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''Nu à la cheminée'', also referred to as ''Nu dans un intérieur'', ''Femme nu'', and ''Nu'' or ''Nude'', is a painting by Jean Metzinger. The work was exhibited in Paris at the Salon d'Automne of 1910, and the Salon de la Section d'Or, Galerie La Boétie in Paris, October 1912. It was published in ''Du "Cubisme"'', written by Jean Metzinger and Albert Gleizes in 1912, and subsequently published in ''The Cubist Painters, Aesthetic Meditations (Les Peintres Cubistes)'' by Guillaume Apollinaire, 1913. ''Nu à la cheminée'' was in the collection of G. Commerre (or Comerre, a relative of Albert Gleizes) at the time. The work has not been seen in public since, and its current location is unknown. ==Overview== Jean Metzinger, judging from an interview with Gelett Burgess in ''Architectural Record'',〔(Gelett Burgess, Wild Men of Paris, The Architectural Record, May 1910 )〕 appears to have abandoned his Divisionist style in favor of the ''faceting of form'' associated with analytic Cubism around 1908 or early 1909.〔''Jean Metzinger in Retrospect'', University of Iowa Museum of Art, Iowa City, J. Paul Getty Trust, University of Washington Press, pp. 9-23〕 A resident of Montmartre, Metzinger frequented the Bateau Lavoir at this time and exhibited with Georges Braque at the Berthe Weill gallery. By 1910, the robust form of early analytic Cubism of Picasso (''Girl with a Mandolin, Fanny Tellier'', 1910), Braque (''Violin and Candlestick'', 1910) and Metzinger (''Nu à la cheminée, Nude'', 1910) had become practically indistinguishable.〔〔Daniel Robbins, 1985, ''Jean Metzinger in Retrospect, Jean Metzinger: At the Center of Cubism'', University of Iowa Museum of Art, Iowa City, J. Paul Getty Trust, University of Washington Press〕 As opposed to depicting the subject matter classically from one point of view, Metzinger used a concept he enunciated for the first time in ''Note sur la peinture'' (published in ''Pan'', 1910),〔Jean Metzinger, ''Note sur la peinture'', Pan (Paris), October–November 1910〕 of 'mobile perspective' to portray the subject from a variety of angles. The images captured from multiple spatial view-points and at successive intervals in time are shown simultaneously on the canvas.〔Joann Moser, Cubist Works, 1910–1921, p. 43, 1985, Jean Metzinger in Retrospect, The University of Iowa Museum of Art (J. Paul Getty Trust, University of Washington Press)〕 The similarity between Metzinger's own work of 1910 to that of Picasso is exemplified in his ''Nu à la cheminée''. The style of lips in both Metzinger's ''Nude'' and Picasso's ''Portrait of Wilhelm Uhde'' (spring-automn 1910) bare resemblance (both are in the form of an "X"). So too, both pictures merge the model with the environment, blurring the distinction between background and foreground. Metzinger, however—in addition to the simultaneous views and multiple perspective—has included the image of a clock in the upper right quadrant, a fact that reveals Metzinger's didactic visual and literary reference to the physicist, mathematician and philosopher of science Henri Poincaré, and to the philosopher Henri Bergson's 'duration'.〔(Mark Antliff, Patricia Dee Leighten, ''Cubism and Culture'', Thames & Hudson, 2001 )〕 Such mathematical and philosophical inferences had little in common with the paintings of Picasso or Braque. Metzinger's interpretation targeted a wide audience—as opposed to private gallery collectors—exhibits in abundance an underlying idealism, a temporal reconstruction of dissected subjects based on the principles of non-Euclidean geometry. These inferences were compelling because they offered a stimulating and intelligible rationale for his innovations—consistent with contemporary intellectual trends in literature; notably with the Abbaye de Créteil group and Bergson's philosophy.〔(David Cottington, ''Cubism and its Histories'', Manchester University Press, 2004 )〕 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「Nu à la cheminée」の詳細全文を読む スポンサード リンク
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