Focus on this artwork and explain the Theoretical underpinnings.
The idea of moving around an object in order to see it from different view-points is treated in Du "Cubisme" (1912). It was also a central idea of Jean Metzinger's Note sur la Peinture, 1910; Indeed, prior to Cubism painters worked from the limiting factor of a single view-point. And it was Metzinger for the first time in Note sur la peinture who enunciated the stimulating interest in representing objects as remembered from successive and subjective experiences within the context of both space and time. It was then that Metzinger discarded traditional perspective and granted himself the liberty of moving around objects. This is the concept of "mobile perspective" that would tend towards the representation of the "total image."Though at first the idea would shock the general public some eventually came to accept it, as they came to accept the 'atomist' representation of the universe as a multitude of dots consisting of primary colors. Just as each color is modified by its relation to adjacent colors within the context of Neo-Impressionist color theory, so too the object is modified by the geometric forms adjacent to it within the context of Cubism. The concept of 'mobile perspective' is essentially an extension of a similar principle stated in Paul Signac's D'Eugène Delacroix au néo-impressionisme, with respect to color. Only now, the idea is extended to deal with questions of form within the context of both space and time.
Paul Signac atomist Cubism Du "Cubisme" Jean Metzinger