Cubism is an early-20th-century avant-garde art movement pioneered by Pablo Picasso and Georges Braque, and later joined by Juan Gris, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, and Fernand Léger, that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture.

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.

It is difficult to apply to painters such as Jean Metzinger, Albert Gleizes, Robert Delaunay and Henri Le Fauconnier, whose fundamental differences from traditional Cubism compelled Kahnweiler to question their right to be called Cubists at all.

The term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay and Léger.

Apollinaire had been closely involved with Picasso from 1905, and Braque from 1907, but gave as much attention to artists such as Metzinger, Gleizes, Delaunay, Picabia and Duchamp.

Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and Léger.

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.

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

Guggenheim's purchases continued with the works of Rudolf Bauer, Fernand Léger, Robert Delaunay, and great artists who were not of the non-objective school, such as Marc Chagall, Albert Gleizes, Pablo Picasso and László Moholy-Nagy.

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.

In 1910 a group began to form which included Metzinger, Gleizes, Fernand Léger and Robert Delaunay, a longstanding friend and associate of Metzinger.

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.

Eventually all the Cubists ( except for Gleizes, Delaunay and a handful of others ) would return to some form of classicism at the end of World War I.

It was too Metzinger's role as a mediator between the general public, Picasso, Braque and other aspiring artists ( such as Gleizes, Delaunay, Le Fauconnier and Léger ) that places him directly at the center of Cubism.

Robert Delaunay, Albert Gleizes, and Gino Severini, all knew Henry personally.

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.

In 1910 a group began to form which included Gleizes, Metzinger, Fernand Léger and Robert Delaunay.

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.

" 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 ).

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.

The publication of Kubismus in French the following year would bring Gleizes closer to Delaunay.

This technique of representing simultaneity, multiple viewpoints ( or relative motion ) is pushed to a high degree of complexity in Gleizes ' monumental Le Dépiquage des Moissons ( Harvest Threshing ), exhibited at the 1912 Salon de la Section d ' Or, Le Fauconnier ’ s Abundance shown at the Indépendants of 1911, and Delaunay's City of Paris, shown at the Indépendants in 1912.

A French postage stamp is issued representing works by Metzinger ( L ' Oiseau Bleu, 1913 ) and Gleizes ( Le Chant de Guerre, 1915 ).

* Le Cubisme apporta à Gleizes le moyen d ' écrire l ' espace, Arts spectacles, no.

When he later told Myatt that Christie's had accepted his " Albert Gleizes " painting as genuine and paid £ 25, 000, Myatt became a willing accomplice to Drewe's fraud, and began to paint more pictures in the style of masters like Roger Bissiere, Marc Chagall, Le Corbusier, Jean Dubuffet, Alberto Giacometti, Matisse, Ben Nicholson, Nicholas de Stael and Graham Sutherland.

Albert Gleizes, 1911, Le Chemin, Paysage à Meudon, Paysage avec personnage, oil on canvas, 146. 4 x 114. 4 cm.

In the Armory show Jacques Villon exhibited seven important and large drypoints, his brother Marcel Duchamp shocked the American public with his painting Nude Descending a Staircase, No. 2 ( 1912 ) and Georges Braque, Pablo Picasso, Fernand Léger, Raymond Duchamp-Villon, Roger de La Fresnaye, Marie Laurencin, Albert Gleizes, and other cubist painters contributed examples of their cubist works.

Many Cubists, including Picasso, Braque, Gris, Léger, Gleizes and Metzinger, while developing other styles, returned periodically to Cubism, even well after 1925.

The reemergence of Cubism coincided with the appearance from 1917 to 1924 of a coherent body of theoretical writing by Pierre Reverdy, Maurice Raynal and Daniel-Henry Kahnweiler and, among the artists, by Gris, Léger and Gleizes.

Yet, Cubism itself remained evolutionary both within the oeuvre of individual artists, such as Gris and Metzinger, and across the work of artists as different from each other as Braque, Léger and Gleizes.

Other group members included Albert Gleizes, Roger de La Fresnaye, Fernand Léger and Jean Metzinger.

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.

During a brief return to Paris in 1923, Tarsila was exposed to Cubism, Futurism, and Expressionism while studying with André Lhote, Fernand Léger, and Albert Gleizes.

In 1924 Gleizes, Léger and Amédée Ozenfant opened Académie Moderne.

But there has not always been agreement as to how the writings of Metzinger and Gleizes should be interpreted, with respect to ' simultaneity ' of multiple view-points.

In Du " Cubisme " Metzinger and Gleizes explicitly related the sense of time to multiple perspective, giving symbolic expression to the notion of ‘ duration ’ proposed by the philosopher Henri Bergson according to which life is subjectively experienced as a continuum, with the past flowing into the present and the present merging into the future.

Writing in 1906, Louis Chassevent recognized the difference ( and as Daniel Robbins pointed out in his Gleizes catalogue, used the word " cube " which later would be taken up by Louis Vauxelles to baptize Cubism ): " M. Metzinger is a mosaicist like M. Signac but he brings more precision to the cutting of his cubes of color which appear to have been made mechanically [...]".

The reason classical painting fell short of its goal, according to Metzinger and Gleizes, is that it attempted to represent the real world as a moment in time, in the belief that it was 3-dimensional and geometrically Euclidean.

" Gleizes too, the same year, remarks, Metzinger is " haunted by the desire to inscribe a total image [...] He will put down the greatest number of possible planes: to purely objective truth he wishes to add a new truth, born from what his intelligence permits him to know.

This is the first major exhibition of works by Metzinger in Europe since his death in 1956, and it is the first time that a museum has organized an exhibit showcasing both Metzinger and Gleizes together.

If Gleizes and Metzinger write in Du " Cubisme " that we can only know our sensations, it is not because they wish to disregard them, but, on the contrary, to understand them more deeply as the primary source for their own work.

It is at this time that Gleizes witnessed, with a critical eye, the readymades of Marcel Duchamp.