Henri Bergson's philosophy shares great importance in the late 19th and early 20th centuries in French. This is the point of departure I will take in this article, which constitutes the consequent part of my modern painting research. And for the first part of the research, please see my dissertation: Cezanne and Bergson, which deals with the two in some substantial aspects. While this part regarding Metzinger, key theorian cubism was taken under the same direction with similar approach. My argument is the analogy between Bergson's dureand Metzinger's stree on duration and multiple-view-point in artistic creation. I will analyze both their notions in terms of the "appearance and reality" metaphysics-wise and also the Bergson vogue in cultural sociology. This article will shwo the similarity between Bergsonian though and Metzinger's Cubist theory. Consequently, a principal characteristic of Cubist painting could better be interpreted as one of formal crystallizations of Bergsonian duree.