Metzinger was commissioned to paint a large mural, Mystique of Travel, which he executed for the Salle de Cinema in the railway pavilion of the Exposition Internationale des Arts et Techniques dans la Vie Moderne, Paris 1937.

File: Jean Metzinger, ca 1911, Nature morte, oil on canvas, 93. 5 by 66. 5 cm. jpg | Jean Metzinger, ca 1911, Nature morte ( Compotier et cruche décorée de cerfs ), oil on canvas, 93. 5 by 66. 5 cm

* Structures de peinture, Structure de l ' esprit, Hommage à Albert Gleizes, with essays, statements and fragments of works by Gleizes, Metzinger, André Beaudin, Gino Severini, et al., Lyons, Atelier de la Rose, 1954

It became an unofficial club that included artists ( Henri Matisse, Georges Braque, André Derain, Raoul Dufy, Marie Laurencin, Amedeo Modigliani, Jean-Paul Laurens, Maurice Utrillo, Jacques Lipchitz, María Blanchard, Jean Metzinger and Louis Marcoussis ); writers ( Guillaume Apollinaire, Alfred Jarry, Jean Cocteau, Gustave Coquiot, Cremnitz ( Maurice Chevrier ), Paul Fort, André Warnod, Raymond Radiguet, Gertrude Stein ); actors ( Charles Dullin, Harry Baur, Gaston Modot ); and art dealers ( Ambroise Vollard, Clovis Sagot, Daniel-Henry Kahnweiler and Berthe Weill ).

Also in 1908, Metzinger exhibited at Galerie Notre-Dame-des-Champs ( Paris ) with Georges Braque, Sonia Delaunay, André Derain, Raoul Dufy, Auguste Herbin, Jules Pascin and Pablo Picasso.

" Guillaume Apollinaire, in his account of the same salon at the Grand Palais ( in L ' Intransigeant, 18 March 1910 ), remarked " with joy " that the general sense of the exhibition signifies " La déroute de l ' impressionnisme ," in reference to the works of a conspicuous group of artists ( Gleizes, Delaunay, Le Fauconnier, Metzinger, André Lhote and Marie Laurencin ).

" At the 1910 Salon d ' Automne, a few months later, Metzinger exhibited his highly fractured Nu à la cheminée ( Nude ), which was subsequently reproduced in Les Peintres Cubistes by Apollinaire ( 1913 ).

Robert Delaunay, 1906, L ' homme à la tulipe ( Portrait de Jean Metzinger ), oil on canvas, 72. 4 x 48. 5 cm ( 28 1 / 2 by 19 1 / 8 in ).

Jean Metzinger, 1912-13, Femme à l ' Éventail ( Woman with a Fan ), oil on canvas, 90. 7 x 64. 2 cm, Solomon R. Guggenheim Museum, New York.

File: Jean Metzinger, 1912-13, Femme à l ' Éventail, Woman with a Fan, oil on canvas, 90. 7 x 64. 2 cm, Solomon R. Guggenheim Museum, New York. jpg | Jean Metzinger, 1912-13, Femme à l ' Éventail ( Woman with a Fan ), oil on canvas, 90. 7 x 64. 2 cm, Solomon R. Guggenheim Museum, New York

The Herbst salon ( Erster Deutscher Herbstsalon, Berlin ) of 1913, organized by Herwarth Walden of Der Sturm, exhibited many works by Robert and Sonia Delaunay, Jean Metzinger ’ s l ' Oiseau bleu ( 1913, Musée d ' Art Moderne de la Ville de Paris ), paintings by Picabia, Léger and Albert Gleizes, along with several Futurist paintings.

The first organized group exhibition by Cubists took place at the Salon des Indépendants in Paris during the spring of 1911 in a room called ‘ Salle 41 ’; it included works by Jean Metzinger, Albert Gleizes, Fernand Léger, Robert Delaunay and Henri Le Fauconnier, yet no works by Picasso and Braque were exhibited.

The following year, in preparation for the Salon de la Section d ' Or, Metzinger and Gleizes wrote and published Du " Cubisme " in an effort to dispel the confusion raging around the word, and as a major defence of Cubism ( which had caused a public scandal following the 1911 Salon des Indépendants and the 1912 Salon d ' Automne in Paris ).

Louis Vauxcelles, in his review of the 26th Salon des Indépendant ( 1910 ), made a passing and imprecise reference to Metzinger, Gleizes, Delaunay, Léger and Le Fauconnier as " ignorant geometers, reducing the human body, the site, to pallid cubes.

Metzinger sent three paintings to the Salon des Indépendants in 1903, and subsequently moved to Paris with the proceeds from their sale.

In 1904 Metzinger showed several paintings, again at the Salon des Indépendants and the Salon d ’ Automne ( where he would show regularly throughout his life ).

In 1906 Metzinger met Albert Gleizes at the Salon des Indépendants, and visited his studio in Courbevoie several day later.

In 1906 Metzinger had acquired enough prestige to be elected to the hanging committee of the Salon des Indépendants.

Louis Vauxcelles, in his review of the 26th Salon des Indépendant ( 1910 ), made a passing and imprecise reference to Metzinger, Gleizes, Delaunay, Léger and Le Fauconniers, as " ignorant geometers, reducing the human body, the site, to pallid cubes.

Metzinger, Gleizes, Le Fauconnier, Delaunay, Léger and Marie Laurencin were shown together in Room 41 of the 1911 Salon des Indépendants, which provoked the ' involuntary scandal ' out of which Cubism emerged and spread in Paris, in France and throughout the world.

In his Vie Anecdotique of 16 October 1911, the poet proudly states: " I am honoured to be the first model of a Cubist painter, Jean Metzinger, for a portrait exhibited in 1910 at the Salon des Indépendants.

* 1912-1946, Afterword to reprint of Du " Cubisme " by A. Gleizes and J. Metzinger, pp. 75 – 79, Paris, Compagnie française des Arts Graphiques, 1947

In 1913 the Delaunay's showed their works in the Salon des Indépendants and the Herbst Salon, the latter being the first Orphist Salon, which also hosted works by Picabia, Metzinger, Gleizes, Léger, and Futurist painters.

Gleizes then exhibited at the 1910 Salon d ' Automne with the same artists, followed by the first organized group showing by Cubists, in Salle 41 of the Salon des Indépendants ( Paris, 1911 ) together with Metzinger, Delaunay, le Fauconnier and Léger.

His work was exhibited in the same room as that of Jean Metzinger, Albert Gleizes and Fernand Léger in the Salon des Indépendants of 1910, and in 1912 he participated in the influential Section d ' Or exhibition.

In 1908 a poem by Metzinger, Parole sur la lune, was published in Guillaume Apollinaire's La Poésie Symboliste.

And it was Jean 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.

Metzinger had already written in 1910 of ' mobile perspective ', as an interpretation of what would soon be dubbed " Cubism " with respect to Picasso, Braque, Delaunay and Le Fauconnier ( Metzinger, Note sur la peinture, Pan, Paris, Oct-Nov 1910 ).

This showing by Metzinger, Gleizes, Delaunay, le Fauconnier and Léger brought Cubism to the attention of the general public for the first time.

When Louis Vauxcelles wrote his initial review of the Salon he made a passing and imprecise reference to Gleizes, Jean Metzinger, Robert Delaunay, Fernand Léger and Henri le Fauconnier, as " ignorant geometers, reducing the human body, the site, to pallid cubes.

File: Jean Metzinger, Le goûter, Tea Time, 1911, 75. 9 x 70. 2 cm, Philadelphia Museum of Art. jpg | Jean Metzinger, Le goûter, Tea Time, 1911, 75. 9 x 70. 2 cm, Philadelphia Museum of Art.

While Pablo Picasso and Georges Braque are generally acknowledged as the founders of the twentieth-century movement that became known as Cubism, it was Jean Metzinger, together with Albert Gleizes, that created the first major treatise on the new art-form, Du " Cubisme ", in preparation for the Salon de la Section d ' Or held in October 2012.

Jean Metzinger, 1912, Danseuse au café ( Dancer in a café ), oil on canvas, 146. 1 x 114. 3 cm, Albright-Knox Art Gallery, Buffalo, New York.

Biasini and Mitterrand liked the plans, but the scope of the renovation displeased Louvre director André Chabaud.

* October 3-Auguste Chabaud, French painter ( d. 1955 )

Nice also has numerous museums of all kinds: Musée Marc Chagall, Musée Matisse ( arenas of Cimiez containing Roman ruins ), Musée des Beaux-Arts Jules Chéret, Musée international d ' Art naïf Anatole Jakovsky, Musée Terra-Amata, Museum of Asian Art, Musée d ' art moderne et d ' art contemporain which devotes much space to the well-known École of Nice ”), Museum of Natural History, Musée Masséna, Naval Museum and Galerie des Ponchettes.

The marriage took place in July, 1952 — though six years later, when there was conflict between Ida and Vava, " Marc and Vava divorced and immediately remarried under an agreement more favourable to Vava " ( Jean-Paul Crespelle: Chagall, l ' Amour le Reve et la Vie, quoted in Haggard: My Life with Chagall ).

A few of the other artists who gathered in Montparnasse were Pablo Picasso, Guillaume Apollinaire, Ossip Zadkine, Carmelo Gonzalez, Julio Gonzalez, Moise Kisling, Jean Cocteau, Erik Satie, Marios Varvoglis, Marc Chagall, Nina Hamnett, Jean Rhys, Fernand Léger, Jacques Lipchitz, Max Jacob, Blaise Cendrars, Chaim Soutine, James Joyce, Ernest Hemingway, Michel Kikoine, Pinchus Kremegne, Amedeo Modigliani, Ford Madox Ford, Toño Salazar, Ezra Pound, Max Ernst, Marcel Duchamp, Suzanne Duchamp-Crotti, Henri Rousseau, Constantin Brâncuşi, Paul Fort, Juan Gris, Diego Rivera, Federico Cantú, Angel Zarraga, Marevna, Tsuguharu Foujita, Marie Vassilieff, Léon-Paul Fargue, Alberto Giacometti, René Iché, André Breton, Alfonso Reyes, Pascin, Salvador Dalí, Henry Miller, Samuel Beckett, Emil Cioran, Reginald Gray, Joan Miró and, in his declining years, Edgar Degas.

André Malraux, France's Minister of Culture wanted something unique and decided Chagall would be the ideal artist.

* Le Cirque d ' Izis, with photographs by Izis Bidermanas and original artwork by Marc Chagall ( André Sauret, 1965 )

Among the artists and collectors who arrived in New York during the war ( some with help from Varian Fry ) were Hans Namuth, Yves Tanguy, Kay Sage, Max Ernst, Jimmy Ernst, Peggy Guggenheim, Leo Castelli, Marcel Duchamp, André Masson, Roberto Matta, André Breton, Marc Chagall, Jacques Lipchitz, Fernand Léger and Piet Mondrian.

He lived in France with Jennifer Baker at a farm in Saint-Paul de Vence for over five years from the very late 1970s, becoming friend of painters Marc Chagall and André Verdet, nearest neighbours ( inspiring some of his songs and musical themes ).

His main influences are Fred and André Franquin as well as Marc Chagall, Chaim Soutine, Will Eisner, Hugo Pratt and John Buscema.

Many styles of modern art, including Fauvism, Expressionism, Cubism, Dada, Abstract art, Surrealism are represented with works by Matisse, André Derain, Maurice de Vlaminck, Raoul Dufy, Albert Marquet, Le Douanier Rousseau, Paul Signac, Georges Braque, Pablo Picasso, Fernand Léger, Juan Gris, Ernst Ludwig Kirchner, August Macke, Alexej von Jawlensky, Emil Nolde, Oskar Kokoschka, Otto Dix, George Grosz, Kurt Schwitters, Marcel Duchamp, Francis Picabia, Carlo Carrà, Umberto Boccioni, Giacomo Balla, Gino Severini, Marc Chagall, Natalia Gontcharova, Mikhail Larionov, Alexander Rodchenko, Kupka, Mondrian, Theo Van Doesburg, Paul Klee, Vassili Kandinsky, Kasimir Malevich, Jacques Villon, Robert and Sonia Delaunay, Georges Rouault, Balthus, Max Beckmann, Brancusi and Calder, Soutine, Marc Chagall, Modigliani, Kees Van Dongen, Jean Arp, Giorgio de Chirico, André Breton, Salvador Dalí, Magritte, Max Ernst, Miro, Man Ray, Alberto Giacometti, René Iché, Nicolas de Staël, André Masson, Tanguy, Jean Tinguely, Yves Klein, Pollock, Mark Rothko, Barnett Newman, Willem de Kooning, and Francis Bacon.

He also was the first art dealer of René Iché, Chaim Soutine, Maurice Utrillo, Marc Chagall and André Derain.

77 ( July – December 1924 ) Ernst Barlach, Clive Bell, Marc Chagall, Thomas Craven, Adolphe Dehn, André Derain, Jose Ortega y Gasset, Maxim Gorky, Duncan Grant, Marianne Moore, Edwin Muir, Jules Romains, Bertrand Russell, Carl Sandburg, Herbert J. Seligmann, Georges Seurat, Logan Pearsall Smith, Oswald Spengler, Leo Stein, Wallace Stevens, Scofield Thayer, Edmund Wilson, Virginia Woolf

It attracted contributions from such artists as Tchelitchew, Yves Tanguy, Max Ernst, André Masson, Pablo Picasso, Henry Miller, Paul Klee, Albert Camus, Lawrence Durrell, Georgia O ' Keeffe, Man Ray, Jorge Luis Borges, Joan Miró, Alexander Calder, Marc Chagall, Jean Genet, René Magritte, Jean Dubuffet, and Edouard Roditi.