- 315
Jean Metzinger
Estimate
80,000 - 120,000 USD
Log in to view results
bidding is closed
Description
- Jean Metzinger
- Figure et Chevaux (Chevaux de proue)
Signed JMetzinger (lower left)
- Oil on canvas
- 25 1/2 by 19 1/2 in.
- 64.8 by 49.5 cm
Provenance
Léonce Rosenberg (Galerie L'Effort Moderne), Paris
Weyhe Gallery, New York, acquired from the above in 1929
Acquired from the above
Weyhe Gallery, New York, acquired from the above in 1929
Acquired from the above
Condition
Excellent condition. Original canvas. Very mild buckling to mid-left and upper right. Under UV light, there is 1 pinhead-size dot of inpainting in lower left quadrant (in the bow of the boat, below the horse's hoof.) Otherwise, fine.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
Metzinger is credited with being the first to recognize stylistic similarities in the work of Picasso, Braque, Delaunay and Le Fauconnier, playing a crucial role in the establishment of a distinct Cubist movement. Influenced by Picasso and Braque, the Duchamp-Villon brothers founded a group of modern painters called La Section d'Or (The Golden Section), to which Metzinger quickly became attached. As the name implies, the group relied on geometric calculations to rectify the representational problems associated with Cubism. Juan Gris was an occassional visitor to the group, and many artists, including Léger and Picabia exhibited in the 1912 inaugural exhibition.
John Golding writes, ". . .Metzinger has learned from Picasso how to reconcile three-dimensional form with the picture plane, by placing the subject in shallow depth and fusing it with its surroundings, but there is no real interest in analysing solid forms. In his early analytical Cubism Picasso distended and distorted form, seeking to convey a sense of solidity and to synthesize as much information as possible into a single image. Metzinger, on the other hand, elongates his figures in a mannerist fashion, denying their sculptural solidity. His vision is still fundamentally naturalistic, and he views his subject from the single, static point of a traditional painting" (Cubism: A History and an Analysis, 1907-1914, London, 1959, p. 147).
John Golding writes, ". . .Metzinger has learned from Picasso how to reconcile three-dimensional form with the picture plane, by placing the subject in shallow depth and fusing it with its surroundings, but there is no real interest in analysing solid forms. In his early analytical Cubism Picasso distended and distorted form, seeking to convey a sense of solidity and to synthesize as much information as possible into a single image. Metzinger, on the other hand, elongates his figures in a mannerist fashion, denying their sculptural solidity. His vision is still fundamentally naturalistic, and he views his subject from the single, static point of a traditional painting" (Cubism: A History and an Analysis, 1907-1914, London, 1959, p. 147).