Du "Cubisme"'', by Jean Metzinger and Albert Gleizes (1912). In 1913 it was published in ''The Cubist Painters, Aesthetic Meditations (Les Peintres Cubistes)'' by Guillaume Apollinaire. The painting was subsequently published in Arthur Jerome Eddy's ''Cubists and Post-impressionism'', 1914, titled ''The Taster''.〔(Arthur Jerome Eddy, ''Cubists and Post-impressionism'' ), Metzinger's Le goûter is reproduced and entitled ''The Taster'', A.C. McClurg & Co. Chicago, 1914, second edition 1919〕 André Salmon dubbed this painting "''La Joconde du Cubisme''" (''La Joconde Cubiste''), ''The Mona Lisa of Cubism'' (''Mona Lisa with a teaspoon'').〔(André Salmon, ''L'Art Vivant'', Paris, 1920 )〕〔(André Salmon, ''Artistes d'hier et d'aujourd'hui'', L'Art Vivant, 6th edition, Paris, 1920 )〕〔(Guillaume Apollinaire, Dorothéa Eimert, Anatoli Podoksik, ''Le Cubisme'', 2010, ISBN 978-1-78042-777-5 )〕〔(Philadelphia Museum of Art, ''Tea Time (Woman with a Teaspoon)'', Provenance )〕 ''Tea Time'' "was far more famous than any painting that Picasso and Braque had made up until this time", according to curator Michael Taylor (Philadelphia Museum of Art), "because Picasso and Braque, by not showing at the Salons, have actually removed themselves from the public... For most people, the idea of Cubism was actually associated with an artist like Metzinger, far more than Picasso." (Taylor, 2010)〔(Michael Taylor, 2010, Philadelphia Museum of Art, ''Tea Time (Woman with a Teaspoon)'', 1 Audio Stop 439, Podcast )〕 ''Le Goûter'' forms part of the Louise and Walter Arensberg Collection, Philadelphia Museum of Art.〔(Philadelphia Museum of Art. The Louise and Walter Arensberg Collection, 1950. Accession Number 1950-134-139 )〕 ==Description== ''Tea Time'' is an oil painting on cardboard with dimensions 75.9 x 70.2 cm (29.9 x 27.6 in), signed Metzinger and dated 1911 lower right. The painting represents a barely draped (nude) woman holding a spoon, seated at a table with a cup of tea. In the 'background', the upper left quadrant, stands a vase on a commode, table or shelf. A square or cubic shape, a chair or painting behind the model, espouses the shape of the stretcher. The painting is practically square, like the side of a cube. The woman's head is highly stylized, divided into geometrized facets, planes and curves (the forehead, nose, cheeks, hair). The source of light appears to be off to her right, with some reflected light on the left side of her face. Reflected light, consistently, can be seen on other parts of her body (breast, shoulder, arm). Her breast is composed of a triangle and a sphere. The faceting of the rest of her body, to some extent, coincides with actual muscular and skeletal features (collar bone, ribcage, pectorals, deltoids, neck tissue). Both of here shoulders are coupled with elements of the background, superimposed, gradational and transparent to varying degrees. Unidentified elements are composed of alternating angular structures, The colors employed by Metzinger are subdued, mixed (either on a palette of directly on the surface), with an overall natural allure. The brushwork is reminiscent of Metzinger's Divisionist period (ca. 1903–1907), described by the critic (Louis Vauxcelles) in 1907 as large, mosaic-like 'cubes', used to construct small but highly symbolic compositions.〔(Art of the 20th Century, Louis Vauxcelles, 1907, describes the brushwork of Delaunay and Metzinger as mosaic-like 'cubes' )〕 The figure, centrally positioned, is shown both staring at the viewer and gazing off to the right (to her left), i.e., she is seen both straight on and in profile position. The tea cup is visible both from the top and side simultaneously, as if the artist physically moved around the subject to capture it simultaneously from several angles and at successive moments in time. "This interplay of visual, tactile, and motor spaces is fully operative in Metzinger's ''Le Gouter'' of 1911", write Antliff and Leighten, "an image of an artist's model, semi-nude, with a cloth draped over her right arm as she takes a break between sessions () her right hand delicately suspends the spoon between cup and mouth." The combination of frames captured at successive time intervals is given play, pictorially, in simultaneous conflation of moments in time throughout the work. The Cézannian volumes and planes (cones, cubes and spheres) extend ubiquitously across the manifold, merging the sitter and surroundings. The painting becomes a product of experience, memory and imagination, evoking a complex series of mind-associations between past present and future, between tactile and olfactory sensations (taste and touch), between the physical and metaphysical.〔Mark Antliff, Patricia Dee Leighten, ''Cubism and Culture'', Thames & Hudson, 2001〕 Though less radical than Metzinger's 1910 ''Nude''—which is closely related to the work of Picasso and Braque of the same year—from the viewpoint of faceting of the represented subject matter, ''Le goûter'' is much more carefully constructed in relation to the overall shape of the picture frame. "Not only was this painting more unequivocally classical in its pedigree (and recognized as such by critics who instantly dubbed it 'La Joconde cubiste') than any of its now relatively distant sources in Picasso's oeuvre," writes David Cottington, "but in its clear if tacit juxtaposition, remarked on by Green and others, of sensation and idea—taste and geometry—it exemplified the interpretation of innovations from both wings of the cubist movement that Metzinger was offering in his essays of the time, as well as the paradigm shift from a perceptual to a conceptual painting that he recognized as now common to them."〔(David Cottington, 2004, Cubism and its Histories ), Manchester University Press〕 The quite atmosphere of ''Tea Time'' "seduces by means of the bridge it creates between two periods", according to Eimert and Podksik, "although Metzinger's style had already passed through an analytical phase, it now concentrated more on the idea of reconciling modernity with classical subjects".〔Guillaume Apollinaire, Dorothea Eimert, Anatoli Podoksik, ''Cubism'', 2010, ISBN 978-1-78042-800-0〕 A preparatory drawing for Tea Time (Etude pour 'Le Goûter'), 19 x 15 cm, is conserved in Paris at the Musée National d'Art Moderne – Centre Georges Pompidou.〔(Centre Georges Pompidou, ''Etude pour 'Le Goûter'' )〕 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「Le goûter (Tea Time)」の詳細全文を読む スポンサード リンク
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