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 ).

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.

His great-grandfather, Nicolas Metzinger ( 18 May 1769-1838 ), Captain in the 1st Artillery Regiment on Horse, and Knight of the Legion of Honour, had served under Napoleon Bonaparte.

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

Metzinger, followed closely by Delaunay — the two often painting together, 1906-07 — would develop a new sub-style that had great significance shortly thereafter within the context of their Cubist works.

Two works directly preceding Apollinare's portrait, Nu and Landscape, circa 1908 and 1909 respectively, indicate that Metzinger had already departed from Divisionism by 1908.

The strict constructive ordering that had become so pronounced in Metzinger's pre-1920 Cubist works continued throughout the subsequent decades, in the careful positioning of form, color, and in the way in which Metzinger delicately assimilates the union of figure and background, of light and shadow.

In Du " Cubisme " Metzinger and Gleizes had realized that figurative aspects of the new art could be abandoned: " we visit an exhibition to contemplate painting, not to enlarge our knowledge of geography, anatomy etc.

Metzinger, with his mathematical education and prowess had realized this relation early on.

For Metzinger, along with to some extent both Gleizes and Malevich, the classical vision had been an incomplete representation of real things, based on an incomplete set of laws, postulates and theorems.

Niels Bohr ( 1885 – 1962 ), the Danish physicist and one of the principle founders of quantum mechanics, had indeed hung in his office a large painting by Jean Metzinger, La Femme au Cheval ( Woman with a horse, The Rider ) 1911-12 ( now in the Statens Museum for Kunst, National Gallery of Denmark ).

Jean Metzinger had been appointed to teach at the Académie de la Palette, in the Montparnasse district of Paris, in 1912, where Le Fauconnier served as director.

Metzinger, followed closely by Delaunay — the two often painting together in 1906 and 1907 — would develop a new sub-style of Neo-Impressionism that had great significance shortly thereafter within the context of their Cubist works.

In 1907, at Max Jacob's room, Metzinger met Guillaume Krotowsky, who already signed his works Guillaume Apollinaire.

" It is to the credit of Jean Metzinger, at the time, to have been the first to recognize the commencement of the Cubist Movement as such " writes S. E. Johnson, " Metzinger's portrait of Apollinaire, the poet of the Cubist Movement, was executed in 1909 and, as Apollinaire himself has pointed out in his book The Cubist Painters ( written in 1912 and published in 1913 ), Metzinger, following Picasso and Braque, was chronologically the third Cubist artist.

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.

" 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 ).

Metzinger exhibited at Berthe Weill's gallery again in 1907, with Robert Delaunay, in 1908 with Marie Laurencin, and 1910 with Derain, Rouault and Kees van Dongen.

Metzinger, along with Derain, Delaunay, Matisse, between 1905 and 1910, helped revivify Neo-Impressionism, albeit in a highly altered form.

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.

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.

In 1910, Metzinger said of him, " lays out a free, mobile perspective, from which that ingenious mathematician Maurice Princet has deduced a whole geometry ".

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

" 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.

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.

She attended the Slade School of Art, 1902 – 03, before training under Max Bohm at Etaples, and at the Académie de la Palette in Paris, 1910 – 13, where she studied with Jean Metzinger and was in the circle around the Scottish Colourist, John Duncan Fergusson.

This can be seen in many figures: From the division ( in two ) of the model's features emerges a subtle profile view — resulting from a free and mobile perspective used by Metzinger to some extent as early as 1908 to constitute the image of a whole — one that includes the fourth dimension.

Though the concept of observing a subject from different points in space and time simultaneously ( multiple or mobile perspective ) developed by Metzinger and Gleizes was not derived directly from Albert Einstein's theory of relativity, it was certainly influenced in a similar way, through the work of Jules Henri Poincaré ( particularly Science and Hypothesis ), the French mathematician, theoretical physicist and philosopher of science, who made many fundamental contributions to algebraic topology, celestial mechanics, quantum theory and made an important step in the formulation of the theory of special relativity.

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.

In Robert's Eiffel Town Series, the subject is portrayed as if seen from several viewpoints at once ; employing the concept of ' mobile perspective ' developed by his close friend Metzinger.

Cubism, with its new geometry, its dynamism and multiple view-point perspective, not only represented a departure from Euclid's model, but it achieved, according to Gleizes and Metzinger, a better representation of the real world: one that was mobile and changing in time.

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.

Both Metzinger and Gleizes were discontent with the conventional perspective, which they felt gave only a partial idea of a subject's form as experienced in life.

In that article, Metzinger notes that Braque and Picasso " discarded traditional perspective and granted themselves the liberty of moving around objects.

" 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.

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 ).

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 [...]".

However, Princet would remain close to Metzinger and participate in meetings of the Section d ' Or in Puteaux.