Question: What year did the term Cubism become used more?

The term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay, and Léger. In 1911, the poet and critic Guillaume Apollinaire accepted the term on behalf of a group of artists invited to exhibit at the Brussels Indépendants. 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). Clarifying their aims as artists, this work was the first theoretical treatise on Cubism and it still remains the clearest and most intelligible. The result, not solely a collaboration between its two authors, reflected discussions by the circle of artists who met in Puteaux and Courbevoie. It mirrored the attitudes of the "artists of Passy", which included Picabia and the Duchamp brothers, to whom sections of it were read prior to publication. The concept developed in Du "Cubisme" of observing a subject from different points in space and time simultaneously, i.e., the act of moving around an object to seize it from several successive angles fused into a single image (multiple viewpoints, mobile perspective, simultaneity or multiplicity), is a generally recognized device used by the Cubists.

Answer: 1911

<hl> The term Cubism did not come into general usage until 1911 , mainly with reference to Metzinger, Gleizes, Delaunay, and Léger. <hl> In 1911, the poet and critic Guillaume Apollinaire accepted the term on behalf of a group of artists invited to exhibit at the Brussels Indépendants. 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). Clarifying their aims as artists, this work was the first theoretical treatise on Cubism and it still remains the clearest and most intelligible. The result, not solely a collaboration between its two authors, reflected discussions by the circle of artists who met in Puteaux and Courbevoie. It mirrored the attitudes of the "artists of Passy", which included Picabia and the Duchamp brothers, to whom sections of it were read prior to publication. The concept developed in Du "Cubisme" of observing a subject from different points in space and time simultaneously, i.e., the act of moving around an object to seize it from several successive angles fused into a single image (multiple viewpoints, mobile perspective, simultaneity or multiplicity), is a generally recognized device used by the Cubists.

The term Cubism did not come into general usage until <hl> 1911 <hl>, mainly with reference to Metzinger, Gleizes, Delaunay, and Léger. In 1911, the poet and critic Guillaume Apollinaire accepted the term on behalf of a group of artists invited to exhibit at the Brussels Indépendants. 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). Clarifying their aims as artists, this work was the first theoretical treatise on Cubism and it still remains the clearest and most intelligible. The result, not solely a collaboration between its two authors, reflected discussions by the circle of artists who met in Puteaux and Courbevoie. It mirrored the attitudes of the "artists of Passy", which included Picabia and the Duchamp brothers, to whom sections of it were read prior to publication. The concept developed in Du "Cubisme" of observing a subject from different points in space and time simultaneously, i.e., the act of moving around an object to seize it from several successive angles fused into a single image (multiple viewpoints, mobile perspective, simultaneity or multiplicity), is a generally recognized device used by the Cubists.

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


Question: Which poet critic in 1911 with a group of poets accepted the term Cubism?

Answer: Guillaume Apollinaire

The term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay, and Léger. <hl> In 1911, the poet and critic Guillaume Apollinaire accepted the term on behalf of a group of artists invited to exhibit at the Brussels Indépendants. <hl> 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). Clarifying their aims as artists, this work was the first theoretical treatise on Cubism and it still remains the clearest and most intelligible. The result, not solely a collaboration between its two authors, reflected discussions by the circle of artists who met in Puteaux and Courbevoie. It mirrored the attitudes of the "artists of Passy", which included Picabia and the Duchamp brothers, to whom sections of it were read prior to publication. The concept developed in Du "Cubisme" of observing a subject from different points in space and time simultaneously, i.e., the act of moving around an object to seize it from several successive angles fused into a single image (multiple viewpoints, mobile perspective, simultaneity or multiplicity), is a generally recognized device used by the Cubists.

The term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay, and Léger. In 1911, the poet and critic <hl> Guillaume Apollinaire <hl> accepted the term on behalf of a group of artists invited to exhibit at the Brussels Indépendants. 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). Clarifying their aims as artists, this work was the first theoretical treatise on Cubism and it still remains the clearest and most intelligible. The result, not solely a collaboration between its two authors, reflected discussions by the circle of artists who met in Puteaux and Courbevoie. It mirrored the attitudes of the "artists of Passy", which included Picabia and the Duchamp brothers, to whom sections of it were read prior to publication. The concept developed in Du "Cubisme" of observing a subject from different points in space and time simultaneously, i.e., the act of moving around an object to seize it from several successive angles fused into a single image (multiple viewpoints, mobile perspective, simultaneity or multiplicity), is a generally recognized device used by the Cubists.


Question: The artists of Passy included which two people?

Answer: Picabia and the Duchamp brothers

The term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay, and Léger. In 1911, the poet and critic Guillaume Apollinaire accepted the term on behalf of a group of artists invited to exhibit at the Brussels Indépendants. 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). Clarifying their aims as artists, this work was the first theoretical treatise on Cubism and it still remains the clearest and most intelligible. The result, not solely a collaboration between its two authors, reflected discussions by the circle of artists who met in Puteaux and Courbevoie. <hl> It mirrored the attitudes of the "artists of Passy", which included Picabia and the Duchamp brothers , to whom sections of it were read prior to publication. <hl> The concept developed in Du "Cubisme" of observing a subject from different points in space and time simultaneously, i.e., the act of moving around an object to seize it from several successive angles fused into a single image (multiple viewpoints, mobile perspective, simultaneity or multiplicity), is a generally recognized device used by the Cubists.

The term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay, and Léger. In 1911, the poet and critic Guillaume Apollinaire accepted the term on behalf of a group of artists invited to exhibit at the Brussels Indépendants. 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). Clarifying their aims as artists, this work was the first theoretical treatise on Cubism and it still remains the clearest and most intelligible. The result, not solely a collaboration between its two authors, reflected discussions by the circle of artists who met in Puteaux and Courbevoie. It mirrored the attitudes of the "artists of Passy", which included <hl> Picabia and the Duchamp brothers <hl>, to whom sections of it were read prior to publication. The concept developed in Du "Cubisme" of observing a subject from different points in space and time simultaneously, i.e., the act of moving around an object to seize it from several successive angles fused into a single image (multiple viewpoints, mobile perspective, simultaneity or multiplicity), is a generally recognized device used by the Cubists.

It mirrored the attitudes of the "artists of Passy", which included <hl> Picabia and the Duchamp brothers <hl> , to whom sections of it were read prior to publication.


Question: Where did Picassos work until 1912?

There was a distinct difference between Kahnweiler’s Cubists and the Salon Cubists. Prior to 1914, Picasso, Braque, Gris and Léger (to a lesser extent) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works. Kahnweiler sold only to a small circle of connoisseurs. His support gave his artists the freedom to experiment in relative privacy. Picasso worked in Montmartre until 1912, while Braque and Gris remained there until after the First World War. Léger was based in Montparnasse.

Answer: Montmartre

There was a distinct difference between Kahnweiler’s Cubists and the Salon Cubists. Prior to 1914, Picasso, Braque, Gris and Léger (to a lesser extent) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works. Kahnweiler sold only to a small circle of connoisseurs. His support gave his artists the freedom to experiment in relative privacy. <hl> Picasso worked in Montmartre until 1912, while Braque and Gris remained there until after the First World War. <hl> Léger was based in Montparnasse.

There was a distinct difference between Kahnweiler’s Cubists and the Salon Cubists. Prior to 1914, Picasso, Braque, Gris and Léger (to a lesser extent) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works. Kahnweiler sold only to a small circle of connoisseurs. His support gave his artists the freedom to experiment in relative privacy. Picasso worked in <hl> Montmartre <hl> until 1912, while Braque and Gris remained there until after the First World War. Léger was based in Montparnasse.


Question: Where did Braque and Gris stay until the end of the World War I?

Answer: Montmartre

There was a distinct difference between Kahnweiler’s Cubists and the Salon Cubists. Prior to 1914, Picasso, Braque, Gris and Léger (to a lesser extent) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works. Kahnweiler sold only to a small circle of connoisseurs. His support gave his artists the freedom to experiment in relative privacy. <hl> Picasso worked in Montmartre until 1912, while Braque and Gris remained there until after the First World War. <hl> Léger was based in Montparnasse.

There was a distinct difference between Kahnweiler’s Cubists and the Salon Cubists. Prior to 1914, Picasso, Braque, Gris and Léger (to a lesser extent) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works. Kahnweiler sold only to a small circle of connoisseurs. His support gave his artists the freedom to experiment in relative privacy. Picasso worked in <hl> Montmartre <hl> until 1912, while Braque and Gris remained there until after the First World War. Léger was based in Montparnasse.


Question: Where was Leger based around 1912?

Answer: Montparnasse

Léger was based in Montparnasse .

There was a distinct difference between Kahnweiler’s Cubists and the Salon Cubists. Prior to 1914, Picasso, Braque, Gris and Léger (to a lesser extent) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works. Kahnweiler sold only to a small circle of connoisseurs. His support gave his artists the freedom to experiment in relative privacy. Picasso worked in Montmartre until 1912, while Braque and Gris remained there until after the First World War. <hl> Léger was based in Montparnasse . <hl>

There was a distinct difference between Kahnweiler’s Cubists and the Salon Cubists. Prior to 1914, Picasso, Braque, Gris and Léger (to a lesser extent) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works. Kahnweiler sold only to a small circle of connoisseurs. His support gave his artists the freedom to experiment in relative privacy. Picasso worked in Montmartre until 1912, while Braque and Gris remained there until after the First World War. Léger was based in <hl> Montparnasse <hl>.

Léger was based in <hl> Montparnasse <hl> .


Question: Which four people usually met at Fauconnier's studio in 1910?

In contrast, the Salon Cubists built their reputation primarily by exhibiting regularly at the Salon d'Automne and the Salon des Indépendants, both major non-academic Salons in Paris. They were inevitably more aware of public response and the need to communicate. Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and Léger. They met regularly at Henri le Fauconnier's studio near the Boulevard de Montparnasse. These soirées often included writers such as Guillaume Apollinaire and André Salmon. Together with other young artists, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color.

Answer: Metzinger, Gleizes, Delaunay and Léger

In contrast, the Salon Cubists built their reputation primarily by exhibiting regularly at the Salon d'Automne and the Salon des Indépendants, both major non-academic Salons in Paris. They were inevitably more aware of public response and the need to communicate. <hl> Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and Léger . <hl> They met regularly at Henri le Fauconnier's studio near the Boulevard de Montparnasse. These soirées often included writers such as Guillaume Apollinaire and André Salmon. Together with other young artists, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color.

In contrast, the Salon Cubists built their reputation primarily by exhibiting regularly at the Salon d'Automne and the Salon des Indépendants, both major non-academic Salons in Paris. They were inevitably more aware of public response and the need to communicate. Already in 1910 a group began to form which included <hl> Metzinger, Gleizes, Delaunay and Léger <hl>. They met regularly at Henri le Fauconnier's studio near the Boulevard de Montparnasse. These soirées often included writers such as Guillaume Apollinaire and André Salmon. Together with other young artists, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color.

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


Question: Where was Fauconnier's studio located?

Answer: Boulevard de Montparnasse

In contrast, the Salon Cubists built their reputation primarily by exhibiting regularly at the Salon d'Automne and the Salon des Indépendants, both major non-academic Salons in Paris. They were inevitably more aware of public response and the need to communicate. Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and Léger. <hl> They met regularly at Henri le Fauconnier's studio near the Boulevard de Montparnasse . <hl> These soirées often included writers such as Guillaume Apollinaire and André Salmon. Together with other young artists, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color.

In contrast, the Salon Cubists built their reputation primarily by exhibiting regularly at the Salon d'Automne and the Salon des Indépendants, both major non-academic Salons in Paris. They were inevitably more aware of public response and the need to communicate. Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and Léger. They met regularly at Henri le Fauconnier's studio near the <hl> Boulevard de Montparnasse <hl>. These soirées often included writers such as Guillaume Apollinaire and André Salmon. Together with other young artists, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color.

They met regularly at Henri le Fauconnier's studio near the <hl> Boulevard de Montparnasse <hl> .


Question: What did the group meeting at Fauconnier's studio want to focus on?

Answer: research into form, in opposition to the Neo-Impressionist emphasis on color.

In contrast, the Salon Cubists built their reputation primarily by exhibiting regularly at the Salon d'Automne and the Salon des Indépendants, both major non-academic Salons in Paris. They were inevitably more aware of public response and the need to communicate. Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and Léger. They met regularly at Henri le Fauconnier's studio near the Boulevard de Montparnasse. These soirées often included writers such as Guillaume Apollinaire and André Salmon. <hl> Together with other young artists, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color. <hl>

In contrast, the Salon Cubists built their reputation primarily by exhibiting regularly at the Salon d'Automne and the Salon des Indépendants, both major non-academic Salons in Paris. They were inevitably more aware of public response and the need to communicate. Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and Léger. They met regularly at Henri le Fauconnier's studio near the Boulevard de Montparnasse. These soirées often included writers such as Guillaume Apollinaire and André Salmon. Together with other young artists, the group wanted to emphasise a <hl> research into form, in opposition to the Neo-Impressionist emphasis on color. <hl>


Question: In what year did the New York Times review the Salon d'Automne?

At the Salon d'Automne of the same year, in addition to the Indépendants group of Salle 41, were exhibited works by André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka. The exhibition was reviewed in the October 8, 1911 issue of The New York Times. This article was published a year after Gelett Burgess' The Wild Men of Paris, and two years prior to the Armory Show, which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon. The article was titled The "Cubists" Dominate Paris' Fall Salon and subtitled Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do.

Answer: October 8, 1911

At the Salon d'Automne of the same year, in addition to the Indépendants group of Salle 41, were exhibited works by André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka. <hl> The exhibition was reviewed in the October 8, 1911 issue of The New York Times. <hl> This article was published a year after Gelett Burgess' The Wild Men of Paris, and two years prior to the Armory Show, which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon. The article was titled The "Cubists" Dominate Paris' Fall Salon and subtitled Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do.

At the Salon d'Automne of the same year, in addition to the Indépendants group of Salle 41, were exhibited works by André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka. The exhibition was reviewed in the <hl> October 8, 1911 <hl> issue of The New York Times. This article was published a year after Gelett Burgess' The Wild Men of Paris, and two years prior to the Armory Show, which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon. The article was titled The "Cubists" Dominate Paris' Fall Salon and subtitled Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do.


Question: What was the subtitle of the article published in 1911 in New York TImes about Cubism?

Answer: Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do

At the Salon d'Automne of the same year, in addition to the Indépendants group of Salle 41, were exhibited works by André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka. The exhibition was reviewed in the October 8, 1911 issue of The New York Times. This article was published a year after Gelett Burgess' The Wild Men of Paris, and two years prior to the Armory Show, which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon. <hl> The article was titled The "Cubists" Dominate Paris' Fall Salon and subtitled Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do . <hl>

At the Salon d'Automne of the same year, in addition to the Indépendants group of Salle 41, were exhibited works by André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka. The exhibition was reviewed in the October 8, 1911 issue of The New York Times. This article was published a year after Gelett Burgess' The Wild Men of Paris, and two years prior to the Armory Show, which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon. The article was titled The "Cubists" Dominate Paris' Fall Salon and subtitled <hl> Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do <hl>.

The article was titled The "Cubists" Dominate Paris' Fall Salon and subtitled <hl> Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do <hl> .


Question: List the artists who were featured in the Salon d'Automne?

Answer: André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka

<hl> At the Salon d'Automne of the same year, in addition to the Indépendants group of Salle 41, were exhibited works by André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka . <hl> The exhibition was reviewed in the October 8, 1911 issue of The New York Times. This article was published a year after Gelett Burgess' The Wild Men of Paris, and two years prior to the Armory Show, which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon. The article was titled The "Cubists" Dominate Paris' Fall Salon and subtitled Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do.

At the Salon d'Automne of the same year, in addition to the Indépendants group of Salle 41, were exhibited works by <hl> André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka <hl>. The exhibition was reviewed in the October 8, 1911 issue of The New York Times. This article was published a year after Gelett Burgess' The Wild Men of Paris, and two years prior to the Armory Show, which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon. The article was titled The "Cubists" Dominate Paris' Fall Salon and subtitled Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do.

At the Salon d'Automne of the same year, in addition to the Indépendants group of Salle 41, were exhibited works by <hl> André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka <hl> .


Question: Which Duchamp presentation was displayed in the 1912 Salon des Independants?

The subsequent 1912 Salon des Indépendants was marked by the presentation of Marcel Duchamp's Nude Descending a Staircase, No. 2, which itself caused a scandal, even amongst the Cubists. It was in fact rejected by the hanging committee, which included his brothers and other Cubists. Although the work was shown in the Salon de la Section d'Or in October 1912 and the 1913 Armory Show in New York, Duchamp never forgave his brothers and former colleagues for censoring his work. Juan Gris, a new addition to the Salon scene, exhibited his Portrait of Picasso (Art Institute of Chicago), while Metzinger's two showings included La Femme au Cheval (Woman with a horse) 1911-1912 (National Gallery of Denmark). Delaunay's monumental La Ville de Paris (Musée d'art moderne de la Ville de Paris) and Léger's La Noce, The Wedding (Musée National d'Art Moderne, Paris) were also exhibited.

Answer: Nude Descending a Staircase, No. 2

<hl> The subsequent 1912 Salon des Indépendants was marked by the presentation of Marcel Duchamp's Nude Descending a Staircase, No. 2 , which itself caused a scandal, even amongst the Cubists. <hl> It was in fact rejected by the hanging committee, which included his brothers and other Cubists. Although the work was shown in the Salon de la Section d'Or in October 1912 and the 1913 Armory Show in New York, Duchamp never forgave his brothers and former colleagues for censoring his work. Juan Gris, a new addition to the Salon scene, exhibited his Portrait of Picasso (Art Institute of Chicago), while Metzinger's two showings included La Femme au Cheval (Woman with a horse) 1911-1912 (National Gallery of Denmark). Delaunay's monumental La Ville de Paris (Musée d'art moderne de la Ville de Paris) and Léger's La Noce, The Wedding (Musée National d'Art Moderne, Paris) were also exhibited.

The subsequent 1912 Salon des Indépendants was marked by the presentation of Marcel Duchamp's <hl> Nude Descending a Staircase, No. 2 <hl>, which itself caused a scandal, even amongst the Cubists. It was in fact rejected by the hanging committee, which included his brothers and other Cubists. Although the work was shown in the Salon de la Section d'Or in October 1912 and the 1913 Armory Show in New York, Duchamp never forgave his brothers and former colleagues for censoring his work. Juan Gris, a new addition to the Salon scene, exhibited his Portrait of Picasso (Art Institute of Chicago), while Metzinger's two showings included La Femme au Cheval (Woman with a horse) 1911-1912 (National Gallery of Denmark). Delaunay's monumental La Ville de Paris (Musée d'art moderne de la Ville de Paris) and Léger's La Noce, The Wedding (Musée National d'Art Moderne, Paris) were also exhibited.

The subsequent 1912 Salon des Indépendants was marked by the presentation of Marcel Duchamp's <hl> Nude Descending a Staircase, No. 2 <hl> , which itself caused a scandal, even amongst the Cubists.


Question: Was Duchamp's work considered controversial when displayed in 1912?

Answer: caused a scandal

<hl> The subsequent 1912 Salon des Indépendants was marked by the presentation of Marcel Duchamp's Nude Descending a Staircase, No. 2, which itself caused a scandal , even amongst the Cubists. <hl> It was in fact rejected by the hanging committee, which included his brothers and other Cubists. Although the work was shown in the Salon de la Section d'Or in October 1912 and the 1913 Armory Show in New York, Duchamp never forgave his brothers and former colleagues for censoring his work. Juan Gris, a new addition to the Salon scene, exhibited his Portrait of Picasso (Art Institute of Chicago), while Metzinger's two showings included La Femme au Cheval (Woman with a horse) 1911-1912 (National Gallery of Denmark). Delaunay's monumental La Ville de Paris (Musée d'art moderne de la Ville de Paris) and Léger's La Noce, The Wedding (Musée National d'Art Moderne, Paris) were also exhibited.

The subsequent 1912 Salon des Indépendants was marked by the presentation of Marcel Duchamp's Nude Descending a Staircase, No. 2, which itself <hl> caused a scandal <hl>, even amongst the Cubists. It was in fact rejected by the hanging committee, which included his brothers and other Cubists. Although the work was shown in the Salon de la Section d'Or in October 1912 and the 1913 Armory Show in New York, Duchamp never forgave his brothers and former colleagues for censoring his work. Juan Gris, a new addition to the Salon scene, exhibited his Portrait of Picasso (Art Institute of Chicago), while Metzinger's two showings included La Femme au Cheval (Woman with a horse) 1911-1912 (National Gallery of Denmark). Delaunay's monumental La Ville de Paris (Musée d'art moderne de la Ville de Paris) and Léger's La Noce, The Wedding (Musée National d'Art Moderne, Paris) were also exhibited.

The subsequent 1912 Salon des Indépendants was marked by the presentation of Marcel Duchamp's Nude Descending a Staircase, No. 2, which itself <hl> caused a scandal <hl> , even amongst the Cubists.


Question: What were one of Metzingers two showings in 1912's Salon des Independants?

Answer: La Femme au Cheval (Woman with a horse) 1911-1912

The subsequent 1912 Salon des Indépendants was marked by the presentation of Marcel Duchamp's Nude Descending a Staircase, No. 2, which itself caused a scandal, even amongst the Cubists. It was in fact rejected by the hanging committee, which included his brothers and other Cubists. Although the work was shown in the Salon de la Section d'Or in October 1912 and the 1913 Armory Show in New York, Duchamp never forgave his brothers and former colleagues for censoring his work. <hl> Juan Gris, a new addition to the Salon scene, exhibited his Portrait of Picasso (Art Institute of Chicago), while Metzinger's two showings included La Femme au Cheval (Woman with a horse) 1911-1912 (National Gallery of Denmark). <hl> Delaunay's monumental La Ville de Paris (Musée d'art moderne de la Ville de Paris) and Léger's La Noce, The Wedding (Musée National d'Art Moderne, Paris) were also exhibited.

The subsequent 1912 Salon des Indépendants was marked by the presentation of Marcel Duchamp's Nude Descending a Staircase, No. 2, which itself caused a scandal, even amongst the Cubists. It was in fact rejected by the hanging committee, which included his brothers and other Cubists. Although the work was shown in the Salon de la Section d'Or in October 1912 and the 1913 Armory Show in New York, Duchamp never forgave his brothers and former colleagues for censoring his work. Juan Gris, a new addition to the Salon scene, exhibited his Portrait of Picasso (Art Institute of Chicago), while Metzinger's two showings included <hl> La Femme au Cheval (Woman with a horse) 1911-1912 <hl> (National Gallery of Denmark). Delaunay's monumental La Ville de Paris (Musée d'art moderne de la Ville de Paris) and Léger's La Noce, The Wedding (Musée National d'Art Moderne, Paris) were also exhibited.


Question: Which politician made the front page of Le Journa in 1912 for his indignation?

The Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais, to exhibit such artwork. The indignation of the politician Jean Pierre Philippe Lampué made the front page of Le Journal, 5 October 1912. The controversy spread to the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such art. The Cubists were defended by the Socialist deputy, Marcel Sembat.

Answer: Jean Pierre Philippe Lampué

The Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais, to exhibit such artwork. <hl> The indignation of the politician Jean Pierre Philippe Lampué made the front page of Le Journal, 5 October 1912. <hl> The controversy spread to the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such art. The Cubists were defended by the Socialist deputy, Marcel Sembat.

The Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais, to exhibit such artwork. The indignation of the politician <hl> Jean Pierre Philippe Lampué <hl> made the front page of Le Journal, 5 October 1912. The controversy spread to the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such art. The Cubists were defended by the Socialist deputy, Marcel Sembat.


Question: Who defended the Cubists in the controversy of 1912?

Answer: Socialist deputy, Marcel Sembat.

The Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais, to exhibit such artwork. The indignation of the politician Jean Pierre Philippe Lampué made the front page of Le Journal, 5 October 1912. The controversy spread to the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such art. <hl> The Cubists were defended by the Socialist deputy, Marcel Sembat. <hl>

The Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais, to exhibit such artwork. The indignation of the politician Jean Pierre Philippe Lampué made the front page of Le Journal, 5 October 1912. The controversy spread to the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such art. The Cubists were defended by the <hl> Socialist deputy, Marcel Sembat. <hl>


Question: Towards which social topic did the Cubists at the Salon d'Automne creat contrevesy towards?

Answer: the use of government owned buildings,

<hl> The Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais, to exhibit such artwork. <hl> The indignation of the politician Jean Pierre Philippe Lampué made the front page of Le Journal, 5 October 1912. The controversy spread to the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such art. The Cubists were defended by the Socialist deputy, Marcel Sembat.

The Cubist contribution to the 1912 Salon d'Automne created scandal regarding <hl> the use of government owned buildings, <hl> such as the Grand Palais, to exhibit such artwork. The indignation of the politician Jean Pierre Philippe Lampué made the front page of Le Journal, 5 October 1912. The controversy spread to the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such art. The Cubists were defended by the Socialist deputy, Marcel Sembat.


Question: What against did Metzinger and Gleizes write Du "Cubsime"?

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). Among the works exhibited were Le Fauconnier's vast composition Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) now at Rhode Island School of Design Museum, Joseph Csaky's Deux Femme, Two Women (a sculpture now lost), in addition to the highly abstract paintings by Kupka, Amorpha (The National Gallery, Prague), and Picabia, La Source, The Spring (Museum of Modern Art, New York).

Answer: public anger

<hl> 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). <hl> Among the works exhibited were Le Fauconnier's vast composition Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) now at Rhode Island School of Design Museum, Joseph Csaky's Deux Femme, Two Women (a sculpture now lost), in addition to the highly abstract paintings by Kupka, Amorpha (The National Gallery, Prague), and Picabia, La Source, The Spring (Museum of Modern Art, New York).

It was against this background of <hl> public anger <hl> that Jean Metzinger and Albert Gleizes wrote Du "Cubisme" (published by Eugène Figuière in 1912, translated to English and Russian in 1913). Among the works exhibited were Le Fauconnier's vast composition Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) now at Rhode Island School of Design Museum, Joseph Csaky's Deux Femme, Two Women (a sculpture now lost), in addition to the highly abstract paintings by Kupka, Amorpha (The National Gallery, Prague), and Picabia, La Source, The Spring (Museum of Modern Art, New York).


Question: Who published Du "Cubisme"?

Answer: Eugène Figuière

<hl> 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). <hl> Among the works exhibited were Le Fauconnier's vast composition Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) now at Rhode Island School of Design Museum, Joseph Csaky's Deux Femme, Two Women (a sculpture now lost), in addition to the highly abstract paintings by Kupka, Amorpha (The National Gallery, Prague), and Picabia, La Source, The Spring (Museum of Modern Art, New York).

It was against this background of public anger that Jean Metzinger and Albert Gleizes wrote Du "Cubisme" (published by <hl> Eugène Figuière <hl> in 1912, translated to English and Russian in 1913). Among the works exhibited were Le Fauconnier's vast composition Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) now at Rhode Island School of Design Museum, Joseph Csaky's Deux Femme, Two Women (a sculpture now lost), in addition to the highly abstract paintings by Kupka, Amorpha (The National Gallery, Prague), and Picabia, La Source, The Spring (Museum of Modern Art, New York).


Question: In what year was Du "Cubisme" published?

Answer: 1912

<hl> 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). <hl> Among the works exhibited were Le Fauconnier's vast composition Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) now at Rhode Island School of Design Museum, Joseph Csaky's Deux Femme, Two Women (a sculpture now lost), in addition to the highly abstract paintings by Kupka, Amorpha (The National Gallery, Prague), and Picabia, La Source, The Spring (Museum of Modern Art, New York).

It was against this background of public anger that Jean Metzinger and Albert Gleizes wrote Du "Cubisme" (published by Eugène Figuière in <hl> 1912 <hl>, translated to English and Russian in 1913). Among the works exhibited were Le Fauconnier's vast composition Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) now at Rhode Island School of Design Museum, Joseph Csaky's Deux Femme, Two Women (a sculpture now lost), in addition to the highly abstract paintings by Kupka, Amorpha (The National Gallery, Prague), and Picabia, La Source, The Spring (Museum of Modern Art, New York).

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


Question: What were Kupka's two entries at the Salon d'Automne?

The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction. Other Cubists, by contrast, especially František Kupka, and those considered Orphists by Apollinaire (Delaunay, Léger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely. Kupka’s two entries at the 1912 Salon d'Automne, Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude, were highly abstract (or nonrepresentational) and metaphysical in orientation. Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes. Beginning in 1912 Delaunay painted a series of paintings entitled Simultaneous Windows, followed by a series entitled Formes Circulaires, in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete. In 1913–14 Léger produced a series entitled Contrasts of Forms, giving a similar stress to color, line and form. His Cubism, despite its abstract qualities, was associated with themes of mechanization and modern life. Apollinaire supported these early developments of abstract Cubism in Les Peintres cubistes (1913), writing of a new "pure" painting in which the subject was vacated. But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category.

Answer: Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude

The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction. Other Cubists, by contrast, especially František Kupka, and those considered Orphists by Apollinaire (Delaunay, Léger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely. <hl> Kupka’s two entries at the 1912 Salon d'Automne, Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude , were highly abstract (or nonrepresentational) and metaphysical in orientation. <hl> Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes. Beginning in 1912 Delaunay painted a series of paintings entitled Simultaneous Windows, followed by a series entitled Formes Circulaires, in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete. In 1913–14 Léger produced a series entitled Contrasts of Forms, giving a similar stress to color, line and form. His Cubism, despite its abstract qualities, was associated with themes of mechanization and modern life. Apollinaire supported these early developments of abstract Cubism in Les Peintres cubistes (1913), writing of a new "pure" painting in which the subject was vacated. But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category.

The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction. Other Cubists, by contrast, especially František Kupka, and those considered Orphists by Apollinaire (Delaunay, Léger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely. Kupka’s two entries at the 1912 Salon d'Automne, <hl> Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude <hl>, were highly abstract (or nonrepresentational) and metaphysical in orientation. Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes. Beginning in 1912 Delaunay painted a series of paintings entitled Simultaneous Windows, followed by a series entitled Formes Circulaires, in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete. In 1913–14 Léger produced a series entitled Contrasts of Forms, giving a similar stress to color, line and form. His Cubism, despite its abstract qualities, was associated with themes of mechanization and modern life. Apollinaire supported these early developments of abstract Cubism in Les Peintres cubistes (1913), writing of a new "pure" painting in which the subject was vacated. But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category.

Kupka’s two entries at the 1912 Salon d'Automne, <hl> Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude <hl> , were highly abstract (or nonrepresentational) and metaphysical in orientation.


Question: What were the titles of Delaunay's paintings in 1912?

Answer: Simultaneous Windows,

The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction. Other Cubists, by contrast, especially František Kupka, and those considered Orphists by Apollinaire (Delaunay, Léger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely. Kupka’s two entries at the 1912 Salon d'Automne, Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude, were highly abstract (or nonrepresentational) and metaphysical in orientation. Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes. <hl> Beginning in 1912 Delaunay painted a series of paintings entitled Simultaneous Windows, followed by a series entitled Formes Circulaires, in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete. <hl> In 1913–14 Léger produced a series entitled Contrasts of Forms, giving a similar stress to color, line and form. His Cubism, despite its abstract qualities, was associated with themes of mechanization and modern life. Apollinaire supported these early developments of abstract Cubism in Les Peintres cubistes (1913), writing of a new "pure" painting in which the subject was vacated. But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category.

The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction. Other Cubists, by contrast, especially František Kupka, and those considered Orphists by Apollinaire (Delaunay, Léger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely. Kupka’s two entries at the 1912 Salon d'Automne, Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude, were highly abstract (or nonrepresentational) and metaphysical in orientation. Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes. Beginning in 1912 Delaunay painted a series of paintings entitled <hl> Simultaneous Windows, <hl> followed by a series entitled Formes Circulaires, in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete. In 1913–14 Léger produced a series entitled Contrasts of Forms, giving a similar stress to color, line and form. His Cubism, despite its abstract qualities, was associated with themes of mechanization and modern life. Apollinaire supported these early developments of abstract Cubism in Les Peintres cubistes (1913), writing of a new "pure" painting in which the subject was vacated. But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category.


Question: During what years did Leger produce Contrasts of Forms?

Answer: 1913–14

The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction. Other Cubists, by contrast, especially František Kupka, and those considered Orphists by Apollinaire (Delaunay, Léger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely. Kupka’s two entries at the 1912 Salon d'Automne, Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude, were highly abstract (or nonrepresentational) and metaphysical in orientation. Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes. Beginning in 1912 Delaunay painted a series of paintings entitled Simultaneous Windows, followed by a series entitled Formes Circulaires, in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete. <hl> In 1913–14 Léger produced a series entitled Contrasts of Forms, giving a similar stress to color, line and form. <hl> His Cubism, despite its abstract qualities, was associated with themes of mechanization and modern life. Apollinaire supported these early developments of abstract Cubism in Les Peintres cubistes (1913), writing of a new "pure" painting in which the subject was vacated. But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category.

The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction. Other Cubists, by contrast, especially František Kupka, and those considered Orphists by Apollinaire (Delaunay, Léger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely. Kupka’s two entries at the 1912 Salon d'Automne, Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude, were highly abstract (or nonrepresentational) and metaphysical in orientation. Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes. Beginning in 1912 Delaunay painted a series of paintings entitled Simultaneous Windows, followed by a series entitled Formes Circulaires, in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete. In <hl> 1913–14 <hl> Léger produced a series entitled Contrasts of Forms, giving a similar stress to color, line and form. His Cubism, despite its abstract qualities, was associated with themes of mechanization and modern life. Apollinaire supported these early developments of abstract Cubism in Les Peintres cubistes (1913), writing of a new "pure" painting in which the subject was vacated. But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category.


Question: By whom was Marcel Duchamp labeled an Orphanist?

Also labeled an Orphist by Apollinaire, Marcel Duchamp was responsible for another extreme development inspired by Cubism. The ready-made arose from a joint consideration that the work itself is considered an object (just as a painting), and that it uses the material detritus of the world (as collage and papier collé in the Cubist construction and Assemblage). The next logical step, for Duchamp, was to present an ordinary object as a self-sufficient work of art representing only itself. In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a bottle-drying rack as a sculpture in its own right.

Answer: Apollinaire

<hl> Also labeled an Orphist by Apollinaire , Marcel Duchamp was responsible for another extreme development inspired by Cubism. <hl> The ready-made arose from a joint consideration that the work itself is considered an object (just as a painting), and that it uses the material detritus of the world (as collage and papier collé in the Cubist construction and Assemblage). The next logical step, for Duchamp, was to present an ordinary object as a self-sufficient work of art representing only itself. In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a bottle-drying rack as a sculpture in its own right.

Also labeled an Orphist by <hl> Apollinaire <hl>, Marcel Duchamp was responsible for another extreme development inspired by Cubism. The ready-made arose from a joint consideration that the work itself is considered an object (just as a painting), and that it uses the material detritus of the world (as collage and papier collé in the Cubist construction and Assemblage). The next logical step, for Duchamp, was to present an ordinary object as a self-sufficient work of art representing only itself. In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a bottle-drying rack as a sculpture in its own right.

Also labeled an Orphist by <hl> Apollinaire <hl> , Marcel Duchamp was responsible for another extreme development inspired by Cubism.


Question: What two items did Duchamp attach together in 1913?

Answer: a bicycle wheel to a kitchen stool

Also labeled an Orphist by Apollinaire, Marcel Duchamp was responsible for another extreme development inspired by Cubism. The ready-made arose from a joint consideration that the work itself is considered an object (just as a painting), and that it uses the material detritus of the world (as collage and papier collé in the Cubist construction and Assemblage). The next logical step, for Duchamp, was to present an ordinary object as a self-sufficient work of art representing only itself. <hl> In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a bottle-drying rack as a sculpture in its own right. <hl>

Also labeled an Orphist by Apollinaire, Marcel Duchamp was responsible for another extreme development inspired by Cubism. The ready-made arose from a joint consideration that the work itself is considered an object (just as a painting), and that it uses the material detritus of the world (as collage and papier collé in the Cubist construction and Assemblage). The next logical step, for Duchamp, was to present an ordinary object as a self-sufficient work of art representing only itself. In 1913 he attached <hl> a bicycle wheel to a kitchen stool <hl> and in 1914 selected a bottle-drying rack as a sculpture in its own right.


Question: What object did Duchamp select in 1914 as a scuplture by itself?

Answer: bottle-drying rack

Also labeled an Orphist by Apollinaire, Marcel Duchamp was responsible for another extreme development inspired by Cubism. The ready-made arose from a joint consideration that the work itself is considered an object (just as a painting), and that it uses the material detritus of the world (as collage and papier collé in the Cubist construction and Assemblage). The next logical step, for Duchamp, was to present an ordinary object as a self-sufficient work of art representing only itself. In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected <hl> a bottle-drying rack as a sculpture in its own right. <hl>

Also labeled an Orphist by Apollinaire, Marcel Duchamp was responsible for another extreme development inspired by Cubism. The ready-made arose from a joint consideration that the work itself is considered an object (just as a painting), and that it uses the material detritus of the world (as collage and papier collé in the Cubist construction and Assemblage). The next logical step, for Duchamp, was to present an ordinary object as a self-sufficient work of art representing only itself. In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a <hl> bottle-drying rack <hl> as a sculpture in its own right.


Question: How many works displayed at The Salon de la Section d'Or at the Galerie La Boétie in Paris, October 1912?

The Section d'Or, also known as Groupe de Puteaux, founded by some of the most conspicuous Cubists, was a collective of painters, sculptors and critics associated with Cubism and Orphism, active from 1911 through about 1914, coming to prominence in the wake of their controversial showing at the 1911 Salon des Indépendants. The Salon de la Section d'Or at the Galerie La Boétie in Paris, October 1912, was arguably the most important pre-World War I Cubist exhibition; exposing Cubism to a wide audience. Over 200 works were displayed, and the fact that many of the artists showed artworks representative of their development from 1909 to 1912 gave the exhibition the allure of a Cubist retrospective.

Answer: Over 200

The Section d'Or, also known as Groupe de Puteaux, founded by some of the most conspicuous Cubists, was a collective of painters, sculptors and critics associated with Cubism and Orphism, active from 1911 through about 1914, coming to prominence in the wake of their controversial showing at the 1911 Salon des Indépendants. The Salon de la Section d'Or at the Galerie La Boétie in Paris, October 1912, was arguably the most important pre-World War I Cubist exhibition; exposing Cubism to a wide audience. <hl> Over 200 works were displayed, and the fact that many of the artists showed artworks representative of their development from 1909 to 1912 gave the exhibition the allure of a Cubist retrospective. <hl>

The Section d'Or, also known as Groupe de Puteaux, founded by some of the most conspicuous Cubists, was a collective of painters, sculptors and critics associated with Cubism and Orphism, active from 1911 through about 1914, coming to prominence in the wake of their controversial showing at the 1911 Salon des Indépendants. The Salon de la Section d'Or at the Galerie La Boétie in Paris, October 1912, was arguably the most important pre-World War I Cubist exhibition; exposing Cubism to a wide audience. <hl> Over 200 <hl> works were displayed, and the fact that many of the artists showed artworks representative of their development from 1909 to 1912 gave the exhibition the allure of a Cubist retrospective.


Question: What did the 1912 exhiibtion of Cubism show?

The fact that the 1912 exhibition had been curated to show the successive stages through which Cubism had transited, and that Du "Cubisme" had been published for the occasion, indicates the artists' intention of making their work comprehensible to a wide audience (art critics, art collectors, art dealers and the general public). Undoubtedly, due to the great success of the exhibition, Cubism became recognized as a tendency, genre or style in art with a specific common philosophy or goal: a new avant-garde movement.

Answer: indicates the artists' intention of making their work comprehensible to a wide audience

<hl> The fact that the 1912 exhibition had been curated to show the successive stages through which Cubism had transited, and that Du "Cubisme" had been published for the occasion, indicates the artists' intention of making their work comprehensible to a wide audience (art critics, art collectors, art dealers and the general public). <hl> Undoubtedly, due to the great success of the exhibition, Cubism became recognized as a tendency, genre or style in art with a specific common philosophy or goal: a new avant-garde movement.

The fact that the 1912 exhibition had been curated to show the successive stages through which Cubism had transited, and that Du "Cubisme" had been published for the occasion, <hl> indicates the artists' intention of making their work comprehensible to a wide audience <hl> (art critics, art collectors, art dealers and the general public). Undoubtedly, due to the great success of the exhibition, Cubism became recognized as a tendency, genre or style in art with a specific common philosophy or goal: a new avant-garde movement.


Question: What did Christopher Green say of the difference between traditional cubist and Salon Cubists?

The Cubism of Picasso, Braque and Gris had more than a technical or formal significance, and the distinct attitudes and intentions of the Salon Cubists produced different kinds of Cubism, rather than a derivative of their work. "It is by no means clear, in any case," wrote Christopher Green, "to what extent these other Cubists depended on Picasso and Braque for their development of such techniques as faceting, 'passage' and multiple perspective; they could well have arrived at such practices with little knowledge of 'true' Cubism in its early stages, guided above all by their own understanding of Cézanne." The works exhibited by these Cubists at the 1911 and 1912 Salons extended beyond the conventional Cézanne-like subjects—the posed model, still-life and landscape—favored by Picasso and Braque to include large-scale modern-life subjects. Aimed at a large public, these works stressed the use of multiple perspective and complex planar faceting for expressive effect while preserving the eloquence of subjects endowed with literary and philosophical connotations.

Answer: It is by no means clear, in any case

<hl> The Cubism of Picasso, Braque and Gris had more than a technical or formal significance, and the distinct attitudes and intentions of the Salon Cubists produced different kinds of Cubism, rather than a derivative of their work. " It is by no means clear, in any case ," wrote Christopher Green, "to what extent these other Cubists depended on Picasso and Braque for their development of such techniques as faceting, 'passage' and multiple perspective; they could well have arrived at such practices with little knowledge of 'true' Cubism in its early stages, guided above all by their own understanding of Cézanne." <hl> The works exhibited by these Cubists at the 1911 and 1912 Salons extended beyond the conventional Cézanne-like subjects—the posed model, still-life and landscape—favored by Picasso and Braque to include large-scale modern-life subjects. Aimed at a large public, these works stressed the use of multiple perspective and complex planar faceting for expressive effect while preserving the eloquence of subjects endowed with literary and philosophical connotations.

The Cubism of Picasso, Braque and Gris had more than a technical or formal significance, and the distinct attitudes and intentions of the Salon Cubists produced different kinds of Cubism, rather than a derivative of their work. "<hl> It is by no means clear, in any case <hl>," wrote Christopher Green, "to what extent these other Cubists depended on Picasso and Braque for their development of such techniques as faceting, 'passage' and multiple perspective; they could well have arrived at such practices with little knowledge of 'true' Cubism in its early stages, guided above all by their own understanding of Cézanne." The works exhibited by these Cubists at the 1911 and 1912 Salons extended beyond the conventional Cézanne-like subjects—the posed model, still-life and landscape—favored by Picasso and Braque to include large-scale modern-life subjects. Aimed at a large public, these works stressed the use of multiple perspective and complex planar faceting for expressive effect while preserving the eloquence of subjects endowed with literary and philosophical connotations.

The Cubism of Picasso, Braque and Gris had more than a technical or formal significance, and the distinct attitudes and intentions of the Salon Cubists produced different kinds of Cubism, rather than a derivative of their work. " <hl> It is by no means clear, in any case <hl> ," wrote Christopher Green, "to what extent these other Cubists depended on Picasso and Braque for their development of such techniques as faceting, 'passage' and multiple perspective; they could well have arrived at such practices with little knowledge of 'true' Cubism in its early stages, guided above all by their own understanding of Cézanne."


Question: Whom did Braque and Picasso aim their works at?

Answer: large public

The Cubism of Picasso, Braque and Gris had more than a technical or formal significance, and the distinct attitudes and intentions of the Salon Cubists produced different kinds of Cubism, rather than a derivative of their work. "It is by no means clear, in any case," wrote Christopher Green, "to what extent these other Cubists depended on Picasso and Braque for their development of such techniques as faceting, 'passage' and multiple perspective; they could well have arrived at such practices with little knowledge of 'true' Cubism in its early stages, guided above all by their own understanding of Cézanne." The works exhibited by these Cubists at the 1911 and 1912 Salons extended beyond the conventional Cézanne-like subjects—the posed model, still-life and landscape—favored by Picasso and Braque to include large-scale modern-life subjects. <hl> Aimed at a large public , these works stressed the use of multiple perspective and complex planar faceting for expressive effect while preserving the eloquence of subjects endowed with literary and philosophical connotations. <hl>

The Cubism of Picasso, Braque and Gris had more than a technical or formal significance, and the distinct attitudes and intentions of the Salon Cubists produced different kinds of Cubism, rather than a derivative of their work. "It is by no means clear, in any case," wrote Christopher Green, "to what extent these other Cubists depended on Picasso and Braque for their development of such techniques as faceting, 'passage' and multiple perspective; they could well have arrived at such practices with little knowledge of 'true' Cubism in its early stages, guided above all by their own understanding of Cézanne." The works exhibited by these Cubists at the 1911 and 1912 Salons extended beyond the conventional Cézanne-like subjects—the posed model, still-life and landscape—favored by Picasso and Braque to include large-scale modern-life subjects. Aimed at a <hl> large public <hl>, these works stressed the use of multiple perspective and complex planar faceting for expressive effect while preserving the eloquence of subjects endowed with literary and philosophical connotations.

Aimed at a <hl> large public <hl> , these works stressed the use of multiple perspective and complex planar faceting for expressive effect while preserving the eloquence of subjects endowed with literary and philosophical connotations.


Question: In Du Cubisme who so Metzinger and Gleizes relate the sense of time to?

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. The Salon Cubists used the faceted treatment of solid and space and effects of multiple viewpoints to convey a physical and psychological sense of the fluidity of consciousness, blurring the distinctions between past, present and future. One of the major theoretical innovations made by the Salon Cubists, independently of Picasso and Braque, was that of simultaneity, drawing to greater or lesser extent on theories of Henri Poincaré, Ernst Mach, Charles Henry, Maurice Princet, and Henri Bergson. With simultaneity, the concept of separate spatial and temporal dimensions was comprehensively challenged. Linear perspective developed during the Renaissance was vacated. The subject matter was no longer considered from a specific point of view at a moment in time, but built following a selection of successive viewpoints, i.e., as if viewed simultaneously from numerous angles (and in multiple dimensions) with the eye free to roam from one to the other.

Answer: Henri Bergson

<hl> 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. <hl> The Salon Cubists used the faceted treatment of solid and space and effects of multiple viewpoints to convey a physical and psychological sense of the fluidity of consciousness, blurring the distinctions between past, present and future. One of the major theoretical innovations made by the Salon Cubists, independently of Picasso and Braque, was that of simultaneity, drawing to greater or lesser extent on theories of Henri Poincaré, Ernst Mach, Charles Henry, Maurice Princet, and Henri Bergson. With simultaneity, the concept of separate spatial and temporal dimensions was comprehensively challenged. Linear perspective developed during the Renaissance was vacated. The subject matter was no longer considered from a specific point of view at a moment in time, but built following a selection of successive viewpoints, i.e., as if viewed simultaneously from numerous angles (and in multiple dimensions) with the eye free to roam from one to the other.

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 <hl> Henri Bergson <hl> according to which life is subjectively experienced as a continuum, with the past flowing into the present and the present merging into the future. The Salon Cubists used the faceted treatment of solid and space and effects of multiple viewpoints to convey a physical and psychological sense of the fluidity of consciousness, blurring the distinctions between past, present and future. One of the major theoretical innovations made by the Salon Cubists, independently of Picasso and Braque, was that of simultaneity, drawing to greater or lesser extent on theories of Henri Poincaré, Ernst Mach, Charles Henry, Maurice Princet, and Henri Bergson. With simultaneity, the concept of separate spatial and temporal dimensions was comprehensively challenged. Linear perspective developed during the Renaissance was vacated. The subject matter was no longer considered from a specific point of view at a moment in time, but built following a selection of successive viewpoints, i.e., as if viewed simultaneously from numerous angles (and in multiple dimensions) with the eye free to roam from one to the other.


Question: The Cubist used what kind of treatment of space and time?

Answer: The Salon Cubists

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. <hl> The Salon Cubists used the faceted treatment of solid and space and effects of multiple viewpoints to convey a physical and psychological sense of the fluidity of consciousness, blurring the distinctions between past, present and future. <hl> One of the major theoretical innovations made by the Salon Cubists, independently of Picasso and Braque, was that of simultaneity, drawing to greater or lesser extent on theories of Henri Poincaré, Ernst Mach, Charles Henry, Maurice Princet, and Henri Bergson. With simultaneity, the concept of separate spatial and temporal dimensions was comprehensively challenged. Linear perspective developed during the Renaissance was vacated. The subject matter was no longer considered from a specific point of view at a moment in time, but built following a selection of successive viewpoints, i.e., as if viewed simultaneously from numerous angles (and in multiple dimensions) with the eye free to roam from one to the other.

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. <hl> The Salon Cubists <hl> used the faceted treatment of solid and space and effects of multiple viewpoints to convey a physical and psychological sense of the fluidity of consciousness, blurring the distinctions between past, present and future. One of the major theoretical innovations made by the Salon Cubists, independently of Picasso and Braque, was that of simultaneity, drawing to greater or lesser extent on theories of Henri Poincaré, Ernst Mach, Charles Henry, Maurice Princet, and Henri Bergson. With simultaneity, the concept of separate spatial and temporal dimensions was comprehensively challenged. Linear perspective developed during the Renaissance was vacated. The subject matter was no longer considered from a specific point of view at a moment in time, but built following a selection of successive viewpoints, i.e., as if viewed simultaneously from numerous angles (and in multiple dimensions) with the eye free to roam from one to the other.


Question: What did the technique in Gliezes' piece Le Depiquage represent?

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. These ambitious works are some of the largest paintings in the history of Cubism. Léger’s The Wedding, also shown at the Salon des Indépendants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force. The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; themselves made in response to early Cubism.

Answer: relative motion)

<hl> 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. <hl> These ambitious works are some of the largest paintings in the history of Cubism. Léger’s The Wedding, also shown at the Salon des Indépendants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force. The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; themselves made in response to early Cubism.

This technique of representing simultaneity, multiple viewpoints (or <hl> relative motion) <hl> 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. These ambitious works are some of the largest paintings in the history of Cubism. Léger’s The Wedding, also shown at the Salon des Indépendants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force. The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; themselves made in response to early Cubism.


Question: Who painted the Wedding, show at Salon des Independants in 1912?

Answer: Léger

Léger ’s

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. These ambitious works are some of the largest paintings in the history of Cubism. <hl> Léger ’s <hl> The Wedding, also shown at the Salon des Indépendants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force. The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; themselves made in response to early Cubism.

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. These ambitious works are some of the largest paintings in the history of Cubism. <hl> Léger <hl>’s The Wedding, also shown at the Salon des Indépendants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force. The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; themselves made in response to early Cubism.


Question: Which of Gliezes pieces was featured at Salon de la Section d'Or?

Answer: Le Dépiquage des Moissons (Harvest Threshing)

<hl> 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. <hl> These ambitious works are some of the largest paintings in the history of Cubism. Léger’s The Wedding, also shown at the Salon des Indépendants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force. The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; themselves made in response to early Cubism.

This technique of representing simultaneity, multiple viewpoints (or relative motion) is pushed to a high degree of complexity in Gleizes' monumental <hl> Le Dépiquage des Moissons (Harvest Threshing) <hl>, 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. These ambitious works are some of the largest paintings in the history of Cubism. Léger’s The Wedding, also shown at the Salon des Indépendants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force. The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; themselves made in response to early Cubism.

This technique of representing simultaneity, multiple viewpoints (or relative motion) is pushed to a high degree of complexity in Gleizes' monumental <hl> Le Dépiquage des Moissons (Harvest Threshing) <hl> , 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.


Question: What was the name of the show that introduced Cubism to the USA?

Cubism and modern European art was introduced into the United States at the now legendary 1913 Armory Show in New York City, which then traveled to Chicago and Boston. In the Armory show Pablo Picasso exhibited La Femme au pot de moutarde (1910), the sculpture Head of a Woman (Fernande) (1909–10), Les Arbres (1907) amongst other cubist works. 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). Francis Picabia exhibited his abstractions La Danse à la source and La Procession, Seville (both of 1912). Albert Gleizes exhibited La Femme aux phlox (1910) and L'Homme au balcon (1912), two highly stylized and faceted cubist works. Georges Braque, Fernand Léger, Raymond Duchamp-Villon, Roger de La Fresnaye and Alexander Archipenko also contributed examples of their cubist works.

Answer: Armory Show

<hl> Cubism and modern European art was introduced into the United States at the now legendary 1913 Armory Show in New York City, which then traveled to Chicago and Boston. <hl> In the Armory show Pablo Picasso exhibited La Femme au pot de moutarde (1910), the sculpture Head of a Woman (Fernande) (1909–10), Les Arbres (1907) amongst other cubist works. 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). Francis Picabia exhibited his abstractions La Danse à la source and La Procession, Seville (both of 1912). Albert Gleizes exhibited La Femme aux phlox (1910) and L'Homme au balcon (1912), two highly stylized and faceted cubist works. Georges Braque, Fernand Léger, Raymond Duchamp-Villon, Roger de La Fresnaye and Alexander Archipenko also contributed examples of their cubist works.

Cubism and modern European art was introduced into the United States at the now legendary 1913 <hl> Armory Show <hl> in New York City, which then traveled to Chicago and Boston. In the Armory show Pablo Picasso exhibited La Femme au pot de moutarde (1910), the sculpture Head of a Woman (Fernande) (1909–10), Les Arbres (1907) amongst other cubist works. 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). Francis Picabia exhibited his abstractions La Danse à la source and La Procession, Seville (both of 1912). Albert Gleizes exhibited La Femme aux phlox (1910) and L'Homme au balcon (1912), two highly stylized and faceted cubist works. Georges Braque, Fernand Léger, Raymond Duchamp-Villon, Roger de La Fresnaye and Alexander Archipenko also contributed examples of their cubist works.


Question: In what city did the show that introduced Cubism to the USA take place?

Answer: New York City

<hl> Cubism and modern European art was introduced into the United States at the now legendary 1913 Armory Show in New York City , which then traveled to Chicago and Boston. <hl> In the Armory show Pablo Picasso exhibited La Femme au pot de moutarde (1910), the sculpture Head of a Woman (Fernande) (1909–10), Les Arbres (1907) amongst other cubist works. 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). Francis Picabia exhibited his abstractions La Danse à la source and La Procession, Seville (both of 1912). Albert Gleizes exhibited La Femme aux phlox (1910) and L'Homme au balcon (1912), two highly stylized and faceted cubist works. Georges Braque, Fernand Léger, Raymond Duchamp-Villon, Roger de La Fresnaye and Alexander Archipenko also contributed examples of their cubist works.

Cubism and modern European art was introduced into the United States at the now legendary 1913 Armory Show in <hl> New York City <hl>, which then traveled to Chicago and Boston. In the Armory show Pablo Picasso exhibited La Femme au pot de moutarde (1910), the sculpture Head of a Woman (Fernande) (1909–10), Les Arbres (1907) amongst other cubist works. 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). Francis Picabia exhibited his abstractions La Danse à la source and La Procession, Seville (both of 1912). Albert Gleizes exhibited La Femme aux phlox (1910) and L'Homme au balcon (1912), two highly stylized and faceted cubist works. Georges Braque, Fernand Léger, Raymond Duchamp-Villon, Roger de La Fresnaye and Alexander Archipenko also contributed examples of their cubist works.

Cubism and modern European art was introduced into the United States at the now legendary 1913 Armory Show in <hl> New York City <hl> , which then traveled to Chicago and Boston.


Question: Which 1907 piece did Picasso present in the show that introduced Cubism to the USA?

Answer: Les Arbres

Cubism and modern European art was introduced into the United States at the now legendary 1913 Armory Show in New York City, which then traveled to Chicago and Boston. <hl> In the Armory show Pablo Picasso exhibited La Femme au pot de moutarde (1910), the sculpture Head of a Woman (Fernande) (1909–10), Les Arbres (1907) amongst other cubist works. <hl> 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). Francis Picabia exhibited his abstractions La Danse à la source and La Procession, Seville (both of 1912). Albert Gleizes exhibited La Femme aux phlox (1910) and L'Homme au balcon (1912), two highly stylized and faceted cubist works. Georges Braque, Fernand Léger, Raymond Duchamp-Villon, Roger de La Fresnaye and Alexander Archipenko also contributed examples of their cubist works.

Cubism and modern European art was introduced into the United States at the now legendary 1913 Armory Show in New York City, which then traveled to Chicago and Boston. In the Armory show Pablo Picasso exhibited La Femme au pot de moutarde (1910), the sculpture Head of a Woman (Fernande) (1909–10), <hl> Les Arbres <hl> (1907) amongst other cubist works. 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). Francis Picabia exhibited his abstractions La Danse à la source and La Procession, Seville (both of 1912). Albert Gleizes exhibited La Femme aux phlox (1910) and L'Homme au balcon (1912), two highly stylized and faceted cubist works. Georges Braque, Fernand Léger, Raymond Duchamp-Villon, Roger de La Fresnaye and Alexander Archipenko also contributed examples of their cubist works.


Question: What 1910 piece did Albert Gleizes present in that show that introduced Cubism to the USA?

Answer: La Femme aux phlox

Cubism and modern European art was introduced into the United States at the now legendary 1913 Armory Show in New York City, which then traveled to Chicago and Boston. In the Armory show Pablo Picasso exhibited La Femme au pot de moutarde (1910), the sculpture Head of a Woman (Fernande) (1909–10), Les Arbres (1907) amongst other cubist works. 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). Francis Picabia exhibited his abstractions La Danse à la source and La Procession, Seville (both of 1912). <hl> Albert Gleizes exhibited La Femme aux phlox (1910) and L'Homme au balcon (1912), two highly stylized and faceted cubist works. <hl> Georges Braque, Fernand Léger, Raymond Duchamp-Villon, Roger de La Fresnaye and Alexander Archipenko also contributed examples of their cubist works.

Cubism and modern European art was introduced into the United States at the now legendary 1913 Armory Show in New York City, which then traveled to Chicago and Boston. In the Armory show Pablo Picasso exhibited La Femme au pot de moutarde (1910), the sculpture Head of a Woman (Fernande) (1909–10), Les Arbres (1907) amongst other cubist works. 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). Francis Picabia exhibited his abstractions La Danse à la source and La Procession, Seville (both of 1912). Albert Gleizes exhibited <hl> La Femme aux phlox <hl> (1910) and L'Homme au balcon (1912), two highly stylized and faceted cubist works. Georges Braque, Fernand Léger, Raymond Duchamp-Villon, Roger de La Fresnaye and Alexander Archipenko also contributed examples of their cubist works.


Question: What was the name of the 1909 Cubist sculpture Picassos created?

Cubist sculpture developed in parallel to Cubist painting. During the autumn of 1909 Picasso sculpted Head of a Woman (Fernande) with positive features depicted by negative space and vice versa. According to Douglas Cooper: "The first true Cubist sculpture was Picasso's impressive Woman's Head, modeled in 1909–10, a counterpart in three dimensions to many similar analytical and faceted heads in his paintings at the time." These positive/negative reversals were ambitiously exploited by Alexander Archipenko in 1912–13, for example in Woman Walking. Joseph Csaky, after Archipenko, was the first sculptor in Paris to join the Cubists, with whom he exhibited from 1911 onwards. They were followed by Raymond Duchamp-Villon and then in 1914 by Jacques Lipchitz, Henri Laurens and Ossip Zadkine.

Answer: Head of a Woman

Cubist sculpture developed in parallel to Cubist painting. <hl> During the autumn of 1909 Picasso sculpted Head of a Woman (Fernande) with positive features depicted by negative space and vice versa. <hl> According to Douglas Cooper: "The first true Cubist sculpture was Picasso's impressive Woman's Head, modeled in 1909–10, a counterpart in three dimensions to many similar analytical and faceted heads in his paintings at the time." These positive/negative reversals were ambitiously exploited by Alexander Archipenko in 1912–13, for example in Woman Walking. Joseph Csaky, after Archipenko, was the first sculptor in Paris to join the Cubists, with whom he exhibited from 1911 onwards. They were followed by Raymond Duchamp-Villon and then in 1914 by Jacques Lipchitz, Henri Laurens and Ossip Zadkine.

Cubist sculpture developed in parallel to Cubist painting. During the autumn of 1909 Picasso sculpted <hl> Head of a Woman <hl> (Fernande) with positive features depicted by negative space and vice versa. According to Douglas Cooper: "The first true Cubist sculpture was Picasso's impressive Woman's Head, modeled in 1909–10, a counterpart in three dimensions to many similar analytical and faceted heads in his paintings at the time." These positive/negative reversals were ambitiously exploited by Alexander Archipenko in 1912–13, for example in Woman Walking. Joseph Csaky, after Archipenko, was the first sculptor in Paris to join the Cubists, with whom he exhibited from 1911 onwards. They were followed by Raymond Duchamp-Villon and then in 1914 by Jacques Lipchitz, Henri Laurens and Ossip Zadkine.


Question: What Douglas Cooper call Picasso's 1909 Cubist sculpture?

Answer: The first true Cubist sculpture

Cubist sculpture developed in parallel to Cubist painting. During the autumn of 1909 Picasso sculpted Head of a Woman (Fernande) with positive features depicted by negative space and vice versa. <hl> According to Douglas Cooper: " The first true Cubist sculpture was Picasso's impressive Woman's Head, modeled in 1909–10, a counterpart in three dimensions to many similar analytical and faceted heads in his paintings at the time." <hl> These positive/negative reversals were ambitiously exploited by Alexander Archipenko in 1912–13, for example in Woman Walking. Joseph Csaky, after Archipenko, was the first sculptor in Paris to join the Cubists, with whom he exhibited from 1911 onwards. They were followed by Raymond Duchamp-Villon and then in 1914 by Jacques Lipchitz, Henri Laurens and Ossip Zadkine.

Cubist sculpture developed in parallel to Cubist painting. During the autumn of 1909 Picasso sculpted Head of a Woman (Fernande) with positive features depicted by negative space and vice versa. According to Douglas Cooper: "<hl> The first true Cubist sculpture <hl> was Picasso's impressive Woman's Head, modeled in 1909–10, a counterpart in three dimensions to many similar analytical and faceted heads in his paintings at the time." These positive/negative reversals were ambitiously exploited by Alexander Archipenko in 1912–13, for example in Woman Walking. Joseph Csaky, after Archipenko, was the first sculptor in Paris to join the Cubists, with whom he exhibited from 1911 onwards. They were followed by Raymond Duchamp-Villon and then in 1914 by Jacques Lipchitz, Henri Laurens and Ossip Zadkine.

According to Douglas Cooper: " <hl> The first true Cubist sculpture <hl> was Picasso's impressive Woman's Head, modeled in 1909–10, a counterpart in three dimensions to many similar analytical and faceted heads in his paintings at the time."


Question: Which Alexander Archipenko piece was similar to other Cubist scupltures of that time?

Answer: Woman Walking

Cubist sculpture developed in parallel to Cubist painting. During the autumn of 1909 Picasso sculpted Head of a Woman (Fernande) with positive features depicted by negative space and vice versa. According to Douglas Cooper: "The first true Cubist sculpture was Picasso's impressive Woman's Head, modeled in 1909–10, a counterpart in three dimensions to many similar analytical and faceted heads in his paintings at the time." <hl> These positive/negative reversals were ambitiously exploited by Alexander Archipenko in 1912–13, for example in Woman Walking . <hl> Joseph Csaky, after Archipenko, was the first sculptor in Paris to join the Cubists, with whom he exhibited from 1911 onwards. They were followed by Raymond Duchamp-Villon and then in 1914 by Jacques Lipchitz, Henri Laurens and Ossip Zadkine.

Cubist sculpture developed in parallel to Cubist painting. During the autumn of 1909 Picasso sculpted Head of a Woman (Fernande) with positive features depicted by negative space and vice versa. According to Douglas Cooper: "The first true Cubist sculpture was Picasso's impressive Woman's Head, modeled in 1909–10, a counterpart in three dimensions to many similar analytical and faceted heads in his paintings at the time." These positive/negative reversals were ambitiously exploited by Alexander Archipenko in 1912–13, for example in <hl> Woman Walking <hl>. Joseph Csaky, after Archipenko, was the first sculptor in Paris to join the Cubists, with whom he exhibited from 1911 onwards. They were followed by Raymond Duchamp-Villon and then in 1914 by Jacques Lipchitz, Henri Laurens and Ossip Zadkine.

These positive/negative reversals were ambitiously exploited by Alexander Archipenko in 1912–13, for example in <hl> Woman Walking <hl> .