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. T… - Jean Metzinger

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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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About Jean Metzinger

Jean Metzinger (24 June 1883 – 3 November 1956) was a French artist who lived and worked in Paris for most of his professional career. Inspired by the work of Georges Seurat and Paul Cézanne, he is one of the founders of Cubism, along with Pablo Picasso, Georges Braque and Albert Gleizes.

Also Known As

Alternative Names: Jean Dominique Antony Metzinger Jean Metzanger Metzinger

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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'. That subjective idea he translated into art. He made a composition of it.

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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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