Fourth dimension in art

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An illustration from Jouffret's Traite elementaire de geometrie a quatre dimensions. The book, which influenced Picasso, was given to him by Princet. Jouffret.gif
An illustration from Jouffret's Traité élémentaire de géométrie à quatre dimensions. The book, which influenced Picasso, was given to him by Princet.

New possibilities opened up by the concept of four-dimensional space (and difficulties involved in trying to visualize it) helped inspire many modern artists in the first half of the twentieth century. Early Cubists, Surrealists, Futurists, and abstract artists took ideas from higher-dimensional mathematics and used them to radically advance their work. [1]

Contents

Early influence

Pablo Picasso, 1910 Portrait of Daniel-Henry Kahnweiler, Art Institute of Chicago Picasso Portrait of Daniel-Henry Kahnweiler 1910.jpg
Pablo Picasso, 1910 Portrait of Daniel-Henry Kahnweiler , Art Institute of Chicago
Jean Metzinger, 1910, Nu a la cheminee (Nude). Exhibited at the 1910 Salon d'Automne. Black and white scan from Les Peintres Cubistes by Guillaume Apollinaire, 1913. Dimensions and whereabouts unknown. Jean Metzinger, 1910, Nu a la cheminee, published in Les Peintres Cubistes, 1913.jpg
Jean Metzinger, 1910, Nu à la cheminée (Nude). Exhibited at the 1910 Salon d'Automne. Black and white scan from Les Peintres Cubistes by Guillaume Apollinaire, 1913. Dimensions and whereabouts unknown.
Albert Gleizes, 1913, Portrait de l'editeur Eugene Figuiere (The Publisher Eugene Figuiere), Musee des Beaux-Arts de Lyon Albert Gleizes, 1913, Portrait de l'editeur Eugene Figuiere (The Publisher Eugene Figuiere), oil on canvas, 143.5 x 101.5 cm, Musee des Beaux-Arts de Lyon.jpg
Albert Gleizes, 1913, Portrait de l’éditeur Eugène Figuière (The Publisher Eugene Figuiere) , Musée des Beaux-Arts de Lyon

French mathematician Maurice Princet was known as "le mathématicien du cubisme" ("the mathematician of cubism"). [2] An associate of the School of Paris—a group of avant-gardists including Pablo Picasso, Guillaume Apollinaire, Max Jacob, Jean Metzinger, and Marcel Duchamp—Princet is credited with introducing the work of Henri Poincaré and the concept of the "fourth dimension" to the cubists at the Bateau-Lavoir during the first decade of the 20th century. [3]

Princet introduced Picasso to Esprit Jouffret's Traité élémentaire de géométrie à quatre dimensions (Elementary Treatise on the Geometry of Four Dimensions, 1903), [4] a popularization of Poincaré's Science and Hypothesis in which Jouffret described hypercubes and other complex polyhedra in four dimensions and projected them onto the two-dimensional page. Picasso's Portrait of Daniel-Henry Kahnweiler in 1910 was an important work for the artist, who spent many months shaping it. [5] The portrait bears similarities to Jouffret's work and shows a distinct movement away from the Proto-Cubist fauvism displayed in Les Demoiselles d'Avignon , to a more considered analysis of space and form. [6]

Early cubist Max Weber wrote an article entitled "In The Fourth Dimension from a Plastic Point of View", for Alfred Stieglitz's July 1910 issue of Camera Work . In the piece, Weber states, [7] "In plastic art, I believe, there is a fourth dimension which may be described as the consciousness of a great and overwhelming sense of space-magnitude in all directions at one time, and is brought into existence through the three known measurements."

Another influence on the School of Paris was that of Jean Metzinger and Albert Gleizes, both painters and theoreticians. 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."

The American modernist painter and photographer Morton Livingston Schamberg wrote in 1910 two letters to Walter Pach, [9] [10] parts of which were published in a review of the 1913 Armory Show for The Philadelphia Inquirer , [11] about the influence of the fourth dimension on avant-garde painting; describing how the artists' employed "harmonic use of forms" distinguishing between the "representation or rendering of space and the designing in space": [12] [13]

If we still further add to design in the third dimension, a consideration of weight, pressure, resistance, movement, as distinguished from motion, we arrive at what may legitimately be called design in the fourth dimension, or the harmonic use of what may arbitrarily be called volume. It is only at this point that we can appreciate the masterly productions of such a man as Cézanne.

Cézanne's explorations of geometric simplification and optical phenomena inspired the Cubists to experiment with simultaneity, complex multiple views of the same subject, as observed from differing viewpoints at the same time. [14]

Dimensionist manifesto

In 1936 in Paris, Charles Tamkó Sirató published his Manifeste Dimensioniste, [15] which described how the Dimensionist tendency has led to:

  1. Literature leaving the line and entering the plane.
  2. Painting leaving the plane and entering space.
  3. Sculpture stepping out of closed, immobile forms.
  4. The artistic conquest of four-dimensional space, which to date has been completely art-free.

The manifesto was signed by many prominent modern artists worldwide. Hans Arp, Francis Picabia, Kandinsky, Robert Delaunay and Marcel Duchamp amongst others added their names in Paris, then a short while later it was endorsed by artists abroad including László Moholy-Nagy, Joan Miró, David Kakabadze, Alexander Calder, and Ben Nicholson. [15]

Crucifixion (Corpus Hypercubus)

In 1953, the surrealist Salvador Dalí proclaimed his to paint "an explosive, nuclear and hypercubic" crucifixion scene. [16] [17] He said that, "This picture will be the great metaphysical work of my summer". [18] Completed the next year, Crucifixion (Corpus Hypercubus) depicts Jesus Christ upon the net of a hypercube, also known as a tesseract. The unfolding of a tesseract into eight cubes is analogous to unfolding the sides of a cube into six squares. The Metropolitan Museum of Art describes the painting as a "new interpretation of an oft-depicted subject. ..[showing] Christ's spiritual triumph over corporeal harm." [19]

Abstract art

Some of Piet Mondrian's abstractions and his practice of Neoplasticism are said to be rooted in his view of a utopian universe, with perpendiculars visually extending into another dimension. [20]

Other forms of art

The fourth dimension has been the subject of numerous fictional stories. [21]

See also

Related Research Articles

<span class="mw-page-title-main">Cubism</span> Early-20th-century avant-garde art movement

Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. In Cubist artwork, objects are analyzed, broken up and reassembled in an abstracted form—instead of depicting objects from a single viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. Cubism has been considered the most influential art movement of the 20th century. The term is broadly used in association with a wide variety of art produced in Paris or near Paris (Puteaux) during the 1910s and throughout the 1920s.

<span class="mw-page-title-main">Jean Metzinger</span> French painter (1883-1956)

Jean Dominique Antony Metzinger was a major 20th-century French painter, theorist, writer, critic and poet, who along with Albert Gleizes wrote the first theoretical work on Cubism. His earliest works, from 1900 to 1904, were influenced by the neo-Impressionism of Georges Seurat and Henri-Edmond Cross. Between 1904 and 1907 Metzinger worked in the Divisionist and Fauvist styles with a strong Cézannian component, leading to some of the first proto-Cubist works.

<span class="mw-page-title-main">Section d'Or</span> Art group associated with Cubism

The Section d'Or, also known as Groupe de Puteaux or Puteaux Group, was a collective of painters, sculptors, poets and critics associated with Cubism and Orphism. Based in the Parisian suburbs, the group held regular meetings at the home of the Duchamp brothers in Puteaux and at the studio of Albert Gleizes in Courbevoie. Active from 1911 to around 1914, members of the collective came to prominence in the wake of their controversial showing at the Salon des Indépendants in the spring of 1911. This showing by Albert Gleizes, Jean Metzinger, Robert Delaunay, Henri le Fauconnier, Fernand Léger and Marie Laurencin, created a scandal that brought Cubism to the attention of the general public for the first time.

<span class="mw-page-title-main">Maurice Princet</span> French mathematician (1875–1973)

Maurice Princet was a French mathematician and actuary who played a role in the birth of cubism. He was an associate of Pablo Picasso, Guillaume Apollinaire, Max Jacob, Jean Metzinger, and Marcel Duchamp. He is known as "le mathématicien du cubisme".

<span class="mw-page-title-main">Esprit Jouffret</span>

Esprit Jouffret was a French artillery officer, insurance actuary and mathematician, author of Traité élémentaire de géométrie à quatre dimensions, a popularization of Henri Poincaré's Science and Hypothesis in which Jouffret described hypercubes and other complex polyhedra in four dimensions and projected them onto the two-dimensional page.

<i>La Femme au Cheval</i> Painting by Jean Metzinger

La Femme au Cheval is a large oil painting created toward the end of 1911, early 1912, by the French artist Jean Metzinger (1883–1956). The work was exhibited in Paris at the Salon des Indépendants in 1912 and the Salon de la Section d'Or, 1912. The following year La Femme au Cheval was reproduced in The Cubist Painters, Aesthetic Meditations by Guillaume Apollinaire (1913).

<i>Dancer in a Café</i> Painting by Jean Metzinger

Danseuse au café is a large oil painting created in 1912 by the French artist and theorist Jean Metzinger (1883–1956). The work was exhibited in Paris at the Salon d'Automne of 1912, entitled Danseuse. The Cubist contribution to the 1912 Salon d'Automne created a controversy in the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such 'barbaric' art. The Cubists were defended by the Socialist deputy, Marcel Sembat. This painting was realized as Albert Gleizes and Jean Metzinger, in preparation for the Salon de la Section d'Or, published a major defense of Cubism, resulting in the first theoretical essay on the new movement, Du "Cubisme". Danseuse au café was first reproduced in a photograph published in an article entitled Au Salon d'Automne "Les Indépendants" in the French newspaper Excelsior, 2 Octobre 1912. The painting is now located at the Albright-Knox Art Gallery, Buffalo New York.

<i>Le goûter</i> Oil painting by Jean Metzinger

Le Goûter, also known as Tea Time (Tea-Time), and Femme à la Cuillère is an oil painting created in 1911 by the French artist and theorist Jean Metzinger (1883–1956). It was exhibited in Paris at the Salon d'Automne of 1911, and the Salon de la Section d'Or, 1912.

<i>Les Baigneuses</i> (Gleizes) Painting by Albert Gleizes

Les Baigneuses is a large oil painting created at the outset of 1912 by the French artist, theorist and writer Albert Gleizes (1881–1953). It was exhibited at the Salon des Indépendants in Paris during the spring of 1912; the Salon de la Société Normande de Peinture Moderne, Rouen, summer 1912; and the Salon de la Section d'Or, autumn 1912. The painting was reproduced in Du "Cubisme", written by Albert Gleizes and Jean Metzinger the same year: the first and only manifesto on Cubism. Les Baigneuses, while still 'readable' in the figurative or representational sense, exemplifies the mobile, dynamic fragmentation of form and multiple perspective characteristic of Cubism at the outset of 1912. Highly sophisticated, both in theory and in practice, this aspect of simultaneity would soon become identified with the practices of the Section d'Or group. Gleizes deploys these techniques in "a radical, personal and coherent manner". Purchased in 1937, the painting is exhibited in the permanent collection of the Musée d'Art Moderne de la Ville de Paris.

<i>LOiseau bleu</i> (Metzinger) Painting by Jean Metzinger

L'Oiseau bleu is a large oil painting created in 1912–1913 by the French artist and theorist Jean Metzinger (1883–1956); considered by Guillaume Apollinaire and André Salmon as a founder of Cubism, along with Georges Braque and Pablo Picasso. L'Oiseau bleu, one of Metzinger's most recognizable and frequently referenced works, was first exhibited in Paris at the Salon des Indépendants in the spring of 1913, several months after the publication of the first Cubist manifesto, Du "Cubisme", written by Jean Metzinger and Albert Gleizes (1912). It was subsequently exhibited at the 1913 Erster Deutscher Herbstsalon in Berlin.

<span class="mw-page-title-main">Proto-Cubism</span> Phase in art history

Proto-Cubism is an intermediary transition phase in the history of art chronologically extending from 1906 to 1910. Evidence suggests that the production of proto-Cubist paintings resulted from a wide-ranging series of experiments, circumstances, influences and conditions, rather than from one isolated static event, trajectory, artist or discourse. With its roots stemming from at least the late 19th century, this period is characterized by a move towards the radical geometrization of form and a reduction or limitation of the color palette. It is essentially the first experimental and exploratory phase of an art movement that would become altogether more extreme, known from the spring of 1911 as Cubism.

<i>Du "Cubisme"</i>

Du "Cubisme", also written Du Cubisme, or Du « Cubisme », is a book written in 1912 by Albert Gleizes and Jean Metzinger. This was the first major text on Cubism, predating Les Peintres Cubistes by Guillaume Apollinaire (1913). The book is illustrated with black and white photographs of works by Paul Cézanne (1), Gleizes (5), Metzinger (5), Fernand Léger (5), Juan Gris (1), Francis Picabia (2), Marcel Duchamp (2), Pablo Picasso (1), Georges Braque (1), André Derain (1), and Marie Laurencin (2).

<i>Le Port</i> (painting) Painting by Jean Metzinger

Le Port, also known as The Harbor, The Port or simply Marine, is a painting by the French artist Jean Metzinger. The work was exhibited in the spring of 1912 at the Salon des Indépendants in Paris, and at the Salon de La Section d'Or, Galerie La Boétie, October 1912, Paris,. Le Port was reproduced a few months later in the first major text on Cubism entitled Du "Cubisme", written in 1912 by Jean Metzinger and Albert Gleizes, published by Eugène Figuière Editeurs the same year. The Harbor was subsequently reproduced in The Cubist Painters, Aesthetic Meditations , written by Guillaume Apollinaire, published by Figuière in 1913. At the Salon des Indépendants of 1912, Apollinaire had noticed the classical Ingresque qualities of Metzinger's Le Port, and suggested that it deserved to be hung in the Musée du Luxembourg's modern art collection. The dimensions and current whereabouts of Le Port are unknown.

<i>Passy, Bridges of Paris</i> Painting by Albert Gleizes

Passy, Bridges of Paris, also called Les ponts de Paris (Passy), or Paysage à Passy, is a painting created in 1912 by the French artist, theorist and writer Albert Gleizes. The work was exhibited at the Salon de la Société Normande de Peinture Moderne, Rouen, 1912 ; the Salon de la Section d'Or, Galerie La Boétie, Paris, 1912 ; Manes Moderni Umeni, Vystava, Prague, 1914 ; and Galerie Der Sturm, Berlin, July, 1914.

<i>Baigneuses</i> (Metzinger) Painting by Jean Metzinger

Baigneuses, also called Bathers, is a Proto-Cubist painting, now lost or missing, created circa 1908 by the French artist and theorist Jean Metzinger. Possibly exhibited during the spring of 1908 at the Salon des Indépendants. This black-and-white image of Metzinger's painting, the only known photograph of the work, was reproduced in Gelett Burgess, "The Wild Men of Paris", Architectural Record, May 1910. The painting was also reproduced in The New York Times, 8 October 1911, in an article titled "The 'Cubists' Dominate Paris' Fall Salon", and subtitled, "Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do".

<i>Femme à lÉventail</i> Painting by Jean Metzinger

Femme à l'Éventail is an oil painting created in 1912 by the French artist and theorist Jean Metzinger (1883–1956). The painting was exhibited at the Salon d'Automne, 1912, Paris, and De Moderne Kunstkring, 1912, Amsterdam. It was also exhibited at the Musée Rath, Geneva, Exposition de cubistes français et d'un groupe d'artistes indépendants, 3–15 June 1913. A 1912 photograph of Femme à l'Éventail hanging on a wall inside the Salon Bourgeois was published in The Sun, 10 November 1912. The same photograph was reproduced in The Literary Digest, 30 November 1912.

<i>Nature morte</i> (Metzinger) Painting by Jean Metzinger

Nature morte, or Compotier et cruche décorée de cerfs, is a Cubist painting by the French artist Jean Metzinger. It was exhibited at Exposició d'Art Cubista, Galeries Dalmau, Barcelona, 20 April – 10 May 1912. During this show—the first exhibition of Cubism in Spain—Metzinger's painting became one of the preferred targets of the press. It was exhibited again 1 – 15 April 1917 at Nya Konstgalleriet founded by the Italian Futurist Arturo Ciacelli in Stockholm. Nya Konstgalleriet was one of the three main galleries in Sweden responsible for promoting national and international modernism between 1915 and 1925. The painting would eventually be exhibited at Galerie Philippe Reichenbach, Houston, where it was acquired in 1960. In 2008 Nature morte was auctioned at Sotheby's in New York.

<i>The Cubist Painters, Aesthetic Meditations</i>

Les Peintres Cubistes, Méditations Esthétiques, is a book written by Guillaume Apollinaire between 1905 and 1912, published in 1913. This was the third major text on Cubism; following Du "Cubisme" by Albert Gleizes and Jean Metzinger (1912); and André Salmon, Histoire anecdotique du cubisme (1912).

<i>Soldier at a Game of Chess</i> Painting by Jean Metzinger

Soldier at a Game of Chess, is a painting by the French artist Jean Metzinger. While serving as a medical orderly during World War I in Sainte-Menehould, France, Metzinger bore witness to the ravages of war firsthand. Rather than depicting such horrors, Metzinger chose to represent a poilu sitting at a game of chess, smoking a cigarette. The military subject of this painting is possibly a self-portrait.

<span class="mw-page-title-main">Crystal Cubism</span> Subgenre of the painting style cubism

Crystal Cubism is a distilled form of Cubism consistent with a shift, between 1915 and 1916, towards a strong emphasis on flat surface activity and large overlapping geometric planes. The primacy of the underlying geometric structure, rooted in the abstract, controls practically all of the elements of the artwork.

References

  1. Henderson, Linda Dalrymple. "Overview of The Fourth Dimension And Non-Euclidean Geometry In Modern Art, Revised Edition". MIT Press. Archived from the original on 20 March 2013. Retrieved 24 March 2013.
  2. Décimo, Marc (2007). Maurice Princet, Le Mathématicien du Cubisme (in French). Paris: Éditions L'Echoppe. ISBN   978-2-84068-191-5.
  3. Miller, Arthur I. (2001). Einstein, Picasso: space, time, and beauty that causes havoc (Print). New York: Basic Books. p.  101. ISBN   0-465-01859-9.
  4. Jouffret, Esprit (1903). Traité élémentaire de géométrie à quatre dimensions et introduction à la géométrie à n dimensions (in French). Paris: Gauthier-Villars. OCLC   1445172 . Retrieved 2008-02-06.
  5. Robbin, Tony (2006). Shadows of Reality: The Fourth Dimension in Relativity, Cubism, and Modern Thought (Print). New Haven: Yale University Press. p. 28. ISBN   978-0-300-11039-5.
  6. Robbin, Tony (2006). Shadows of Reality: The Fourth Dimension in Relativity, Cubism, and Modern Thought (Print). New Haven: Yale University Press. pp. 28–30. ISBN   978-0-300-11039-5.
  7. Weber, Max (1910). "In The Fourth Dimension from a Plastic Point of View". Camera Work . 31 (July 1910).
  8. Gleizes, Albert; Metzinger, Jean (1913). Du Cubisme [translated from French]. London: T.F. Unwin.
  9. Letter from Schamberg in Philadelphia to Walter Pach in Paris, 29 December 1910, Pach Papers, Reel: 4216, fr. 856
  10. Letter from Schamberg in Philadelphia to Pach in Paris, 29 December 1910, fr. 857
  11. Morton Livingston Schamberg, "Post-Impression Exhibit Awaited", The Philadelphia Inquirer, 19 January 1913, col. 2, p. 3
  12. Oja, Carol J. (February 2000). Making Music Modern: New York in the 1920s. Oxford University Press, USA. p. 84. ISBN   9780195162578
  13. Jill Anderson Kyle, Cézanne and American Painting 1900 to 1920, The University of Texas at Austin, 1995
  14. Christopher Green, Cubism, Meanings and interpretations, MoMA, Grove Art Online, Oxford University Press, 2009
  15. 1 2 Sirató, Charles Tamkó (1936). "Dimensionist Manifesto" (PDF). Paris. Retrieved 24 March 2013.
  16. Dalí, Salvador; Gómez de la Serna, Ramón (2001) [1988]. Dali. Secaucus, NJ: Wellfleet Press. p. 41. ISBN   1-55521-342-1.
  17. "Salvador Dalí (1904–1989)". SpanishArts. 2013. Retrieved 24 March 2013.
  18. "Crucifixion ('Corpus Hypercubus'), 1954". Dalí gallery website. Archived from the original on 13 June 2013. Retrieved 25 March 2013.
  19. "Crucifixion (Corpus Hypercubus)". The Metropolitan Museum of Art. Retrieved 24 March 2013.
  20. Kruger, Runette (Summer 2007). "Art in the Fourth Dimension: Giving Form to Form – The Abstract Paintings of Piet Mondrian" (PDF). Spaces of Utopia. Spaces of Utopia: An Electronic Journal (5): 23–35. ISSN   1646-4729.
  21. Clair, Bryan (16 September 2002). "Spirits, Art, and the Fourth Dimension". Strange Horizons. Archived from the original on 7 January 2012. Retrieved 25 March 2012.

Sources

Further reading