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La danse, Bacchante

La danse, Bacchante
Jean Metzinger, 1906, La dance (Bacchante), oil on canvas, 73 x 54 cm DSC05359...jpg
Artist Jean Metzinger
Year c. 1906
Medium Oil on canvas
Dimensions 73 cm × 54 cm (28.75 in × 21.25 in)
Location Last known location Kröller-Müller Museum, Otterlo

La danse (also known as Bacchante) is an oil painting created circa 1906 by the French artist and theorist Jean Metzinger (1883–1956). Bacchante is a pre-Cubist or Proto-Cubist work executed in a highly personal Divisionist style during the height of the Fauve period. Bacchante was painted in Paris at a time when Metzinger and Robert Delaunay painted portraits of one another, exhibiting together at the Salon d'Automne and the Berthe Weill gallery. Bacchante was exhibited in Paris during the spring of 1907 at the Salon des Indépendants (No. 3460), along with Coucher de soleil and four other works by Metzinger.

The painting was purchased by the art historian and collector Wilhelm Uhde and formed part of his collection until it was sequestered by the French government just before World War I. In 1921 the painting reappeared at the auction house Hôtel Drouot where it was presumably purchased by Kröller-Müller, and published in Catalogue of the paintings in the collection of Helene Kröller-Müller. And as late as 1985 Bacchante was listed in Jean Metzinger In Retrospect as belonging to the collection of the Kröller-Müller Museum.

La danse (Bacchante) is an oil painting on canvas with dimensions 73 x 54 cm (28.75 by 21.25 in). The work represents a nude woman in a composition that contains a wide variety of exotic geometrized elements. Metzinger's bold use of color characteristic of his work between 1904 and 1907 is highly noticeable in Bacchante. His brushstrokes are practically all the same size but their directions and colors vary giving rhythm to the overall work. The depth of field is flattened; the foreground blending in with background components. The subject matter is classical—reminiscent of Jean Auguste Dominique Ingres (an artist Metzinger greatly admired)—yet its treatment is everything but classical.


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