This article offers a contribution to the history of scientific ideas by proposing an
epistemological argument supporting the assumption made by Miller whereby Niels Bohr
has been influenced by cubism (Jean Metzinger) when he developed his non-intuitive
complementarity principle. More specifically, this essay will identify the Bergsonian durée
as the conceptual bridge between Metzinger and Bohr. Beyond this conceptual link
between the painter and the physicist, this paper aims to emphasize the key role played by
art in the development of human knowledge.

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• From Cubist Simultaneity to Quantum Complementarity