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Dancer in a Café
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Dancer in a Café
Dancer in a Café (also known as Danseuse au café or Au Café Concert and Danseuse) is an oil painting created in 1912 by the French artist and theorist Jean Metzinger. The work was created while Metzinger and Albert Gleizes, in preparation for the Salon de la Section d'Or, were publishing, Du "Cubisme", the first major defense of the Cubist movement, and it was first displayed (under the title Danseuse) at the 1912 Salon d'Automne in Paris. The work proved controversial within the Municipal Council of Paris, causing debate in the Chambre des Députés about the use of public funds to exhibit such 'barbaric' art, with the Cubists being defended by the Socialist deputy Marcel Sembat.
Dancer in a 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.
Danseuse au café is an oil painting on canvas with dimensions 146.1 × 114.3 cm (57.5 × 45 in). The painting represents a woman dancing in a café-concert. She is shown on the right half of the canvas wearing an elaborate gown and holding in her right hand a bouquet of flowers. In the café scene, four others, two women and two men, can be observed on the left of the painting, three of whom are seated in front of a table upon which various items are placed (including beverages), and one of whom is placed seemingly in the background (upper left).
Metzinger's "enchanting" Dancer in a Café, writes art historian Daniel Robbins, "exults in the exoticism of the moment, playing off the feathers or plumes of fashionable dressed Parisian women in their Worth gowns against an Amerindian pattern on the costume of the dancer, wittily comparing the height of European fashion with the anthropologically arcane."
As in other works by Metzinger of the same period, there are elements to be found of the real world, e.g., lighting fixtures, flowers, feathers and lace. The rest of the canvas consists of a series of crescendos and diminuendos of greater or lesser abstraction, of convex and concave forms, of hyperbolic and spherical surfaces, that stem from the teachings of Georges Seurat and Paul Cézanne. The Divisionist brushwork, mosaic-like 'cubes', present in his Neo-Impressionist phase (circa 1903 through 1907) have returned giving texture and rhythm to vast areas of the canvas, visible both in the figures and background.
Dancer in a café depicts strikingly fashionable women and men at the height of Parisian fashion in 1912. The dancer dressed in a directoire-style beaded and embroidered green silk velvet and chiffon caped evening gown embellished with celluloid sequins and gold trim, her hair coiffed in an elegant chignon, appears on a low stage or table performing for patrons or guests, all fashionably dressed and coiffed in silk and beaded net gowns, silver brocade and lace full-length gowns, ostrich-plumed hats, patterned suit, fedora and black tie. The artist depicts the figures and background as a series of subdivided facets and planes, presenting multiple aspects of the café scene simultaneously. This can be seen in the deliberate positioning of light, shadow, the nonconventional use of chiaroscuro, of form and color, and the way in which Metzinger assimilates the fusion of the background with the figures. The manifold surface has a complex geometry of reticulations with intricate series of (almost mathematical looking) black lines that appear in sections as underdrawing and in others as overdrawing.
"The style of the clothes is meticulously up-to-the-minute" writes Cottington of Metzinger's three entries at the 1912 Salon d'Automne, "the cut of the dresses, and the relatively uncorseted silhouettes they permitted their weavers to display, owe much more to Poiret than to Worth—indeed the check of one figure in the Dancer and the polka dots of the Woman with a Fan anticipate the post-war geometries, if not the colour harmonies, of Sonia Delaunay's fabrics, while the open-collared sportiness of the dress and cloche-style hat in The Yellow Feather look forward to the 1920s."
The French fashion designer Paul Poiret actually worked for the House of Worth early in the 20th century, however, the "brazen modernity of his designs" proved too much for Worth's conservative clientele. Poiret established his own house in 1903 and threw spectacular parties to promote his work.
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Dancer in a Café
Dancer in a Café (also known as Danseuse au café or Au Café Concert and Danseuse) is an oil painting created in 1912 by the French artist and theorist Jean Metzinger. The work was created while Metzinger and Albert Gleizes, in preparation for the Salon de la Section d'Or, were publishing, Du "Cubisme", the first major defense of the Cubist movement, and it was first displayed (under the title Danseuse) at the 1912 Salon d'Automne in Paris. The work proved controversial within the Municipal Council of Paris, causing debate in the Chambre des Députés about the use of public funds to exhibit such 'barbaric' art, with the Cubists being defended by the Socialist deputy Marcel Sembat.
Dancer in a 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.
Danseuse au café is an oil painting on canvas with dimensions 146.1 × 114.3 cm (57.5 × 45 in). The painting represents a woman dancing in a café-concert. She is shown on the right half of the canvas wearing an elaborate gown and holding in her right hand a bouquet of flowers. In the café scene, four others, two women and two men, can be observed on the left of the painting, three of whom are seated in front of a table upon which various items are placed (including beverages), and one of whom is placed seemingly in the background (upper left).
Metzinger's "enchanting" Dancer in a Café, writes art historian Daniel Robbins, "exults in the exoticism of the moment, playing off the feathers or plumes of fashionable dressed Parisian women in their Worth gowns against an Amerindian pattern on the costume of the dancer, wittily comparing the height of European fashion with the anthropologically arcane."
As in other works by Metzinger of the same period, there are elements to be found of the real world, e.g., lighting fixtures, flowers, feathers and lace. The rest of the canvas consists of a series of crescendos and diminuendos of greater or lesser abstraction, of convex and concave forms, of hyperbolic and spherical surfaces, that stem from the teachings of Georges Seurat and Paul Cézanne. The Divisionist brushwork, mosaic-like 'cubes', present in his Neo-Impressionist phase (circa 1903 through 1907) have returned giving texture and rhythm to vast areas of the canvas, visible both in the figures and background.
Dancer in a café depicts strikingly fashionable women and men at the height of Parisian fashion in 1912. The dancer dressed in a directoire-style beaded and embroidered green silk velvet and chiffon caped evening gown embellished with celluloid sequins and gold trim, her hair coiffed in an elegant chignon, appears on a low stage or table performing for patrons or guests, all fashionably dressed and coiffed in silk and beaded net gowns, silver brocade and lace full-length gowns, ostrich-plumed hats, patterned suit, fedora and black tie. The artist depicts the figures and background as a series of subdivided facets and planes, presenting multiple aspects of the café scene simultaneously. This can be seen in the deliberate positioning of light, shadow, the nonconventional use of chiaroscuro, of form and color, and the way in which Metzinger assimilates the fusion of the background with the figures. The manifold surface has a complex geometry of reticulations with intricate series of (almost mathematical looking) black lines that appear in sections as underdrawing and in others as overdrawing.
"The style of the clothes is meticulously up-to-the-minute" writes Cottington of Metzinger's three entries at the 1912 Salon d'Automne, "the cut of the dresses, and the relatively uncorseted silhouettes they permitted their weavers to display, owe much more to Poiret than to Worth—indeed the check of one figure in the Dancer and the polka dots of the Woman with a Fan anticipate the post-war geometries, if not the colour harmonies, of Sonia Delaunay's fabrics, while the open-collared sportiness of the dress and cloche-style hat in The Yellow Feather look forward to the 1920s."
The French fashion designer Paul Poiret actually worked for the House of Worth early in the 20th century, however, the "brazen modernity of his designs" proved too much for Worth's conservative clientele. Poiret established his own house in 1903 and threw spectacular parties to promote his work.
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