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Frases de Jean Metzinger

Jean Dominique Antony Metzinger foi um pintor francês. Iniciou seus estudos em pintura aos 15 anos. Nessa época, aproximou-se dos trabalhos de Ingres. Aos 17 anos mudou-se para Paris, onde frequentou diversas academias, abandonando todas, insatisfeito. Foi influenciado pelas vanguardas históricas, assim como pelo Pontilhismo de Seurat e pelo Fauvismo. Por volta de 1910, ao conhecer Picasso e Braque, tornou-se um pintor cubista.

Uma das obras que marcou o início de sua participação no movimento é Nu Cubista , exposto no Salão de Outono de 1910. Além de pintor, Metzinger foi um teórico do movimento, tendo publicado vários artigos. O mais importante, Do Cubismo, foi escrito com Gleizes.

A partir de 1918, inclinou-se para uma espécie de classicismo, retornando às origens de sua formação. Morreu aos 73 anos. Wikipedia  

✵ 24. Junho 1883 – 3. Novembro 1956
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Jean Metzinger: 33 citações0 Curtidas

Jean Metzinger: Frases em inglês

“Cézanne showed us forms living in the reality of light; Picasso gives us a material report of their real life in the mind. He establishes a free, mobile perspective, in such a way that the shrewd mathematician Maurice Princet has deduced an entire geometry.”

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Jean Metzinger

Note sur la Peinture (1910)

“Already, a conscious courage is coming to life. Here are some of the painters: Picasso, Georges Braque, Delaunay, Le Fauconnier.... they are highly enlightened, and do not believe in the stability of any system, even if it were to call itself classical art.... Their reason is poised between the pursuit of the fleeting and a mania for the eternal.”

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Jean Metzinger

Note sur la Peinture (1910)

“So, music does not attempt to imitate Nature's sounds, but it does interpet and embody emotions awakened by Nature through a convention of its own, in a way to be aesthetically pleasing. In some such way, we, taking our hint from Nature, construct decoratively pleasing harmonies and symphonies of color expression of our sentiments.”

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Jean Metzinger

Quote of Metzinger in 'The Wild Men of Paris', by Gelett Burgess https://monoskop.org/images/f/f3/Burgess_Gelett_1910_The_Wild_Men_of_Paris.pdf, in 'The Architectural Record, Vol XXVII, May 1910, p. 414

“It used to be said of a woman: why she's a Velázquez infanta! Now it is said: she's a Renoir blonde! I have no doubt that, in the future, it will be proclaimed: she's as exuberant as a Delaunay, as noble as a Le Fauconnier, as beautiful as a Braque or Picasso.”

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Jean Metzinger

Note sur la Peinture (1910)

“Nearly conscious in someone like Michelangelo, or Paolo Uccello, quite intuitive in painters such as Ingres, or Corot, it works on the basis of numbers which belong to the painting itself, not to whatever it represents.”

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Jean Metzinger

Cubism was born

“My conviction was justified: art, that which lasts, is based on mathematics.”

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Jean Metzinger

Cubism was born

“To understand Paul Cézanne is to foresee Cubism. Henceforth we are justified in saying that between this school and previous manifestations there is only a difference of intensity, and that in order to assure ourselves of this we have only to study the methods of this realism, which, departing from the superficial reality of Courbet, plunges with Cézanne into profound reality, growing luminous as it forces the unknowable to retreat.”

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Jean Metzinger

Du Cubisme (1912)

“Often we were joined by Maurice Princet. Although very young, he held an important post in an insurance company which he owed to his knowledge of mathematics. But outside his profession it was as an artist that he thought of mathematics, as a specialist in aesthetics that he evoked continuities in n dimensions. He liked to interest painters in the new visions of space that had been opened up by Victor Schlegel and several others. He succeeded. After having heard him by chance, Henri Matisse was caught reading an essay on hyperspace. Oh! it was only a potboiler [un ouvrage de vulgarisation]! but at least that shows that for the great 'fauve' the days of the painter who knows nothing, who runs towards a pretty subject with his beard blowing in the wind, was passed.”

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Jean Metzinger

Cubism was born

“Whether it is Juan Gris taking objects apart, Picasso replacing them with objects of his own invention, or another who replaces conical perspective by a system based on the relations between perpendiculars, all that only goes to show that Cubism was not at all born out of an authoritative theory [mot d'ordre]; that it only marked among a few painters the will to be finished with an art that never ought to have survived the condemnation pronounced upon it by Pascal.”

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Jean Metzinger

Cubism was born

“Instead of copying Nature, we [ Cubists ] create a 'milieu', of our own, wherein our sentiment can work itself out through a juxtaposition of colors. It is hard to explain it, but it may perhaps be illustrated by analogy of literature and music. Your [ Gelett Burgess is American] Edgar Poe did not attempt to reproduce Nature realistically. Some phase of life suggested an emotion, as that of horror in 'The Fall of the House of Ushur.”

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Jean Metzinger

That subjective idea he translated into art. He made a composition of it. <br class="br">Quote of Metzinger in &#x27;The Wild Men of Paris&#x27;, by Gelett Burgess https://monoskop.org/images/f/f3/Burgess_Gelett_1910_The_Wild_Men_of_Paris.pdf, in &#x27;The Architectural Record, Vol XXVII, May 1910, p. 413

“We do not mechanically connect the sensation of white with the idea of light, any more than we connect the sensation of black with the idea of darkness. We admit that a black jewel, even if of a dead black, may be more luminous than the white or pink satin of its case. Loving light, we refuse to measure it, and we avoid the geometrical ideas of the focus and the ray, which imply the repetition-contrary to the principle of variety which guides us-of bright planes and sombre intervals in a given direction. Loving colour, we refuse to limit it, and subdued or dazzling, fresh or muddy, we accept all the possibilities contained between the two extreme points of the spectrum, between the cold and the warm tone.”

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Jean Metzinger

Du Cubisme (1912)

“Albert Gleizes did not know Montmartre, had never seen anything of Picasso or Juan Gris, never heard Maurice Princet construct an infinite number of different spaces for the use of painters, but he described to me the absurdity of the museums in which mournful, extravagantly three dimensional crowds threaten to crush the visitor by jumping out of their frames.”

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Jean Metzinger

Cubism was born

“The excuse that the painters were documenting reality was becoming ridiculous. Photographers and film makers went far beyond them. Already it could be said that a good portrait led one to think about the painter not the model.”

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Jean Metzinger

Cubism was born

“We are frankly amused to think that many a novice may perhaps pay for his too literal comprehension of the remarks of one cubist, and his faith in the existence of an Absolute Truth, by painfully juxtaposing the six faces of a cube or the two ears of a model seen in profile.”

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Jean Metzinger

Du Cubisme (1912)

“Gleizes was only trying to reduce the curvature of natural volumes to adapt them more naturally and rigorously to the surface of the painting, a surface which he believed to be continuous with the wall and, for all practical purposes, with no curvature at all.”

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Jean Metzinger

Cubism was born

“I learned that Cézanne's success was not preventing the Neo-Impressionists from getting support. My knowledge of their technique was entirely literary.”

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Jean Metzinger

Cubism was born

“Art belongs to the domain of the unreal and it is only when people try to make a reality of it that it falls apart.”

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Jean Metzinger

Cubism was born

“We could not think of going back to the symbolic measures of the ancients and the primitives. Such cheap magician's tricks did not appeal to us.”

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Jean Metzinger

Cubism was born

“But we cannot enjoy in isolation; we wish to dazzle others with that which we daily snatch from the world of sense, and in return we wish others to show us their trophies. From a reciprocity of concessions arise those mixed images, which we hasten to confront with artistic creations in order to compute what they contain of the objective; that is of the purely conventional.”

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Jean Metzinger

Du Cubisme (1912)

“In fact it is a stupidity, Maurice Princet told me in the presence of Juan Gris, to claim to be able to bring together in a single system of relations, colour, which is a sensation that only needs to be received, and form which is an organisation that has to be understood (14); and, introducing us to the non-Euclidean geometries, he urged us to create a geometry for painters.”

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Jean Metzinger

Cubism was born

“Let the picture imitate nothing; let it nakedly present its raison d'être. We should indeed be ungrateful were we to deplore the absence of all those things flowers, or landscape, or faces whose mere reflection it might have been. Nevertheless, let us admit that the reminiscence of natural forms cannot be absolutely banished; not yet, at all events. An art cannot be raised to the level of a pure effusion at the first step.”

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Jean Metzinger

Du Cubisme (1912)

“As for Picasso, the specialist was amazed by the rapidity of his understanding. The tradition he came from had prepared him better than ours for a problem to do with structure. And Berthe Weil was right when she treated those who compared him/confused him with, a Steinlen or a Lautrec as idiots. He had already rejected them in their own century, a century we had no intention of prolonging. Whether or not the Universe was endowed with another dimension, art was going to move into a different field.”

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Jean Metzinger

Cubism was born

“I sought refuge in my schoolbooks, among the flowers of Greek poetry, or the magical figures of geometry.”

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Jean Metzinger

Cubism was born

“Unless we are to condemn all modern painting, we must regard cubism as legitimate, for it continues modern methods, and we should see in it the only conception of pictorial art now possible. In other words, at this moment cubism is painting.”

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Jean Metzinger

Du Cubisme (1912)

“If we wished to relate the space of the [Cubist] painters to geometry, we should have to refer it to the non-Euclidean mathematicians; we should have to study, at some length, certain of Riemann's theorems.”

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Jean Metzinger

Du Cubisme (1912)

“I wanted an art that was faithful to itself [loyal] and would have nothing to do with the business of creating illusions. I dreamed of painting glasses from which no-one would ever think of drinking, beaches that would be quite unsuitable for bathing, nudes who would be definitively chaste. I wanted an art which in the first place would appear as a representation of the impossible.”

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Jean Metzinger

Cubism was born

“I had measured the difference that separated art prior to 1900 from the art which I felt was being born. I knew that all instruction was at an end. The age of personal expression had finally begun. The value of an artist was no longer to be judged by the finish of his execution, or by the analogies his work suggested with such-and-such an archetype. It would be judged – exclusively – by what distinguished this artist from all the others. The age of the master and pupil was finally over; I could see about me only a handful of creators and whole colonies of monkeys. But I could not ask Gleizes to see it that way. Happily, nothing of his social or mystical opinions remained when he was engaged in the work of painting. The work of reconciling an oval and a lozenge, a yellow and a blue, prevailed and saved him.”

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Jean Metzinger

Cubism was born

“This science gave me a taste for the arts. It is Number that gives value to sounds and silences, lights and shadows, forms and spaces. Michelangelo and Bach seemed to me like divine mathematicians [calculateurs]. Already I felt that only mathematics enables works that can last. Whether as a result of patient study, or of a stormy [fulgurante] intuition, number alone can reduce all our diversities of feeling to the strict unity of a mass, a fresco, or a sculpted head.”

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Jean Metzinger

Cubism was born

“For the image possesses qualities which, under certain circumstances, can make it much more interesting than the object which inspired it. The portrait of a commonplace person can astound us with an air of distinction, reminding us that the best portrait is that which resembles the painter, not the model.”

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Jean Metzinger

Cubism was born

“We could not do it in the way he meant. But from the Rue Lamarck to the Rue Ravignan, the attempt [prétention] to imitate an orb on a vertical plane, or to indicate by a horizontal straight line the circular hole of a vase placed at the height of the eyes was considered as the artifice of an illusionistic trickery that belonged to another age.”

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Jean Metzinger

Cubism was born