Jean Metzinger (1883-1956) - photo 1
Jean Metzinger (1883-1956) - photo 2
Jean Metzinger (1883-1956) - photo 3
Jean Metzinger (1883-1956) - photo 4
Jean Metzinger (1883-1956) - photo 5

Jean Metzinger (1883-1956)

Sold
€ 63 000
Auction dateClassic
10.04.2024 14:00UTC +02:00
Auctioneer
CHRISTIE'S
Event location
France, Paris
Archive
The auction is completed. No bids can be placed anymore.
Archive
ID 1178614
Lot 110 | Jean Metzinger (1883-1956)
Jean Metzinger (1883-1956)

Champignons, pommes et carafe

signé 'Metzinger' (en bas à droite)

huile et sable sur toile

54 x 65 cm.

Peint vers 1950



signed 'Metzinger' (lower right)

oil and sand on canvas

21 ¼ x 25 ½ in.

Painted circa 1950





Provenance

Vente, Sotheby Parke Bernet & Co., Londres, 27 juin 1984, lot 184.

Galerie Jean-Jacques Dutko, Paris.

Acquis auprès de celle-ci par le propriétaire actuel vers 1995.



Further details

Dans cette nature morte, compotier de pommes, journal, bouteille, verre et carafe gravitent autour d’un bouquet de champignons déposé à la hâte sur une table. Suggérée par des surfaces planes et polygonales qui basculent dans des directions différentes, la table semble en mouvement. Fidèle à son désir exprimé dès les débuts du cubisme, de faire recouvrir à la forme son droit à l’instabilité (Notes sur la peinture publiée à la fin de l’année 1910 dans la revue Pan), Metzinger, trente-cinq ans plus tard, conserve les acquisitions de son cubisme antérieur -notamment celle de privilégier de multiples perspectives afin de dépeindre la réalité d’un objet- tout en recherchant une certaine stylisation plastique des éléments formels. Esprit brillant et dogmatique, Jean Metzinger, acteur de la première heure du mouvement cubiste fut également un théoricien fort écouté, auteur de nombreux articles critiques ou doctrinaux.

In the present still life, an apple dish, newspaper, bottle, glass and carafe encircle a cluster of mushrooms seemingly hastily arranged on a table. Constructed of flat and polygonal surfaces which plunge in opposing directions, the table appears in a permanent state of flux. Remaining true to his wish, as expressed from the outset of his Cubist period, to restore to an object its right to instability (Notes sur la peinture, in Pan, 1910), here Metzinger retains many of his acquired Cubist devices. In particular, multiple perspectives are employed in order to portray the reality of each object, whilst a level of stylization of formal elements is also introduced. An enlightened and assertive presence within the Cubist movement from its inception, Metzinger remained a committed theorist and author of numerous doctrines central to the movement's evolution.
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