In
Du "Cubisme"
Gleizes and Metzinger wrote: "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." Cubism itself, then, was not based on any geometrical theory, but corresponded better to
non-Euclidean geometry than classical or
Euclidean geometry.
The essential was in the understanding of space other than by the
classical method of perspective; an understanding that would include and
integrate the fourth dimension.
[14]
Cubism, with its new geometry, its dynamism and multiple view-point
perspective, not only represented a departure from Euclid's model, but
it achieved, according to Gleizes and Metzinger, a better representation
of the real world: one that was mobile and changing in time. For
Gleizes, Cubism represented a "
normal evolution of an art that was mobile like life itself."
[4]
In contrast to Picasso and Braque, Gleizes' intent was not to analyze
and describe visual reality. Gleizes had argued that we cannot know the
external world, we can only know our
sensations.
[4]
Objects from daily life⎯guitar, pipe or bowl of fruit⎯ did not satisfy
his complex idealistic concepts of the physical world. His subjects were
of vast scale and of provocative social and cultural meaning. Gleizes'
iconography (as of Delaunay, Le Fauconnier and Léger) helps to explain
why there is no period in his work corresponding to analytic Cubism, and
how it was possible for Gleizes to become an abstract painter, more
theoretically in tune with Kandinsky and Mondrian than Picasso and
Braque, who remained associated with visual reality.
[1]
Gleizes' intent was to reconstitute and synthesize the real world according to his individual consciousness (
sensations),
through the use of volumes to convey the solidity and structure of
objects. Their weight, placement and effects upon each other, and the
inseparability of form and color, was one of the principal lessons of
Cézanne. Forms were simplified and distorted, each shape and color
modified by another, rather than splintered. His concern was to
establish weight, density and volumetric relationships among sections of
a broad subject. Gleizes himself characterized the 1910–11 phase of his
work as an "analysis of volume relationships," though it bears little
relation to the traditional use of the word "analytical" in our
understanding of Cubism.
[1]
"We laugh out loud when we think of all the novices who expiate their
literal understanding of the remarks of a cubist and their faith in
absolute truth by laboriously placing side by side the six faces of a
cube and both ears of a model seen in profile." (Albert Gleizes, Jean
Metzinger)[10]
A central theme of
Du "Cubisme" was that access to the true essence of the world could be gained by
sensations
alone. The sensation offered by classical painting was very limited: to
only one point of view, from a single point in space and frozen in
time. But the real world is mobile, both spatially and temporally.
Classical perspective and the formulations of Euclidean geometry were
only
conventions (to use Poincaré's term) that distance us from
the truth of our sensations, from the truth of our own human nature. Man
sees the world of natural phenomena from a multitude of angles that
form a continuum of sensations in perpetual and continuous change. The
Cubists' aim was to completely eschew absolute space and time in favor
of relative motion, to grasp through sensory appearances and translate
onto a flat canvas the dynamical properties of the
four-dimensional manifold
(the natural world). Only then could one achieve a better
representation of the mobile reality of our living experience. If
Gleizes and Metzinger write in Du "Cubisme" that we can only know our
sensations, it is not because they wish to disregard them, but, on the
contrary, to understand them more deeply as the primary source for their
own work. In reasoning this way, Gleizes and Metzinger demonstrate that
they are successors to Cézanne, who insists that everything must be
learnt from nature: "
Nature seen and nature felt... both of which must unite in order to endure."
[4][15][16]
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