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.

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.

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.

Léonce Rosenberg exhibited not only the artists stranded by Kahnweiler ’ s exile but others including Laurens, Lipchitz, Metzinger, Gleizes, Csaky, Herbin and Severini.

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.

Gleizes exhibited regularly at Léonce Rosenberg ’ s Galerie de l ’ Effort Moderne in Paris ; he was also a founder, organizer and director of Abstraction-Création.

Gleizes was only twenty-one years of age when his work titled La Seine à Asnières was exhibited at the Société Nationale des Beaux-Arts in 1902.

The following year Gleizes exhibited two paintings at the Salon d ' Automne.

At the Musée des Beaux-Arts de Lyon ( Salon de la Société Nationale des Beaux-Arts, 1906 ), Gleizes exhibited Jour de marché en banlieue.

In 1908 Gleizes exhibited at the Toison d ' Or in Moscow.

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.

At the 1911 Salon d ' Automne ( room 8 ) Gleizes exhibited his Portrait de Jacques Nayral and La Chasse, with, in addition to the group of Salle 41, André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye and André Dunoyer de Segonzac.

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.

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.

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

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.

Though Metzinger and Gleizes hesitate to do away with nature entirely: ' Nevertheless, let us admit that the reminiscence of natural forms cannot be absolutely banished ; as yet, at all events.

The question of whether the theoretical aspects of Cubism enunciated by Metzinger and Gleizes bore any relation to the development in science at the beginning of the twentieth century has been vigorously disputed by art critics, historians and scientists alike.

Yet in Du " Cubisme " Jean Metzinger and Albert Gleizes articulate: " If we wished to relate the space of the 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.

The common denominator between the special relativistic notions — the lack an absolute reference frame, metric transformations of the Lorenzian type, the relativity of simultaneity, the incorporation of the time dimension with three spatial dimensions — and the Cubist idea of mobile perspective ( observing the subject from several view-points simultaneously ) published by Jean Metzinger and Albert Gleizes was, in effect, a descendant from the work of Poincaré and others, at least from the theoretical standpoint.

Undoubtedly though, both Metzinger and Gleizes implemented the theoretical principles derived in Du " Cubisme " onto canvas ; something clearly visible in their works produced at the time.

Louis Vauxcelles sarcastically dubbed Princet " the father of cubism ": " M. Princet has studied at length non-Euclidean geometry and the theorems of Riemann, of which Gleizes and Metzinger speak ... Princet one day met M. Max Jacob and confided him one or two of his discoveries relating to the fourth dimension.

International exhibits: In 1916 Metzinger showed in New York with Jean Crotti, Marcel Duchamp, and Gleizes at the Montross Gallery.

Gleizes ' evolvement in Cubism saw him exhibit at the twenty-sixth Salon des Indépendants in 1910.

" 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 ).

In Du " Cubisme " Gleizes and Metzinger wrote: " If we wished to relate the space of the 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.

In February 1913, Gleizes and other artists introduced the new style of European modern art to an American audience at the Armory Show ( International Exhibition of Modern Art ) in New York City, Chicago and Boston.

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 ).

The 1912 manifetso Du " Cubisme " by Metzinger and Gleizes was followed in 1913 by Les Peintres Cubistes, a collection of reflections and commentaries by Guillaume Apollinaire.

It was against this background of public anger that Jean Metzinger and Albert Gleizes wrote Du " Cubisme " ( published by Eugène Figuière in 1912, translated to English and Russian in 1913 ).

The term solid relates to the Cubist-influenced geometric structure, an insight prompted by the epigraph from Albert Gleizes and Jean Metzinger ’ s Du Cubisme ( 1912 ).

Jean Metzinger and Albert Gleizes wrote the first major treatise on Cubism, Du " Cubisme " in 1912.

Jean Metzinger and Albert Gleizes wrote with reference to non-Euclidean geometry in their 1912 manifesto, Du " Cubisme ".

Published in Du " Cubisme " by Jean Metzinger and Albert Gleizes, 1912, and Les Peintres Cubistes by Guillaume Apollinaire, 1913, Paris.

Reproduced in Du " Cubisme ", by Jean Metzinger and Albert Gleizes, 1912, Paris.

* Du " Cubisme ", written with Albert Gleizes, Edition Figuière, Paris, 1912 ( First English edition: Cubism, Unwin, London, 1913 )

Albert Gleizes and Jean Metzinger wrote the first major treatise on Cubism, Du " Cubisme ", 1912.

1911 through 1912, drawing to some extent on theories of Henri Poincaré, Ernst Mach, Charles Henry and Henri Bergson, Gleizes began to represent the object, no longer considered from a specific point of view, but rebuilt following a selection of successive viewpoints ( i. e., as if viewed simultaneously from numerous viewpoints, and in four-dimensions ).

Albert Gleizes and Jean Metzinger, in preparation for the Salon de la Section d ' Or, published a major defence of Cubism, resulting in the first theoretical essay on the new movement, entitled Du " Cubisme " ( published by Eugène Figuière in 1912, translated to English and Russian in 1913 ).

Albert Gleizes, 1912, l ' Homme au Balcon, Man on a Balcony ( Portrait of Dr. Théo Morinaud ), oil on canvas, 195. 6 x 114. 9 cm ( 77 x 45 1 / 4 in.