is a

Cubist Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. In Cubist artwork, objects are analyzed, broken up and reassemble ...

oil painting created by

Jean Metzinger Jean Dominique Antony Metzinger (; 24 June 1883 – 3 November 1956) was a major 20th-century French painter, theorist, writer, critic and poet, who along with Albert Gleizes wrote the first theoretical work on Cubism. His earliest works, from 1 ...

in 1913. The work is referred to in various publications as , , , , ''In the Canoe'', ''The Boat'', ''On the Beach'', , , and . The painting was exhibited in Paris at the 1913

Salon d'Automne The Salon d'Automne (; en, Autumn Salon), or Société du Salon d'automne, is an art exhibition held annually in Paris, France. Since 2011, it is held on the Champs-Élysées, between the Grand Palais and the Petit Palais, in mid-October. The f ...

. The following year it was shown at '', 45th Exhibition of SVU Mánes'' in Prague, February–March 1914 (a collection of works assembled by Alexandre Mercereau). This "Survey of Modern Art" was one of the last prewar exhibitions in Prague. was exhibited again, in July of the same year, at the , Berlin. The painting was acquired from

Herwarth Walden Herwarth Walden (actual name Georg Lewin; 16 September 1879, in Berlin – 31 October 1941, in Saratov, Russia) was a German expressionist artist and art expert in many disciplines. He is broadly acknowledged as one of the most important discove ...

in 1916 by Georg Muche at . was exhibited in the ,

National Gallery The National Gallery is an art museum in Trafalgar Square in the City of Westminster, in Central London, England. Founded in 1824, it houses a collection of over 2,300 paintings dating from the mid-13th century to 1900. The current Director ...

, Berlin, 1930, where it had been housed since 1927. The work was acquired by the National Gallery in 1936 (on deposit by the ), where it was placed on display in Room 5. It was later confiscated by the

Nazis Nazism ( ; german: Nazismus), the common name in English for National Socialism (german: Nationalsozialismus, ), is the far-right totalitarian political ideology and practices associated with Adolf Hitler and the Nazi Party (NSDAP) in N ...

around 1936, displayed at the Degenerate Art Exhibition () in Munich and other cities, 1937–38, and has been missing ever since.

Description

is a large oil painting on canvas with approximate dimensions , representing an elegantly dressed woman painted in a

style holding an umbrella while she sits in a canoe or small boat. Water with undulating waves or ripples and two other boats are visible in the background. The vertical composition is divided, fragmented or faceted into series of non-Euclidean spherical arcs, hyperbolic triangles, rectangles, squares, planes or surfaces delineated by contrasting form.''Jean Metzinger in Retrospect'', Joann Moser, with an essay by Daniel Robbins, The University of Iowa Museum of Art, J. Paul Getty Trust, University of Washington Press), 1985 Aimed at a large audience of the rather than the intimate setting of a gallery—just as other paintings by Metzinger of the pre-

World War I World War I (28 July 1914 11 November 1918), often abbreviated as WWI, was one of the deadliest global conflicts in history. Belligerents included much of Europe, the Russian Empire, the United States, and the Ottoman Empire, with fightin ...

period such as '' (The Blue Bird)'' exhibited at the in the spring of 1913—there can be found in a continuity that transits between the foreground and background. For example, the two boats in the 'background' are smaller than the boat in the 'foreground' within which the model is sitting, consistent with classical perspective in that objects appear smaller as distance from the observer increases. However, to be perfectly consistent one would expect the boat on the top left of the composition to be smaller still than the boat just left of the models head. There is no perspectival fusion between objects close and far, yet the notion of depth perception has not been abolished. Overall, the spatial attributes of the scene are disjointed and flattened to the point where no absolute frame of reference can be determined.Daniel Robbins, "Jean Metzinger, At the Center of Cubism", in ''Jean Metzinger in Retrospect'', The University of Iowa Museum of Art, J. Paul Getty Trust, University of Washington Press), 1985, pp. 9–23 The chronophotography of

Eadweard Muybridge Eadweard Muybridge (; 9 April 1830 – 8 May 1904, born Edward James Muggeridge) was an English photographer known for his pioneering work in photographic studies of motion, and early work in motion-picture projection. He adopted the first ...

and

Étienne-Jules Marey Étienne-Jules Marey (; 5 March 1830, Beaune, Côte-d'Or – 15 May 1904, Paris) was a French scientist, physiologist and chronophotographer. His work was significant in the development of cardiology, physical instrumentation, aviation, cinema ...

had a profound influence on the beginnings of Cubism. These photographic motion studies particularly interested artists that would later form groups known as the and , including Jean Metzinger, Albert Gleizes and Marcel Duchamp. A predecessor to cinematography and moving film, chronophotography involved a series or succession of different images, originally created and used for the scientific study of movement. These studies would directly influence

Marcel Duchamp Henri-Robert-Marcel Duchamp (, , ; 28 July 1887 – 2 October 1968) was a French painter, sculptor, chess player, and writer whose work is associated with Cubism, Dada, and conceptual art. Duchamp is commonly regarded, along with Pablo Picasso ...

's '' Nude Descending a Staircase, No. 2'' and could also be read into Metzinger's work of 1910–1914, though rather than simultaneously superimposing successive images to depict the motion, Metzinger represents the subject at rest viewed from multiple angles; the dynamic role is played by the artist rather than the subject. Though not the first painting by Metzinger to employ the concept of multiple perspective—three years had passed since he first propounded the idea in , published in 1910— arguably exemplifies such pictorial processes, while still maintaining elements of recognizable form (the number 3, perhaps suggestive of a regatta, the woman, the umbrella, the boats); the extreme activity of geometric faceting visible in is not pushed to the point that any understandable link between physicality or naturalness is lost to the viewer. Yet, what is achieved is fundamentally anti-naturalistic. The color schemes of other paintings executed during the same period, such as , , () or (''Woman with a Fan''), suggests that at the time of painting Metzinger had already moved away from the limited palette of 1911 and 1912. On the opening day of the 1913 Salon d'Automne, art critic Louis Paillard, in a review published in , writes of Metzinger's entry: Guillaume Apollinaire, in his review of the published in , writes of ():

Dimensions

The dimensions of are undocumented. However, Metzinger's painting is portrayed in a variety of black and white photographs shot between 1914 and 1930, and appears in a film recorded at the 1937 Degenerate Art Exhibition. Two of these images show the work hanging next to paintings of known dimensions. The earliest is a photograph taken in Prague, 1914, published in the magazine , where the painting is seen hanging next to Metzinger's (''Woman with a Fan''), 1913, oil on canvas, , Art Institute of Chicago. Another image, taken at the Degenerate Art Exhibition in 1937, shows next to

Willi Baumeister Willi Baumeister (22 January 1889 – 31 August 1955) was a German painter, scenic designer, art professor, and typographer. His work was part of the art competitions at the 1928 Summer Olympics and the 1932 Summer Olympics. Life Born in ...

, ''Handstand'', 1923, oil on canvas, . A straightforward calculation based on the dimensions of paintings visible in both of these images reveals dimensions for of . This corresponds to a standard stretcher () format referred to as 80 Figure (80 F). Chassis sizes in France are based on format P for (landscape), relating to the

principles of art Art is a diverse range of human activity, and resulting product, that involves creative or imaginative talent expressive of technical proficiency, beauty, emotional power, or conceptual ideas. There is no generally agreed definition of what ...

and the diagonal of

Fibonacci Fibonacci (; also , ; – ), also known as Leonardo Bonacci, Leonardo of Pisa, or Leonardo Bigollo Pisano ('Leonardo the Traveller from Pisa'), was an Italian mathematician from the Republic of Pisa, considered to be "the most talented Wester ...

; the formats M for (seascapes); and F for (portrait), such as , are based on the

Golden ratio In mathematics, two quantities are in the golden ratio if their ratio is the same as the ratio of their sum to the larger of the two quantities. Expressed algebraically, for quantities a and b with a > b > 0, where the Greek letter phi ( ...

. Most, if not all, of Metzinger's works from the period, including his monumental , are painted on canvases corresponding to these traditional formats; proportioning his works to approximate the golden ratio, in the belief that this proportion is aesthetically pleasing. The

golden section In mathematics, two quantities are in the golden ratio if their ratio is the same as the ratio of their sum to the larger of the two quantities. Expressed algebraically, for quantities a and b with a > b > 0, where the Greek letter phi ...

(french: Section d'Or) and other similar geometric configurations symbolized for Metzinger and his colleagues a belief in order and the significance of

mathematical Mathematics is an area of knowledge that includes the topics of numbers, formulas and related structures, shapes and the spaces in which they are contained, and quantities and their changes. These topics are represented in modern mathematics ...

proportions, because it reflected patterns and relationships occurring in nature. Metzinger,

Albert Gleizes Albert Gleizes (; 8 December 1881 – 23 June 1953) was a French artist, theoretician, philosopher, a self-proclaimed founder of Cubism and an influence on the School of Paris. Albert Gleizes and Jean Metzinger wrote the first major treatise on ...

, the Duchamp brothers, and other members of the , were passionately interested in mathematics., Numéro spécial, 9 October 1912Roger Allard, , , June 1911, pp. 57–64. In Mark Antliff and Patricia Leighten, ''A Cubism Reader, Documents and Criticism, 1906–1914'', The University of Chicago Press, 2008, pp. 178–191, 330 The golden proportion, upon which may have been based, represented simultaneously a continuity with past traditions and current trends in related fields, while leaving open future developments in the arts.

History

The year 1913 saw the

movement continuing to evolve, wrote

The changes it had already undergone since the Indépendants of 1911 could leave people in no doubt as to its nature. Cubism was not a school, distinguished by some superficial variation on a generally accepted norm. It was a total regeneration, indicating the emergence of a wholly new cast of mind. Every season it appeared renewed, growing like a living body. Its enemies could, eventually, have forgiven it if only it had passed away, like a fashion; but they became even more violent when they realised that it was destined to live a life that would be longer than that of those painters who had been the first to assume the responsibility for it.Albert Gleizes, ''The Epic, From immobile form to mobile form, 1913–1914'', First published in German, entitled ''Kubismus'', 1928. The French version, ''L'Epopée'' (The Epic), was published in the journal ''Le Rouge et le Noir'', 1929. The first version was written in response to an invitation from the Bauhaus in 1925. Translation by Peter Brooke
/ref> At the 1913 Salon des Indépendants could be seen a very large work of Jean Metzinger's - '' L'Oiseau Bleu''; ''L'Equipe de Cardiff'' from
Robert Delaunay Robert Delaunay (12 April 1885 – 25 October 1941) was a French artist who, with his wife Sonia Delaunay and others, co-founded the Orphism art movement, noted for its use of strong colours and geometric shapes. His later works were more abstra ...
; two important canvasses from Léger; still lifes and ''L'Homme au Café'' from
Juan Gris José Victoriano González-Pérez (23 March 1887 – 11 May 1927), better known as Juan Gris (; ), was a Spanish painter born in Madrid who lived and worked in France for most of his active period. Closely connected to the innovative artistic ge ...
; enthusiastic new work from La Fresnaye and from
Marcoussis Marcoussis () is a commune in the southern suburbs of Paris, France. It is located from the center of Paris. Marcoussis is the location of the CNR (National Centre of Rugby) where the French national rugby union team prepare for internationa ...
, and from others again; and finally, from myself, ''Les Joueurs de Football''. Again, to the Salon d'Automne of 1913 - a salon in which Cubism was now the predominating tendency - Metzinger sent the great picture called ''En Bâteau'', La Fresnaye ''La Conquête de l'Air'', myself ''Les Bâteaux de Pêche'' and ''La Ville et le Fleuve''. If the first moment of surprise had passed by, the interest Cubism excited was as great as ever. The anger and the enthusiasm had not changed sides, our enemies held to their guns. It is enough for proof to read the diatribes of
Louis Vauxcelles Louis Vauxcelles (born Louis Meyer; 1 January 187021 July 1943) was a French art critic. He is credited with coining the terms '' Fauvism'' (1905) and ''Cubism'' (1908). He used several pseudonyms in various publications: Pinturrichio, Vasari, ...
in ''Gil Blas'' for that year, 1913, and the panegyrics of
Guillaume Apollinaire Guillaume Apollinaire) of the Wąż coat of arms. (; 26 August 1880 – 9 November 1918) was a French poet, playwright, short story writer, novelist, and art critic of Polish descent. Apollinaire is considered one of the foremost poets of t ...
in ''L'Intransigeant''.

''En Canot'' was acquired at the Galerie Der Sturm in 1916 by the artist Georg Muche, whose father was a naïve painter and art collector known as Felix Muche-Ramholz. The Galerie Der Sturm founded in 1912 by

in Berlin became the core of Berlin's modern art scene, lasting a decade. Starting with an exhibition of Fauves and

Der Blaue Reiter ''Der Blaue Reiter'' (The Blue Rider) is a designation by Wassily Kandinsky and Franz Marc for their exhibition and publication activities, in which both artists acted as sole editors in the almanac of the same name, first published in mid-May ...

, followed by the introduction in Germany of Cubism and Italian Futurism. ''En Canot'' was exhibited in 1930 at the Kronprinzenpalais, National Gallery, Berlin, along with works by

Oskar Schlemmer Oskar Schlemmer (4 September 1888 – 13 April 1943) was a German painter, sculptor, designer and choreographer associated with the Bauhaus school. In 1923, he was hired as Master of Form at the Bauhaus theatre workshop, after working at the w ...

, Rudolf Belling and others (works later found in Entartete Kunst).Gallery in the Kronprinzer-Palais, Nationalgalerie, Berlin, 1930. Photograph showing Metzinger's ''En Canot (Im Boot)'' in situ, Figure 92
/ref> It was subsequently confiscated by the German

Reich Ministry of Public Enlightenment and Propaganda The Reich Ministry for Public Enlightenment and Propaganda (; RMVP), also known simply as the Ministry of Propaganda (), controlled the content of the press, literature, visual arts, film, theater, music and radio in Nazi Germany. The ministry ...

(''Reichsministerium für Volksaufklärung und Propaganda'', RMVP or ''Propagandaministerium'') in 1936 or 1937 and displayed at the Degenerate Art exhibition (Entartete Kunst) in Munich. The exhibition traveled to several other cities in Germany and Austria. The show, mounted by the Nazis, consisted of modern art chaotically hung and accompanied by text labels deriding the art. Paintings were hung crowded together, some with no frames, alongside racist slogans denigrating the artists for "insulting German womanhood" and revealing "sick minds." It was designed to inflame public opinion against Modernism. The painting was apparently moved to Güstrow by the Rote Armee (Red Army) and has been missing ever since.Jean Metzinger, ''En Canot (Im Boot)'', Beschlagnahmeinventar "Entartete Kunst", "Degenerate Art" Research Center, FU Berlin
/ref> Metzinger's ''Im Boot'' along with works by Johannes Molzahn and

Kurt Schwitters Kurt Hermann Eduard Karl Julius Schwitters (20 June 1887 – 8 January 1948) was a German artist who was born in Hanover, Germany. Schwitters worked in several genres and media, including dadaism, Constructivism (art), constructivism, surrealism ...

were reproduced in the Exhibition of Degenerate Art catalogue. A sentence on the top of the page reads ''"Selbst das wurde einmal ernst genommen und hoch bezahlt!"''LACMA, Los Angeles County Museum of Art, ''"Degenerate Art": The Fate of the Avant-Garde in Nazi Germany'', Catalogue of an exhibition examining and documenting the Nazi's 1937 exhibition ''Entartete Kunst'', which featured art the Nazi's deemed subversive, degenerate, or modern, edited by Stephanie Barron
/ref> The ''Entartete-Kunst'' catalogue dedicated two pages to Room 5, the largest room of the exhibition, with works exhibited by the so-called Group 9, of which Metzinger's work entitled ''Am Strand (At the Beach)'' figures. A text accompanying the works singles out Molzahn, Metzinger and Schwitters, summarizing the essence of the entire exhibition:
/ref> The current location of ''En Canot'' is unknown and it may have been destroyed by the Germans. After the exhibit, paintings were sorted out for sale and sold in Switzerland at auction. Some works were acquired by museums, others by private collectors. Nazi officers took many for their private use: for example, Hermann Göring took fourteen valuable pieces, including works by

Vincent van Gogh Vincent Willem van Gogh (; 30 March 185329 July 1890) was a Dutch Post-Impressionist painter who posthumously became one of the most famous and influential figures in Western art history. In a decade, he created about 2,100 artworks, inc ...

and

Paul Cézanne Paul Cézanne ( , , ; ; 19 January 1839 – 22 October 1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th-century conception of artistic endeavour to a new and radically d ...

. In March, 1939, the Berlin Fire Brigade burned approximately 4000 works which had less value on the international market.Alex Mittelmann, 2012, ''Jean Metzinger, Divisionism, Cubism, Neoclassicism and Post-Cubism''
/ref> ''En Canot'' is listed on the Lost Art Internet Database with the title "Im Boot", inventory number: Museum A II 698; EK 16056. It is also listed in the Degenerate Art Database, with the titles "Im Boot" and "Im Kanu", inventory number 16056. This Internet database documents more than 21,000 artworks condemned as "degenerate" by the Nazis and seized from German museums in 1937. A preparatory drawing (study for ''Le Canot'',

Musée National d'Art Moderne The Musée National d'Art Moderne (; "National Museum of Modern Art") is the national museum for modern art of France. It is located in Paris and is housed in the Centre Pompidou in the 4th arrondissement of the city. In 2021 it ranked 10th in t ...

, Centre Georges Pompidou, Paris) was published in ''Les Soirées de Paris'', no. 19, 1913. ''

Les Soirées de Paris ''Les Soirées de Paris'' was a French literary and artistic review founded in February 1912 by Guillaume Apollinaire and four of his associates - André Billy, René Dalize, André Salmon, and . It was last published in August 1914. «Les Soir ...

'' is the title of a literature and art review magazine. They were published in two series: the first series from February 1912 to June 1913 (No. 1 - No. 17); the second in November 1913 to July–August 1914 (No. 18 - No. 27). The magazine was founded by Serge Férat,

Guillaume Apollinaire Guillaume Apollinaire) of the Wąż coat of arms. (; 26 August 1880 – 9 November 1918) was a French poet, playwright, short story writer, novelist, and art critic of Polish descent. Apollinaire is considered one of the foremost poets of t ...

and André Salmon, et al. It was in part to facilitate the return of Apollinaire to the literary scene after having been suspected in the theft of the ''

Mona Lisa The ''Mona Lisa'' ( ; it, Gioconda or ; french: Joconde ) is a Half length portrait, half-length portrait painting by Italian artist Leonardo da Vinci. Considered an archetypal masterpiece of the Italian Renaissance, it has been described ...

'' (September 1911). Another drawing of the same subject, now in the Musée d'Art Moderne de la Ville de Paris, is signed and inscribed by Metzinger; ''Dessin pour "En Canot"'', leading to the belief that the correct title for the present work is ''En Canot''.

Provenance

* Acquired in 1916 by Georg Muche at the Galerie Der Sturm * 1930 - Berlin, Nationalgalerie (Kronprinzen-Palais), 1929 Kauf durch den Minister auf der Ausstellung "10 Jahre Novembergruppe" aus einer von Georg Muche angebotenen Sammlung; 1930 Überweisung an die Nationalgalerie * Acquired by the Nationalgalerie, Berlin, in 1936 (on deposit by the Ministerium für Wissenschaft, Kunst und Volksbildung), Room 5, NS inventory no. 16056. Titled ''Im Kanu'' (In the canoe). * 07.07.1937 - xx: Deutsches Reich / Reichsministerium für Volksaufklärung und Propaganda, Berlin, Beschlagnahme * 1938 - xx: Velten/Mark, Depot für Propagandaausstellungen, Lagerung der Exponate für die Wanderausstellung "Entartete Kunst"

Exhibitions

* Salon d'Automne, Paris, 15 November 1913 – 8 January 1914 * Moderni Umeni, S.V.U. Mánes, Prague, February–March 1914 * Galerie Der Sturm, July 1914, BerlinDer Sturm, Volume 5, Number 8, 15 July 1914. Princeton Blue Mountain collection
/ref> * Kronprinzenpalais, National Gallery, Berlin, 1930, where it had been since 1927 * Entartete Kunst (2.1), München, Hofgarten-Arkaden, 19.07.1937 - 30.11.1937 * Entartete Kunst (2.2), Berlin, Haus der Kunst, 26.02.1938 - 08.05.1938 * Entartete Kunst (2.3), Leipzig, Grassi-Museum, 13.05.1938 - 06.06.1938 * Entartete Kunst (2.4), Düsseldorf, Kunstpalast, 18.06.1938 - 07.08.1938 * Entartete Kunst (2.5), Salzburg, Festspielhaus, 04.09.1938 - 02.10.1938 * Entartete Kunst (2.6), Hamburg, Schulausstellungsgebäude, 11.11.1938 - 30.12.1938

Literature

* Zlatá Praha, 13 March 1914, magazine article for the occasion of the Moderni Umeni, S.V.U. Mánes exhibition in Prague (reproduced). * Albert Gleizes, ''The Epic, From immobile form to mobile form, 1913–1914'', First published in German, entitled ''Kubismus'', 1928. The French version, ''L'Epopée'' (The Epic), was published in the journal ''Le Rouge et le Noir'', 1929. The first version was written in response to an invitation from the Bauhaus in 1925. Translation by Peter Brooke. * Reich Propaganda Directorate, Culture Office, Degenerate Art Exhibition guide, 1938. * Roh, Franz, "Entartete" Kunst. Kunstbarbarei im Dritten Reich, Hannover 1962. S. 136. * Steven Spielberg Film and Video Archive, ''German town; Degenerate Art exhibit in Munich'', Story RG-60.2668, Tape 951. Film in which Metzinger's work appears next to ''Handstand'' by Willi Baumeister at the Degenerate Art exhibition, minute 16:33 - 16:39. * Roters, Eberhard, (Hrsg.), Stationen der Moderne. Kataloge epochaler Kunstausstellungen in Deutschland 1910–1962. Kommentarband zu den Nachdrucken der zehn Ausstellungskataloge. Kommentarband, 1988, S. 163. * Moser, Joann, with an essay by Daniel Robbins, '' Jean Metzinger in Retrospect'', The University of Iowa Museum of Art, J. Paul Getty Trust, University of Washington Press), 1985 p. 60. * ''Degenerate Art. The Fate of the Avant-Garde in Nazi Germany'', Ausst.-Kat. Los Angeles County Museum of Art, LACMA, 1991, hrsg. von Stephanie Barron, 1991. S. 61, 300.61, 300. * Janda, Annegret und Grabowski, Jörn, ''Kunst in Deutschland 1905–1937. Die verlorene Sammlung der Nationalgalerie'', Berlin 1992. S. 161f. Abb. S. S. 161, Kat. Nr. 317. * Steinfeld, Ludwig, ''Felix Ramholz: Der Sonntagsmaler Felix Muche-Ramholz'', Ernst Wasmuth Verlag Tübingen/Berlin 1993. * Zuschlag, Christoph, ''"Entartete Kunst". Ausstellungsstrategien im Nazi-Deutschland'', Worms 1995. S. 195, 239, 268, 273. * Engelhardt, Katrin, ''Die Ausstellung "Entartete Kunst" in Berlin. Rekonstruktion und Analyse'', in: Uwe Fleckner (Hrsg.), Angriff auf die Avantgarde. Kunst und Kunstpolitik im Nationalsozialismus, Berlin 2007, S. 89-188. S. 177.

References

External links

Jean Metzinger Catalogue Raisonné entry page for ''En Canot''

LACMA, Metzinger's ''Im Kanu'', next to Willi Baumeister, ''Handstand'', at the Degenerate Art exhibition, 1937

LACMA, Info Room 5 Degenerate art exhibition, Metzinger's Im Kanu is number 16056

Youtube, ''En Canot'' shown in a film/video at minute 3:10 - 3:15, hanging at the 1937 Munich Exhibition of Degenerate Art

Metzinger's ''Im Boot'' reproduced in Ludwig Steinfeld, ''Felix Ramholz: Der Sonntagsmaler Felix Muche-Ramholz'', Ernst Wasmuth Verlag Tübingen/Berlin 1993

Metzinger's ''Im Boot'' reproduced along with works by other artists in Ludwig Steinfeld, ''Felix Ramholz: Der Sonntagsmaler Felix Muche-Ramholz'', Ernst Wasmuth Verlag Tübingen/Berlin 1993

"Degenerate Art: The Attack on Modern Art in Nazi Germany, 1937", Jean Metzinger "Im Boot" (minute 1:45)
Neue Galerie in New York (video)
Jean Metzinger, 1913, ''Dessin pour "En canot"'' (former title: ''La femme au canot et à l'ombrelle''), Musée d’Art Moderne de la Ville de Paris
{{Cubism Paintings by Jean Metzinger 1913 paintings Lost paintings Painting controversies Ships in art Stolen works of art Nazi-looted art