Cubism and Bergson-Metzinger for Example
Abstract
This is among the last turn of the century one of the central figure in French culture: Bergson philosophical point of view, to interpret the same period of modern painting as part of research projects. The study of the "first part" has seen all my book: "Cezanne and Henri Bergson," is the first time the "father of modern painting" Cezanne and the real comparative study of Bergson ; this to continue its theta, and as "part of the follow-up" - is the same point of view interpretation of Cubism to choose the representation theorists Meijin Jie the painting theory. Hope this study can be the initial presentation of modern painting and the philosophy of Bergson in the same culture and system of meaning in interaction with one aspect of the development; as distinct from the current style of modern painting are generally more focused on the analysis of discourse. Henri Bergson's philosophy shares great importance in the late 19 and early 20 centuries in French. This is the point of departure I will take in this article, which constitutes the consequent part of my modern painting research. And for the first part of the research, please see my dissertation: Cezanne and Bergson, which deals with the two in some substantial aspects. While this part regarding Metzinger, key theorian of Cubism was taken under the same direction with similar approach. My argument is the analogy between Bergson's durée and Metzinger's stress on duration and multiple-view-point in artistic creation. I will analyze both their notions in terms of the "appearance and reality" metaphysics-wise and also the Bergson vogue in cultural sociology. This article will show the similarity between Bergsonian thought and Metzinger's Cubist theory. Consequently, a principal characteristic of Cubist painting could better be interpreted as one of formal crystallizations of Bergsonian durée