Princet introduced Picasso to Esprit Jouffret's Traité élémentaire de géométrie à quatre dimensions (Elementary Treatise on the Geometry of Four Dimensions, 1903), a popularization of Poincaré's Science and Hypothesis in which Jouffret described hypercubes and other complex polyhedra in four dimensions and projected them onto the two-dimensional page. Picasso's Portrait of Daniel-Henry Kahnweiler in 1910 was an important work for the artist, who spent many months shaping it. The portrait bears similarities to Jouffret's work and shows a distinct movement away from the Proto-Cubistfauvism displayed in Les Demoiselles d'Avignon, to a more considered analysis of space and form.
Early cubist Max Weber wrote an article entitled "In The Fourth Dimension from a Plastic Point of View", for Alfred Stieglitz's July 1910 issue of Camera Work. In the piece, Weber states, "In plastic art, I believe, there is a fourth dimension which may be described as the consciousness of a great and overwhelming sense of space-magnitude in all directions at one time, and is brought into existence through the three known measurements."
Another influence on the School of Paris was that of Jean Metzinger and Albert Gleizes, both painters and theoreticians. The first major treatise written on the subject of Cubism was their 1912 collaboration Du "Cubisme", which says that:
"If we wished to relate the space of the [Cubist] 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."
If we still further add to design in the third dimension, a consideration of weight, pressure, resistance, movement, as distinguished from motion, we arrive at what may legitimately be called design in the fourth dimension, or the harmonic use of what may arbitrarily be called volume. It is only at this point that we can appreciate the masterly productions of such a man as Cézanne.
Cézanne's explorations of geometric simplification and optical phenomena inspired the Cubists to experiment with simultaneity, complex multiple views of the same subject, as observed from differing viewpoints at the same time.
In 1953, the surrealistSalvador Dalí proclaimed his to paint "an explosive, nuclear and hypercubic" crucifixion scene. He said that, "This picture will be the great metaphysical work of my summer". Completed the next year, Crucifixion (Corpus Hypercubus) depicts Jesus Christ upon the net of a hypercube, also known as a tesseract. The unfolding of a tesseract into eight cubes is analogous to unfolding the sides of a cube into six squares. The Metropolitan Museum of Art describes the painting as a "new interpretation of an oft-depicted subject. ..[showing] Christ's spiritual triumph over corporeal harm."
Volkert K. (2018) Wanderings of Knowledge – the fourth dimension in art, literature and philosophy. In: In higher rooms. Mathematics in context. Springer Spectrum, Berlin, Heidelberg, ISBN978-3-662-54794-6