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The collaboration between Albert Gleizes and Jean Metzinger that would lead to the publication of Du "Cubisme" began during the aftermath of the 1910 Salon d'Automne. [3] At this massive Parisian exhibition, renowned for displaying the latest and most radical artistic tendencies, several artists including Gleizes, and in particular Metzinger, stood out from the rest.
Pablo Picasso, 1910, Girl with a Mandolin (Fanny Tellier), oil on canvas, 100.3 × 73.6 cm, Museum of Modern Art, New York. Cubism is an early-20th-century avant-garde art movement begun in Paris that revolutionized painting and the visual arts, and influenced artistic innovations in music, ballet, literature, and architecture.
An art cannot be raised all at once to the level of a pure effusion.' [...] 'This is understood by the Cubist painters, who tirelessly study pictorial form and the space which it engenders'. [63] Jean Metzinger, c.1913, Le Fumeur (Man with Pipe), oil on canvas, 129.7 x 96.68 cm, Carnegie Museum of Art, Pittsburgh, Pennsylvania.
Joseph Csaky (also written Josef Csàky, Csáky József, József Csáky and Joseph Alexandre Czaky) (18 March 1888 – 1 May 1971) was a Hungarian avant-garde artist, sculptor, and graphic artist, best known for his early participation in the Cubist movement as a sculptor.
The first major treatise written on the subject of Cubism was their 1912 collaboration Du "Cubisme", which says that: [8] "If we wished to relate the space of the [Cubist] painters to geometry, we should have to refer it to the non-Euclidian mathematicians; we should have to study, at some length, certain of Riemann's theorems."
Henri-Robert-Marcel Duchamp (UK: / ˈ dj uː ʃ ɒ̃ /, US: / dj uː ˈ ʃ ɒ̃, dj uː ˈ ʃ ɑː m p /; [1] French: [maʁsɛl dyʃɑ̃]; 28 July 1887 – 2 October 1968) was a French painter, sculptor, chess player, and writer whose work is associated with Cubism, Dada, and conceptual art.
Image credits: Chesnot #7 Pablo Picasso (October 25, 1881 — April 8, 1973) Pablo Picasso was a Spanish artist known as one of the most influential figures of the 20th century.
In Du "Cubisme" it was argued that Cubism itself was not based on any geometrical theory, but that non-Euclidean geometry corresponded better than classical, or Euclidean geometry, to what the Cubists were doing: "If we wished to relate the space of the [Cubist] painters to geometry, we should have to refer it to the non-Euclidean ...