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THE BATTLE FOR MODeRN 1923


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metzinger au vélodrome 1912

Jean Met­zinger (1883–1956), a sen­si­tive and in­tel­li­gent the­o­reti­cian of Cu­bism, sought to com­mu­ni­cate the prin­ci­ples of this move­ment through his paint­ings as well as his writings. 

De­vices of Cu­bism and Fu­tur­ism ap­pear in Au Vélo­drome (1912), though they are su­per­im­posed on an im­age that is es­sen­tial­ly naturalistic. 

Cu­bist el­e­ments in­clude print­ed-pa­per col­lage, the in­cor­po­ra­tion of a gran­u­lar sur­face, and the use of trans­par­ent planes to de­fine space.

The choice of a sub­ject in mo­tion, the sug­ges­tion of ve­loc­i­ty, and the fus­ing of forms find par­al­lels in Fu­tur­ist painting. 

Though these de­vices are han­dled with some awk­ward­ness and the in­flu­ence of Im­pres­sion­ism per­sists, par­tic­u­lar­ly in the use of dots of col­or to rep­re­sent the crowd in the back­ground, this work rep­re­sents Metzinger’s at­tempt to come to terms with a new pic­to­r­i­al language.


 

Hap­py Paris Olympics 2024 everyone!

 

—juli­ja svetlova

Flom­mist Juli­ja Svet­lo­va is an art his­to­ri­an, free­lance re­searcher and a founder of Neja’s Art Walks, a be­spoke provider of art and his­to­ry-re­lat­ed tours and ex­pe­ri­ences in Lon­don. Juli­ja pre­vi­ous­ly worked as a col­lec­tion re­search as­sis­tant at the Tate. Copy­right © 2024 Juli­ja Svetlova.

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Der Tung
Posted
Fri 26 Jul 2024

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