| Nu à la cheminée (Nude) | |
|---|---|
 | |
| Artist | Jean Metzinger |
| Year | 1910 (in Paris) |
| Type | Black & white reproduction (1912) |
| Dimensions | Unknown |
| Location | Whereabouts unknown |
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. By 1912 Nu à la cheminée was in the collection of M.G. Comerre (the mother of Albert Gleizes, and sister of Léon Comerre, the academic/Symbolist painter who won the Gand Prix de Rome in 1875). The work has not been seen in public since, its current location is unknown.
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How to Become Pope
Transcription
Let’s say you want to become pope, head of the Catholic Church and shepherd to over 1 billion faithful. What requirements must you have for this lofty position: 1) Be a catholic and 2) Be a man. Which seems a little thin… and, while it’s technically possible for a regular Sunday Catholic to become pope, the last time this happened was essentially never because becoming pope isn’t like becoming president, you can’t just run for office. Selecting the pope is an inside job and the men who do it are the cardinals, and while in theory they can select any catholic man to become pope, in practice they prefer to elevate one of their own. The last time a non-cardinal become pope was more than 600 years ago. So, while it isn’t an official requirement, it’s an unofficial, official requirement. Thus in order to be pope you’ll first need to be a cardinal and to do that you’ll need to start climbing the catholic corporate ladder.* Step 1: Become a Priest. Unlike some churches where you can fill out a form online and – poof – ordained. The Catholic Church treats becoming a priest as a real, you-need-training profession. So you’re going to require a lot of education: usually a college degree in Catholic Philosophy and then a masters in divinity. In addition to your educational qualifications, you must also be: A man Unmarried, Willing to remain celibate forever.† If you meet these requirements, and have been working with the church, then you can be officially ordained as a priest. Which basically means you get to run a Catholic Church, or work with another priest who does. But, you want onward and to do that you need to take the job of the man who just made you a priest. Step 2: Become a Bishop Bishops are a much more select group: while there are about 400,000 catholic priests world wide, there are only about 5,000 bishops. While priests get churches, bishops get cathedrals, from which they oversee a number of local churches. To advance your career you must wait for a bishop in your area to be forced into retirement at age 75 or die sooner than that – freeing up space for you. But you can’t just apply, because there’s already a secret list of potential bishops that’s updated every three years based on who the current bishops in your area think would make a good replacement for one of their own. To be on that list, in addition to the obvious requirement of being a pious person, you should also: Be least 35 years old Have been priest for at least five years Have a doctorate in theology (or equivalent) Assuming you’re all these things, your name may, or may not be on the secret list. The local bishops then give that list to the pope’s ambassador for your country, known as the Apostolic Nuncio. The Nuncio picks three priests from the list, does in-depth research on them, conducts interviews and selects the one he thinks is best. But it’s not over, because the Nuncio sends his report to Vatican City and the congress of bishops who work there reviewing potential appointments from around the world. If the congress of bishops doesn’t like any of the three candidates, they can tell the Nuncio to start over: returning to the list, picking another three candidates – doing more research, more interviews and sending off the results. When the congress of bishops is happy with one of the Nuncio’s candidates that name is given to the pope, who can reject the candidate and start the whole process over. It shouldn’t be a surprise that from a vacancy to a bishop’s replacement can take months and, on occasion, years. But assuming that a bishop in your area retired (or died) at the right time and you were on the secret list of good priests and the Nuncio picked you and you made it through his interview and the congress of bishops approved you and the pope didn’t veto you – poof now you’re now a bishop. But you’re still not on top. The penultimate promotion is… Step 3: Become a Cardinal. Despite the fancy name and snazzy red outfits to match cardinals are not the bosses of bishops, they are bishops, just with an additional title and additional responsibilities – the most notable of which is electing the new pope.‡ The only way to become a cardinal is to get to current pope to appoint you as one – and of the 5,000 bishops, only about 200 are ever cardinals. But let’s say your ambition doesn’t go unnoticed by the pope and he makes you a cardinal – now it’s time to play the waiting game for his death or retirement – and with popes death is vastly more likely. When either happens the cardinals under the age of 80 are brought to Vatican City where they are isolated from the outside world – presumably by taking away their cell phones and tablets and carrier pigeons. Once sequestered, the election of a new pope can begin. These elections are never exactly the same because the ex-pope leaves instructions on how he wants his replacement to be picked, but in general it works like this: four times a day the cardinals go to the Sistine Chapel to vote – to become pope one of them must get a 2/3rds majority. There’s a big dose of musent-be-too-hasty here as the cardinals don’t just raise their hands, or use a modern preferential voting system, but instead write down one name on a piece of paper stand before the alter and say a long latin phrase, before officially casting the ballot. Once all the cardinals have done this, the votes are counted and then burned. This why TV news stations covering the election of the pope use super-modern-hd-livestreaming cameras to look at a chimney. If the smoke is black, no new pope. The high victory threshold, and tediously slow voting process, is why it takes so long to elect a new pope. It’s usually at least two weeks of voting four times a day six days a week (with one day a week for prayer) but the record length is three years. Assuming you, eventually, win the support of your fellow cardinals, you have one final thing to do before becoming pope: pick yourself a new name. There is no formal rule, you can name yourself anything you like but it’s tradition to take the name of a previous pope. Upon your acceptance of the job, the final ballots are burned clean to make the smoke white and announce to the world that a new pope has been selected. So that’s the career path: be born into the right half of the population, become one of a billion catholics, then one of 400,000 priests, then one of 5,000 bishops, then one of 200 cardinals, wait for the current pope to die or retire, and convince 2/3rds of your fellow cardinals to select you as the one, the only pope.
Overview
Until 1910 P. Picasso, J. Metzinger, and G. Braque were the only pioneers of the movement [...] and it was they who originated the term cubism. (Maurice Raynal)[1]
Jean Metzinger, judging from an interview with Gelett Burgess in Architectural Record,[2] appears to have abandoned his Divisionist style in favor of the faceting of form associated with analytic Cubism around 1908 or early 1909.[3] 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.[3][4]
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),[5] 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.[6]
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) bear resemblance to each other (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'.[7]
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.[8]
Geometrical follies
At the 1910 Salon des Indépendants the works of Metzinger (Nu, n. 3635, possibly Nu à la cheminée, and Portrait de M. Guillaume Apollinaire, n. 3636),[9] Albert Gleizes,[10] Henri Le Fauconnier,[11] and Robert Delaunay were hung in close proximity, where the mutual geometric interests, then observable collectively, began to unite as a group sensibility. Critics had begun treating these mutual interests as a single style, though the term Cubism would not emerge until the following spring relative to the same artists, on the occasion of the Salon des Indépendants. The autumn of 1910 saw Metzinger's Nude as the most purely Cubist work shown.[12]
In a review of the 1910 Salon d'Automne, published in La Presse, art critique Edmond Epardaud writes of the 'geometric follies' of Metzinger, and describes both Gleizes and Le Fauconnier as 'specious architects' (architectes fallacieux).[13]
The critic Jean Claude writes in his review of the same salon, with reference to Nu à la cheminée, published in Le Petit Parisien, "Metzinger painted a puzzle, cubic and triangular, which after verification, is a naked woman. I managed to discover the head, torso and legs. I had to give up finding arms. This is beyond comprehension".[14]
A few months earlier, reviewing the Indépendants, the critic Louis Vauxcelles had described Gleizes, Metzinger, Le Fauconnier, Delaunay and Léger as "ignorant geometers".[12]
Roger Allard reviewing the 1910 Salon d'Automne used the terms "analytical" and "synthesis" in relation to Metzinger's Nu à la cheminée:
Metzinger's nude and his landscape are ruled by an equal striving for fragmentary synthesis. No usual cliché from the aesthetic vocabulary fits the art of this disconcerting painter. Consider the elements of his nude: a woman, a clock, an armchair, a table, a vase with flowers...such, at least, is an account of my personal inventory. The head whose expression is very noble is rendered formally, and the artist seems to have drawn back from the integral application of his law. [...] The analytical kinships among objects and their mutual subordinations will be henceforth of little importance since they will be suppressed in the painted realization. These come into play later, subjectively, in each individual's mental realization.[15]
"The importance of Allard's understanding of the genuine innovation visible at the salon is hard to overestimate," writes art historian Daniel Robbins, "He goes well beyond Metzinger's emphasis in the Pan article on multiple points of view, that is, beyond the technical innovations of the new painting. He penetrates to its intellectual core: an art capable of synthesizing a reality in the mind of the observer..."[15]
Albert Gleizes, in his review of the 1911 Salon des Indépendants writes about Metzinger's Nu à la cheminée:[16]
In short, he wishes to develop the visual field by multiplying it, in order to inscribe it within the space of the canvas itself. It is at that point that the cube will play a role, and it is there that Metzinger will use that means to reestablish a balance that has been momentarily interrupted by these audacious inscriptions.
At the last Salon d'Automne [1910], we were able to get an idea of that technique, inscribed and set out in simple terms.
His Femme nu, depicted from various angles and in integral relationship with the setting, the shapes very subtly nestled one into another, was more like a masterful demonstration of the total image than an exclusively pictorial creation.
Certain discriminating critics [...] considered it a metaphysical discovery more than a manifestation of art. Alembics, laboratory tubing, intellectual masturbation—people have called his work all those things, with the greatest seriousness in the world.[16]
See also
References
- ^ Maurice Raynal, L'Exposition de la 'Section d'Or' (The Section d'Or Exhibition), 1912, in Mark Antliff and Patricia Leighten, A Cubism Reader, Documents and Criticism, 1906-1914, The University of Chicago Press, 2008, p. 333
- ^ Gelett Burgess, Wild Men of Paris, The Architectural Record, May 1910
- ^ a b Jean Metzinger in Retrospect, University of Iowa Museum of Art, Iowa City, J. Paul Getty Trust, University of Washington Press, pp. 9-23
- ^ 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
- ^ Jean Metzinger, Note sur la peinture, Pan (Paris), October–November 1910
- ^ 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)
- ^ Mark Antliff, Patricia Dee Leighten, Cubism and Culture, Thames & Hudson, 2001
- ^ David Cottington, Cubism and its Histories, Manchester University Press, 2004
- ^ Société des artistes indépendants, 26, Catalogue de la 26e exposition, 1910, Jean Metzinger, numbers 3631–3636 of the catalogue, Gallica, bibliothèque numérique de France
- ^ Société des artistes indépendants, 26, Catalogue de la 26e exposition, 1910, Albert Gleizes, numbers 2159-2164 of the catalogue, Gallica, bibliothèque numérique de France
- ^ Société des artistes indépendants, 26, Catalogue de la 26e exposition, 1910, Henri Le Fauconnier, numbers 3047-3050, Gallica, bibliothèque numérique de France
- ^ a b Milton A. Cohen, Movement, manifesto, melee: the modernist group, 191–1914, Lexington Books, 2004
- ^ Edmond Epardaud, On Inaugure demain le Salon d'Automne, La Presse, 30 September 1910, Numéro 6675, pp. 1, 2
- ^ Jean Claude, Grand Palais, Le Salon d'Automne, Le Petit Parisien, 2 October 1910, Numéro 12391, p. 5
- ^ a b Daniel Robbins, "Jean Metzinger: At the Center of Cubism", 1985, Jean Metzinger in Retrospect, The University of Iowa Museum of Art (J. Paul Getty Trust, University of Washington Press) p. 15
- ^ a b Albert Gleizes, "L'Art et ses représentants", La Revue Indépendante, September 1911, pp. 161–172. In Mark Antliff and Patricia Leighten, A Cubism Reader, Documents and Criticism, 1906–1914, The University of Chicago Press, 2008
External links
- Jean Metzinger Catalogue Raisonné entry page for Nu à la cheminée
- Exhibition catalog, Salon de La Section d'Or", 1912. Walter Pach papers, Archives of American Art, Smithsonian Institution.
- Les Peintres Cubistes ("The Cubist Painters"), Guillaume Apollinaire, published in 1913, (translated and analyzed by Peter F. Read, University of California Press, 25 oct. 2004 - 234 pages).
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This page was last edited on 22 December 2023, at 23:53