Note on Painting – Jean Metzinger
Is there any of the most modern works in painting and sculpture that does not secretly obey the Greek rhythm?
Nothing, from the Primitives to Cezanne, breaks decisively with the chain of variations contained in the Hellenic theme. I see today the rebels of yesterday mechanically prostrating themselves before the bas-relief at Eleusis. Gothics, Romantics, Impressionists, the old measure has triumphed over your praiseworthy departures from rhythm; and yet your labours have not been in vain -they have established in us the foreknowledge of a new and different rhythm.
For us the Greeks invented the human form; we must reinvent it for others.
We are not concerned, here, with a partial ‘movement’ dealing in accepted freedoms (those of interpretation, transposition, etc.: half-measures!), but with a fundamental liberation.
Already there are arising men of courage who know what they are doing -here are painters: Picasso, Braque, Delaunay, Le Fauconnier. Wholly and only Painters, they do not illuminate concepts in the manner of the ‘nee-primitives’; &ey are too enlightened to believe in the stability of any system, even one ^Ued classical art, and at the same time they recognize in the most novel of their own creations the triumph of desires that are centuries old. Their reason holds the balance between the pursuit of the transient and the mania for the et ernal. While condemning the absurdity of the theoreticians of ’emotion’, they take good care not to drag painting towards purely decorative speculation. When, *i* order to defeat the deceptiveness of vision, they momentarily impose their domination on the external world, their understanding remains untouched by Hegelian superstition.
Fortified with this thought, Picasso unveils to us the very face of painting.
Rejecting every ornamental, anecdotal or symbolic intention, he achieves a painterly purity hitherto unknown. I am aware of no paintings from the past, even the finest, that belong to painting as clearly as his.
Picasso does not deny the object, he illuminates it with his intelligence and feeling. With visual perceptions he combines tactile perceptions. He tests, understands, organizes: the picture is not to be a transposition or a diagram, in it we are to contemplate the sensible and living equivalent of an idea, the total image. Thesis, antithesis, synthesis – the old formula undergoes an energetic inter-inversion of its first two terms: Picasso confesses himself a realist. Cezanne showed us forms living in the reality of light, Picasso brings us a material account of their real life in the mind – he lays out a free, mobile perspective, from which that ingenious mathematician Maurice Princet has deduced a whole geometry.
The fine shades neutralize one another round ardent constructions. Picasso disdains the often brutal technique of the so-called colourists, and brings the seven colours back to the primordial unity of white.
The abandonment of the burdensome inheritance of dogma; the displacing, again and again, of the poles of habit; the lyrical negation of axioms; the clever mixing, again and again, of the successive and the simultaneous: Georges Braque knows thoroughly the great natural laws that warrant these liberties.
Whether it be a face or a fruit he is painting, the total image radiates in time; the picture is no longer a dead portion of space. A main volume is physiologically born of concurrent masses. And this miraculous dynamic process has a fluid counterpoint in a colour-scheme dependent on the ineluctable two-fold principle of warm and cold tones.
Braque, joyfully fashioning new plastic signs, commits not a single fault of taste. Let us not be misled by the word ‘new’ ; without detracting from this painter’s boldness in innovation, I can compare him to Chardin and Lancret: I can link the daring grace of his art with the genius of our race …