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Du and Cubisme
The following year, in preparation for the Salon de la Section d ' Or, Metzinger and Gleizes wrote and published Du " Cubisme " in an effort to dispel the confusion raging around the word, and as a major defence of Cubism ( which had caused a public scandal following the 1911 Salon des Indépendants and the 1912 Salon d ' Automne in Paris ).
The concept developed in Du " Cubisme " of observing a subject from different points in space and time simultaneously, i. e., the act of moving around an object to seize it from several successive angles fused into a single image (' multiple viewpoints ' or ' mobile perspective '), is now a generally recognized phenomenon of the Cubist style.
The 1912 manifetso Du " Cubisme " by Metzinger and Gleizes was followed in 1913 by Les Peintres Cubistes, a collection of reflections and commentaries by Guillaume Apollinaire.
It was against this background of public anger that Jean Metzinger and Albert Gleizes wrote Du " Cubisme " ( published by Eugène Figuière in 1912, translated to English and Russian in 1913 ).
The fact that the 1912 exhibition had been curated to show the successive stages through which Cubism had transited, and that Du " Cubisme " had been published for the occasion, indicates the artists ' intention of making their work comprehensible to a wide audience ( art critics, art collectors, art dealers and the general public ).
In Du " Cubisme " Metzinger and Gleizes explicitly related the sense of time to multiple perspective, giving symbolic expression to the notion of ‘ duration ’ proposed by the philosopher Henri Bergson according to which life is subjectively experienced as a continuum, with the past flowing into the present and the present merging into the future.
The term solid relates to the Cubist-influenced geometric structure, an insight prompted by the epigraph from Albert Gleizes and Jean Metzinger ’ s Du Cubisme ( 1912 ).
* Jean Metzinger and Albert Gleizes publish the first major treatise on Cubism, Du Cubisme.
Jean Metzinger and Albert Gleizes wrote the first major treatise on Cubism, Du " Cubisme " in 1912.
While Pablo Picasso and Georges Braque are generally acknowledged as the founders of the twentieth-century movement that became known as Cubism, it was Jean Metzinger, together with Albert Gleizes, that created the first major treatise on the new art-form, Du " Cubisme ", in preparation for the Salon de la Section d ' Or held in October 2012.
Du " Cubisme ", published the same year by Eugène Figuière in Paris, represented the first theoretical interpretation, elucidation and justification of Cubism, and was endorsed by both Picasso and Braque.
Du " Cubisme ", which preceded Apollinaire's well known essays, Les Peintres Cubistes ( 1912, published 1913 ), emphasized the Platonic belief that the mind is the birthplace of the idea: " to discern a form is to verify a pre-existing idea.
" Du " Cubisme " quickly gained popularity running through fifteen editions the same year and was translated into several European languages including Russian and English ( the following year ).
Jean Metzinger and Albert Gleizes wrote with reference to non-Euclidean geometry in their 1912 manifesto, Du " Cubisme ".
Metzinger, for example, writes in a Pan article, two years before the publication of Du " Cubisme " that the greatest challenge to the modern artist is not to ' cancel ' tradition, but to accept " it is in us ," acquired by living.
The idea of moving around an object in order to see it from different view-points is treated in Du " Cubisme " ( 1912 ).
One of the essential arguments of Du " Cubisme ", was that knowledge of the world is to be gained through ' sensations ' alone.
In Du " Cubisme " Metzinger and Gleizes write that we can only know our sensations, not because they reject them as a means of inspiration.
Yet in Du " Cubisme " Jean Metzinger and Albert Gleizes articulate: " If we wished to relate the space of the 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.
Undoubtedly though, both Metzinger and Gleizes implemented the theoretical principles derived in Du " Cubisme " onto canvas ; something clearly visible in their works produced at the time.
Bohr read the book by Jean Metzinger and Albert Gleizes on cubist theory, Du Cubisme.
Published in Du " Cubisme " by Jean Metzinger and Albert Gleizes, 1912, and Les Peintres Cubistes by Guillaume Apollinaire, 1913, Paris.
Reproduced in Du " Cubisme ", by Jean Metzinger and Albert Gleizes, 1912, Paris.
In celebration of the 100th anniversary of the publication of Du " Cubisme " by Jean Metzinger and Albert Gleizes, the Musée de La Poste in Paris presents a show entitled " Gleizes-Metzinger.

Du and Metzinger
File: Jean Metzinger, 1911-12, The Harbor, location unknown, reproduced in Du " Cubism " 1912. jpg | Jean Metzinger, 1911-12, The Harbor.
* 1912-1946, Afterword to reprint of Du " Cubisme " by A. Gleizes and J. Metzinger, pp. 75 – 79, Paris, Compagnie française des Arts Graphiques, 1947
Albert Gleizes and Jean Metzinger wrote the first major treatise on Cubism, Du " Cubisme ", 1912.
Albert Gleizes and Jean Metzinger, in preparation for the Salon de la Section d ' Or, published a major defence of Cubism, resulting in the first theoretical essay on the new movement, entitled Du " Cubisme " ( published by Eugène Figuière in 1912, translated to English and Russian in 1913 ).
Completed the same year that Albert Gleizes co-authored the book Du " Cubisme " with Jean Metzinger.
In Du " Cubisme " Gleizes and Metzinger wrote: " If we wished to relate the space of the 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.

Du and Gleizes
* Du " Cubisme ", written with Albert Gleizes, Edition Figuière, Paris, 1912 ( First English edition: Cubism, Unwin, London, 1913 )
If Gleizes and Metzinger write in Du " Cubisme " that we can only know our sensations, it is not because they wish to disregard them, but, on the contrary, to understand them more deeply as the primary source for their own work.
The polemic resulted in the publication of Du cubisme et des moyens de le comprendre by Albert Gleizes, followed in 1922 by La Peinture et ses lois, within which appear the notion of translation and rotation that would ultimately characterize both the pictorial and theoretical aspects of Gleizes ' art.

Du and had
Then I spoke at the ninetieth birthday party of W. E. Burghardt Du Bois, who embarked on a fictional trilogy at eighty-nine and who, with The Crisis, had created a Negro intelligentsia that had never existed in America before him.
The Fisher Body division, long controlled by the Fisher brothers under a voting trust even though General Motors owned a majority of its stock, followed an independent course for many years, but by 1947 and 1948 `` resistance had collapsed '' and its purchases from Du Pont `` compared favorably '' with purchases by other General Motors divisions.
This, however, did not bar finding that Du Pont had become pre-eminent as a supplier of automotive fabrics and finishes to General Motors ; ;
At the outset, the Government's spokesman explained that counsel for the Government and for Du Pont had already held preliminary discussions with a view to arriving at a relief plan that both sides could recommend to the court.
Du Pont, he said, had proposed disenfranchisement of its General Motors stock along with other restrictions on the Du Pont - General Motors relationship.
The Government, deeming these suggestions inadequate, had urged that any judgment include divestiture of Du Pont's shares of General Motors.
For many years the Northwest Company had its southern headquarters at Prairie Du Chien on the Mississippi River, some 300 miles southeast of present-day St. Paul, Minnesota.
Although Captain Du Petit Thouars had lost both legs and an arm he remained in command, insisting on having the tricolour nailed to the mast to prevent it from being struck and giving orders from his position propped up on deck in a bucket of wheat.
However the dismasted Tonnant, Commodore Du Petit Thouars now dead from his wounds and thrown overboard at his own request, was unable to make the required speed and was driven ashore by its crew, while Timoléon was too far south to escape with Villeneuve and in attempting to join the survivors had also grounded on the shoal.
De Fer in turn had copied images that were first printed in books by Louis Hennepin, published in 1697, and François Du Creux, in 1664.
There had also been other instances of disobedience prior to this, according to the official Du Parcq report into the incident such as a model prisoner attacking a popular guard with a razor blade and rough treatment of a prisoner being removed to solitary.
" These utterances were sometimes accompanied by the gift of interpretation exercised, in Du Bois ' experience, by the same person who had spoken in tongues.
Du Pont was living in the United States at the time and had close ties to Jefferson as well as the prominent politicians in France.
The centrality of a father in this novel matches Balzac's own position – not only as mentor to his troubled young secretary, Jules Sandeau, but also the fact that he had ( most likely ) fathered a child, Marie-Caroline, with his otherwise-married lover, Maria Du Fresnay.
In ancient China there was Sunshu Ao ( 6th century BC ), Ximen Bao ( 5th century BC ), Du Shi ( circa 31 AD ), Zhang Heng ( 78-139 AD ), and Ma Jun ( 200-265 AD ), while medieval China had Su Song ( 1020-1101 AD ) and Shen Kuo ( 1031 – 1095 ).
The Eye of Providence had been a well-known classical symbol of the deity since at least the Renaissance, which Du Simitiere was familiar with.
Of the four men whose ideas were adopted, neither Charles Thomson, Pierre Du Simitière nor William Barton were Masons and, while Francis Hopkinson has been alleged to have had Masonic connections, there is no firm evidence to support the claim.
The song was already published in several song books and sung with " Du gamla, Du friska ", but a priest who had known Dybeck got the opportunity to tell the singer most associated with the song, opera singer Carl Fredrik Lundqvist, about the change in the year 1900.

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