Focus on this artwork and explore the Underlying geometric armature.
Though the primary role of Metzinger's syntax was played by the relations of its intricate parts within the whole, there was another key factor that emerged: the mobile underlying geometric armature organized as a dynamic composition of superimposed planes. Metzinger, Juan Gris and to some extent Jacques Lipchitz, would develop this concept further during the war; something Gleizes would notice when he returned to Paris from New York, and develop further still in Painting and its Laws (La Peinture et ses lois), written in 1922 and published in 1923. In that text Gleizes would attribute to this underlying armature 'objective notions of translation and rotation', words in which 'movement is implicit'.In this sense Metzinger's L'Oiseau bleu was a precursor in its genre, more so perhaps than his Le goûter (Tea Time) of 1911, La Femme au Cheval, 1911–12, or Dancer in a café (Danseuse) of 1912.Now, the emergence of the 'total image' arises out of a multiplicity of relatively simple interacting planes or surfaces, loosely based on the Golden triangle and Fibonacci spiral. Whereas before, each disconnected element would unite forming complex relationships as a collective, now (and progressively), the collective components would be organized into an abstract mathematical concept that is much more general; giving rise to a global topology. This underlying geometric armature would facilitate the union of a set (or sets) of complex structures on a given orientable surface.
syntax Dancer in a café Fibonacci spiral Painting and its Laws (La Peinture et ses lois) multiplicity war Golden triangle Jacques Lipchitz La Femme au Cheval Paris Le goûter (Tea Time) Juan Gris