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74-452: La Maison Cubiste ( The Cubist House ), also called Projet d'hôtel , was an architectural installation in the Art Décoratif section of the 1912 Paris Salon d'Automne which presented a Cubist vision of architecture and design. Critics and collectors present at the exhibition were confronted for the first time with the prospect of a Cubist architecture. The facade was designed by

148-479: A basis for the general public's understanding of the new art. This was the idea behind Jourdain's dream of opening a new "Salon des Refusés" in the late 1890s, and realized in the opening the Salon d'Automne in 1903. Providing a venue where unknown artists could be recognized, while 'wrestling' the public out of its complacency were, to Jourdain, the greatest contributions to society the critic could make. The platform of

222-562: A church to a drawing-room , from a museum to a study. Essentially independent, necessarily complete, it need not immediately satisfy the mind: on the contrary, it should lead it, little by little, towards the fictitious depths in which the coordinative light resides. It does not harmonize with this or that ensemble; it harmonizes with things in general, with the universe: it is an organism..." "Mare's ensembles were accepted as frames for Cubist works because they allowed paintings and sculptures their independence", wrote Christopher Green, "creating

296-619: A liberty or wideness of expression unattained through several centuries of painting. (Huntly Carter, 1911) The Salon d'Automne of 1912 was held in Paris at the Grand Palais from 1 October to 8 November. The Cubists (a group of artists now recognized as such) were regrouped into the same room, XI. The 1912 polemic leveled against both the French and non-French avant-garde artists originated in Salle XI of

370-582: A long review in the April 20, 1911, issue of L'Intransigeant . Thus Cubism spread into the literary world of writers, poets, critics, and art historians. Apollinaire took Picasso to the opening of the Salon d'Automne in 1911 to see the cubist works in Room 7 and 8. Albert Gleizes writes of the Salon d'Automne of 1911: "With the Salon d'Automne of that same year, 1911, the fury broke out again, just as violent as it had been at

444-416: A new movement in painting, perhaps the most remarkable in modern times, It revealed not only that artists are beginning to recognise the unity of art and life, but that some of them have discovered life is based on rhythmic vitality, and underlying all things is the perfect rhythm that continues and unites them. Consciously, or unconsciously, many are seeking for the perfect rhythm, and in so doing are attaining

518-489: A plaster bust, Œsope (no. 498 and 499). His brother Jacques Villon exhibited six works. Kees van Dongen showed three works, Montmartre (492), Mademoiselle Léda (493) and Parisienne (494). André Derain exhibited Westminster-Londres (438), Arbres dans un chemin creux (444) and several other works painted at l'Estaque . Retrospective exhibitions at the 1906 Salon d'Automne included Gustave Courbet , Eugène Carrière (49 works) and Paul Gauguin (227 works). At

592-507: A play of contrasts, hence the involvement not only of Gleizes and Metzinger themselves, but of Marie Laurencin, the Duchamp brothers (Raymond Duchamp-Villon designed the facade) and Mare's old friends Léger and Roger La Fresnaye". For the occasion, an article entitled Au Salon d'Automne "Les Indépendants" was published in the French newspaper Excelsior , 2 Octobre 1912. Excelsior was the first publication to privilege photographic illustrations in

666-587: A radical departure further still. I have in front of me a small cutting from an evening newspaper, The Press , on the subject of the 1910 Salon d'Automne. It gives a good idea of the situation in which the new pictorial tendency, still barely perceptible, found itself: The geometrical fallacies of Messrs. Metzinger, Le Fauconnier, and Gleizes . No sign of any compromise there. Braque and Picasso only showed in Kahnweiler's gallery and we were unaware of them. Robert Delaunay, Metzinger and Le Fauconnier had been noticed at

740-568: A thick impasto and larger brushstrokes. At the same exhibition Paul Cézanne was represented by ten works. He wouldn't live long enough to see the end of the show. Cézanne died 22 October 1906 (aged 67). His works included Maison dans les arbres (no. 323), Portrait de Femme (no. 235) and Le Chemin tournant (no. 326). Constantin Brâncuși entered three plaster busts: Portrait de M. S. Lupesco , L'Enfant and Orgueil (no. 218 - 220). Raymond Duchamp-Villon exhibited Dans le Silence (bronze) and

814-477: Is absolutely splendid for us, really splendid. People will see Cubism in its domestic setting, which is very important." The facade of the house ( Façade architecturale ), designed by Raymond Duchamp-Villon, was not very radical by modern standards; the lintels and pediments had prismatic shapes, but otherwise the facade resembled an ordinary house of the period. The rooms were furnished in a bourgeois, colorful, and rather traditional manner, particularly compared with

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888-726: The Chambre des députés (and was debated at the Assemblée Nationale in Paris). In his 1921 essay on the Salon d'Automne, published in Les Echos (p. 23), founder Frantz Jourdain denouncing aesthetic snobbery, writes that the saber-rattling revolutionaries dubbed the Cubists , Futurists and Dadaists were actually crusty reactionaries who scorned modern progress and revealed contempt for democracy, science, industry and commerce. For Jourdain,

962-573: The Salon d'Automne was based on an open admission, welcoming artists in all areas of the arts. Jurors were members of society itself, not members of the Academy, the state, or official art establishments. Refused exhibition space in the Grand Palais , the first Salon d'Automne was held in the poorly lit, humid basement of the Petit Palais . It was backed financially by Jansen. While Rodin applauded

1036-526: The article wizard to submit a draft for review, or request a new article . Search for " Excelsior (journal) " in existing articles. Look for pages within Misplaced Pages that link to this title . Other reasons this message may be displayed: If a page was recently created here, it may not be visible yet because of a delay in updating the database; wait a few minutes or try the purge function . Titles on Misplaced Pages are case sensitive except for

1110-575: The proto-Cubists ( Georges Braque , Jean Metzinger , Albert Gleizes , Henri Le Fauconnier , Fernand Léger and Robert Delaunay ); the Cubists , the Orphists , and Futurists . In his defense of artistic liberty, Jourdain attacked not individuals, but institutions, such as the Société Nationale des Beaux-Arts, the Société des Artistes Français , and the École des Beaux-Arts (Paris), recognized as

1184-517: The 'modern spirit' signified more than a preference for Cézanne over Gérome . Needed was a clear understanding of one's epoch, its needs, its beauty, its ambience, its essence. 1 October through 8 November 1912, in excess of 1,770 works were displayed at the 10th Salon d'Automne. Paul Gallimard organized the exhibition of 52 books. The poster for the 1912 show was made by Pierre Bonnard . Sessions of chamber music took place every Friday. Morning literary sessions were held every Wednesday. The cost of

1258-619: The 1904 Salon d'Automne was dedicated to Paul Cézanne , with thirty-one works, including various portraits, self-portraits, still lifes, flowers, landscapes and bathers (many from the collection of Ambroise Vollard , including photographs taken by the artist, exhibited in the photography section). Another room presented works of Puvis de Chavannes , with 44 works. And another was dedicated to Odilon Redon with 64 works, including paintings, drawings and lithographs. Auguste Renoir and Henri de Toulouse-Lautrec too were represented in separate rooms with 35 and 28 works respectively. After viewing

1332-788: The 1904 Salon d'Automne, held at the Grand Palais 15 October to 15 November, Jean Metzinger , exhibited three paintings entitled Marine (Le Croisic), Marine (Arromanches), Marine (Houlgate) (no. 907-909); Robert Delaunay , 19 years of age, exhibited his Panneau décoratif (l'été) (no. 352 of the catalogue). Albert Gleizes exhibited two paintings, Vieux moulin à Montons-Villiers (Picardie 1902) and Le matin à Courbevoie (1904) , (no. 536, 537). Henri Matisse presented fourteen works (607-620). Kees van Dongen presented two works, Jacques Villon , three paintings, Francis Picabia three, Othon Friesz four, Albert Marquet seven, Jean Puy five, Georges Rouault eight paintings, Maufra ten, Manguin five, Vallotton three, and Valtat three. A room at

1406-500: The 1912 exhibition. "He saw in it important solutions for the problem of building with cement." Le Corbusier subsequently exhibited his model for Maison Citrohan (a mass production prototype) at the Salon d'Automne of 1922. He later built the Pavillon de l'Esprit Nouveau for the L'Exposition internationale des arts décoratifs et industriels modernes , 1925, Paris, the event which gave Art Deco its name. The undecorated rectangular box of

1480-455: The 1925 Exposition des Arts Decoratifs , which gave Art Deco its name, and later designed the interiors of famous French transatlantic ocean liners, including the SS Île de France . It was an early example of art décoratif , a home within which Cubist art could be displayed in the comfort and style of modern, bourgeois life. Cubism was recognized as significant to a broad range of applications, beyond

1554-504: The Bld de Montparnasse, where he is working on his ambitious allegorical painting entitled L'Abondance . "In this painting" writes Brooke, "the simplification of the representational form gives way to a new complexity in which foreground and background are united and the subject of the painting obscured by a network of interlocking geometrical elements". This exhibition preceded the 1911 Salon des Indépendants which officially introduced "Cubism" to

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1628-501: The Cubist exhibition, and as in the 1905 Salon d'Automne, the critic Louis Vauxcelles (in Les Arts..., 1912) was most implicated in the deliberations. It was also Vauxcelles who, on the occasion of the 1910 Salon des Indépendants, wrote disparagingly of 'pallid cubes' with reference to the paintings of Metzinger, Gleizes, Le Fauconnier, Léger and Delaunay. On 3 December 1912 the polemic reached

1702-505: The Czech Republic. Salon d%27Automne Perceived as a reaction against the conservative policies of the official Paris Salon , this massive exhibition almost immediately became the showpiece of developments and innovations in 20th-century painting , drawing , sculpture , engraving , architecture and decorative arts . During the Salon's early years, established artists such as Pierre-Auguste Renoir threw their support behind

1776-857: The Esprit Nouveau Pavilion, however, bore no resemblance to the Cubist House. No buildings like the Cubist House were built in France, but the model did have an impact in Czechoslovakia (now the Czech Republic ) then part of the Austro-Hungarian Empire , where architects wanted to show their independence from the Viennese style. In 1913 the Czech architect Pavel Janák was commissioned to reconstruct

1850-558: The Indépendants." He writes: "The painters were the first to be surprised by the storms they had let loose without intending to, merely because they had hung on the wooden bars that run along the walls of the Cours-la-Reine, certain paintings that had been made with great care, with passionate conviction, but also in a state of great anxiety." It was from that moment on that the word Cubism began to be widely used. [...] Never had

1924-700: The Salon d'Automne of 1912, with La Maison Cubiste , the collaborative effort of the designer André Mare , Raymond Duchamp-Villon and other artists associated with the Section d'Or . Henri Matisse exhibited La Danse at the Salon d'Automne of 1910. In Room 7 and 8 of the 1911 Salon d'Automne, held 1 October through November 8, at the Grand Palais in Paris, hung works by Metzinger ( Le goûter (Tea Time) ), Henri Le Fauconnier , Fernand Léger , Albert Gleizes , Roger de La Fresnaye , André Lhote , Jacques Villon , Marcel Duchamp , František Kupka , Alexander Archipenko , Joseph Csaky and Francis Picabia . The result

1998-500: The Salon d'Automne where the Cubists, among whom were several non-French citizens, exhibited their works. The resistance to both foreigners and avant-garde art was part of a more profound crisis: that of defining modern French art in the wake of Impressionism centered in Paris. Placed into question was the modern ideology elaborated upon since the late 19th century. What had begun as a question of aesthetics quickly turned political during

2072-459: The Salon des Indépendants in the spring of 1905. Two large retrospectives occupied adjacent rooms at the 1905 Salon d'Automne: one of Jean-Auguste-Dominique Ingres and the other Édouard Manet . Despite the reputation for the contrary, the Salon d'Automne in 1905 was rather well received by the press, including critical praise for the Ingres and Manet retrospectives. The artists exhibiting were for

2146-590: The Salon des Indépendants of that same year, 1910, without a label being fixed on them. Consequently, although much effort has been put into proving the opposite, the word Cubism was not at that time current. (Albert Gleizes, 1925) In a review of the Salon, the poet Roger Allard (1885-1961) announces the appearance of a new school of French painters concentrating their attention on form rather than on color. A group forms that includes Gleizes, Metzinger, Delaunay (a friend and associate of Metzinger), and Fernand Léger. They meet regularly at Henri le Fauconnier's studio near

2220-410: The accent on Gauguin and Cézanne (both perceived as retrogressive), from academics who resisted attention given to the decorative arts, and soon, from the Cubists, who suspected the jurors favoring of Fauvism at their expense. Even Paul Signac , president of the Salon des Indépendants , never forgave Jourdain for having founded a rival salon. What he had not predicted was a retaliation that threatened

2294-549: The autumn season for the exhibition was strategic in several ways: it not only allowed artists to exhibit canvases painted outside ( en plein air ) during the summer, it stood out from the other two large salons (the Société Nationale des Beaux-Arts and Salon des artistes français ) which took place in the spring. The Salon d'Automne is distinguished by its multidisciplinary approach, open to paintings, sculptures, photographs (from 1904), drawings, engravings, applied arts, and

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2368-474: The birth of Fauvism ; 1910 witnessed the launch of Cubism ; and 1912 resulted in a xenophobic and anti-modernist quarrel in the National Assembly (France) . The aim of the salon was to encourage the development of the fine arts , to serve as an outlet for young artists (of all nationalities), and a platform to broaden the dissemination of Impressionism and its extensions to a popular audience. Choosing

2442-443: The boldly colored canvases of Henri Matisse , André Derain , Albert Marquet , Maurice de Vlaminck , Kees van Dongen , Charles Camoin , and Jean Puy at the Salon d'Automne of 1905, the critic Louis Vauxcelles disparaged the painters as " fauves " (wild beasts), thus giving their movement the name by which it became known, Fauvism . Vauxcelles described their work with the phrase " Donatello chez les fauves" ("Donatello among

2516-486: The bounds of fine art. The movement opened the way toward new possibilities, a modern geometrical vision that could be adapted to architecture, interior design, graphic arts, fashion and industrial design; the basis of Art Deco . Mare called the living room in which Cubist paintings were hung the Salon Bourgeois . Léger described this name as 'perfect'. In a letter to Mare prior to the exhibition Léger writes: "Your idea

2590-1090: The catalogue was 1 French Franc. The decoration of the Salon d'Automne had been entrusted to the department store Printemps . Excelsior (journal) Look for Excelsior (journal) on one of Misplaced Pages's sister projects : [REDACTED] Wiktionary (dictionary) [REDACTED] Wikibooks (textbooks) [REDACTED] Wikiquote (quotations) [REDACTED] Wikisource (library) [REDACTED] Wikiversity (learning resources) [REDACTED] Commons (media) [REDACTED] Wikivoyage (travel guide) [REDACTED] Wikinews (news source) [REDACTED] Wikidata (linked database) [REDACTED] Wikispecies (species directory) Misplaced Pages does not have an article with this exact name. Please search for Excelsior (journal) in Misplaced Pages to check for alternative titles or spellings. You need to log in or create an account and be autoconfirmed to create new articles. Alternatively, you can use

2664-541: The catalogue). Matisse exhibited his Liseuse , two still lifes ( Tapis rouge and à la statuette ), flowers and a landscape (no. 1171-1175) Robert Antoine Pinchon showed his Prairies inondées ( Saint-Étienne-du-Rouvray , près de Rouen ) (no. 1367), now at the Musée de Louviers . Pinchon's paintings of this period are closely related to the Post-Impressionist and Fauvist styles, with golden yellows, incandescent blues,

2738-424: The clarity of its layout, more or less per school. Foreign artists are particularly well represented. The Salon d'Automne also boasts the presence of a politician and patron of the arts, Olivier Sainsère as a member of the honorary committee. For Frantz Jourdain , public exhibitions served an important social function by providing a forum for unknown, innovative, emerging ( éminents ) artists, and for providing

2812-507: The course of time. Once launched at the 1910 Salon d'Automne, the new movement would rapidly spread throughout Paris. Convinced that exposure to the work of German designers would prompt healthy competition in the decorative arts, Frantz Jourdain invited artists, architects, designers, and industrialists from the Munich-based Deutscher Werkbund to exhibit at the 1910 salon. "Our art menaced by Bavarian decorators" read

2886-409: The critics been so violent as they were at that time. From which it became clear that these paintings - and I specify the names of the painters who were, alone, the reluctant causes of all this frenzy: Jean Metzinger, Le Fauconnier, Fernand Léger, Robert Delaunay and myself - appeared as a threat to an order that everyone thought had been established forever. In nearly all the papers, all composure

2960-411: The endeavor, and submitted drawings, he refused to join doubting it would succeed. Notwithstanding, the first Salon d'Automne , which included works by Matisse, Bonnard and other progressive artists, was unexpectedly successful, and was met with wide critical acclaim. Jourdain, familiar with the multifaceted world of art, predicted accurately the triumph would arouse animosity: from artist who resented

3034-423: The exhibition of 1907, held from 1 to 22 October, hung a painting by Georges Braque entitled Rochers rouges (no. 195 of the catalogue). Though this painting remains difficult to identify, it may be La Ciotat ( The Cove ). Jean Metzinger exhibited two landscapes (no. 1270 and 1271), also difficult to identify. At this 1907 salon the drawings of Auguste Rodin were featured. There were also retrospectives of

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3108-451: The exhibition of 1908 at the Grand Palais des Champs-Élysées Matisse exhibited 30 works. At the 1909 exhibition (1 October through 8 November), Henri le Fauconnier exhibited a proto-Cubist portrait of the French writer, novelist and poet Pierre Jean Jouve , drawing the attention of Albert Gleizes who had been working in a similar geometric style. Constantin Brâncuși exhibited alongside Metzinger, Le Fauconnier and Fernand Léger . At

3182-479: The exhibition of 1910, held from 1 October to 8 November at the Grand Palais des Champs-Élysées, Paris, Jean Metzinger introduced an extreme form of what would soon be labeled 'Cubism', not just to the general public for the first time, but to other artists that had no contact with Picasso or Braque. Though others were already working in a proto-Cubist vein with complex Cézannian geometries and unconventional perspectives, Metzinger's Nu à la cheminée (Nude) represented

3256-632: The exhibition. Following this salon Metzinger wrote the article Notes sur la peinture , in which he compares the similarities in the works Picasso, Braque, Delaunay, Gleizes and Le Fauconnier. In doing so he enunciated for the first time what would become known as the characteristics of Cubism : notably the notions of simultaneity, mobile perspective. In this seminal text Metzinger stressed the distance between their works and traditional perspective. These artists, he wrote, granted themselves 'the liberty of moving around objects', and combining many different views in one image, each recording varying experiences over

3330-520: The facade of a large baroque house, the Fara House in the town of Pelhrimov in south Bohemia, in the cubist style. Janák redid the baroque facade by adding angular geometric forms similar to those on the model of the cubist house in Paris. Because of this quest for architectural independence from Austria, many art deco houses, mostly in the later more typical Deco style, are found in Prague and other cities in

3404-437: The face of the public", wrote the critic Camille Mauclair (1872–1945)—but also some favorable attention. One of the paintings singled out for attack was Matisse's Woman with a Hat . This work's purchase by Gertrude and Leo Stein had a very positive effect on Matisse, who had been demoralized from the bad reception of his work. Matisse's Neo-Impressionist landscape, Luxe, Calme et Volupté , had already been exhibited at

3478-677: The foremost school of art. In addition to his role as an influential art critic prior to the creation of the Salon d'Automne , Jourdain was a member of the Decorative Arts jury at the Chicago World's Fair (1893) , the Brussels International (1897) and the Paris Exposition Universelle (1900) . Jourdain clearly outlined the dangers of following the academic path in his review of the 1889 Exposition, while pointing out

3552-429: The forms suggested by a man or woman." When the art collector Michael Stein, brother of Gertrude Stein , first introduced the work of Duchamp-Villon to Pach, he noted that it would be "admirably suited to the needs of building with concrete". Pach agreed. But speaking with the sculptor convinced Pach that this style had its first application to building with stone, and that it emerged from "an appreciation and solution of

3626-464: The future of the new salon. Carolus-Duran (president of the Société Nationale des Beaux-Arts) threatened to ban from his Société established artists who might consider exhibiting at the Salon d'Automne . Retaliating in defense of Jourdain, Eugène Carrière (a respected artistic figure) issued a statement that if forced to choose, he would join the Salon d'Automne and resign from the Société Nationale des Beaux-Arts. The valuable publicity generated by

3700-455: The greatest heights of personal expression." Carter continues: It was at the Salon d'Automne, amid the Rhythmists, I found the desired sensation. The exuberant eagerness and vitality of their region, consisting of two rooms remotely situated, was a complete contrast to the morgue I was compelled to pass through in order to reach it. Though marked by extremes, it was clearly the starting point of

3774-408: The headline of the journal Le Radical (12 May 1910). This scandal, in addition to the non-French status of the authors in a time of growing nationalism, aroused the old polemic of exhibiting low-cost production objects, mass-produced items, simply designed furniture and interior decoration, in the context of a salon dedicated to art. Industrial art had never before been so controversial. The exhibition

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3848-481: The house was a great success in emphasizing the role of Cubism as an alternative to traditional art and design. The scandal in the press caused by the paintings displayed there was a major contributor to the popularity of Cubist art. Thanks largely to the popularity of the exposition, the term "Cubist" began to be applied to anything modern, from women's haircuts to clothing to theater performances. Le Corbusier had reportedly been enthused by La Maison Cubiste during

3922-520: The largest building as well as the smallest, it seems to clearly fix the type of our ideal. Before a photograph of the sky-scrapers of Manhattan Island, Raymond Duchamp-Villon said that he saw the possibilities of the modern cathedral. (Walter Pach, 1913) It is difficult to measure the influence of the Maison Cubiste. No actual house following the same design was ever built, and later Deco and modernist residences followed very different models. However,

3996-413: The modern era. "[T]his work of M. Duchamp-Villon's is an example of what possibilities are contained in a style like the present one whose philosophy is a base", writes Pach, "not a limitation." Continuing, Pach writes, "His work in architecture is by no means a turning aside from his sculpture, but a furthering of it. In the present facade he has simply a "subject" whose organization was to be developed from

4070-673: The most part known, even the most innovative who a few months before exhibited at the Berthe Weill Gallery. However, a few critics reacted violently, both in the daily press aimed at a wide audience; and in the specialized press, some of whom were active advocates of symbolism, and vehemently detested the rise of the new generation. The exhibition of 1906 was held from 6 October to 15 November. Jean Metzinger exhibited his Fauvist/ Divisionist Portrait of M. Robert Delaunay (no. 1191) and Robert Delaunay exhibited his painting L'homme à la tulipe (Portrait of M. Jean Metzinger) (no. 420 of

4144-434: The new exhibition and even Auguste Rodin displayed several works. Since its inception, works by artists such as Paul Cézanne , Henri Matisse , Paul Gauguin , Georges Rouault , André Derain , Albert Marquet , Jean Metzinger , Albert Gleizes and Marcel Duchamp have been shown. In addition to the 1903 inaugural exhibition, three other dates remain historically significant for the Salon d'Automne : 1905 bore witness to

4218-406: The new problem of steel and stone." The final word I would speak about this architecture is its quality of response to the needs of America. We have yet enormous areas that will be built up into cities, we are going to tear down and rebuild most of the edifices, that already exist. With the freedom that this order gives to individual development and with its possibilities of expansion to make it suit

4292-494: The paintings. The critic Emile Sedeyn described Mare's work in the magazine Art et Décoration : "He does not embarrass himself with simplicity, for he multiplies flowers wherever they can be put. The effect he seeks is obviously one of picturesqueness and gaiety. He achieves it." The Cubist element was provided by the paintings. Despite its tameness, the installation was attacked by some critics as extremely radical, which helped make for its success. This architectural installation

4366-488: The potentials in the art of engineers, aesthetics, the fusion with decorative arts and the need for social reform. He soon became well known as a staunch critic of traditionalism and a fervent proponent of Modernism , yet even for him, the Cubists had gone too far. The first Salon d'Autumne exhibition opened 31 October 1903 at the Palais des Beaux-Arts de la Ville de Paris ( Petit Palais des Champs-Élysées ) in Paris. Included in

4440-461: The press articles on the controversy worked in favor of the Salon d'Automne . Thus, Eugène Carrière saved the burgeoning salon. Henri Marcel, sympathetic to the Salon d'Automne , became director of the Beaux-Arts, and assured it would take place at the prestigious Grand Palais the following year. The success of the Salon d'Automne was not, however, due to such controversy. Success was due to

4514-619: The public as an organized group movement. Metzinger had been close to Picasso and Braque, working at this time along similar lines. Metzinger, Henri Le Fauconnier and Fernand Léger exhibited coincidentally in Room VIII. This was the moment in which the Montparnasse group quickly grew to include Roger de La Fresnaye , Alexander Archipenko and Joseph Csaky . The three Duchamp brothers, Marcel Duchamp , Jacques Villon and Raymond Duchamp-Villon , and another artist known as Picabia took part in

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4588-577: The rooms. The decoration featured bright colors and floral patterns, particularly stylized garlands and bouquets of roses, which became one of the major themes of early Art Deco. The fame of the Maison Cubiste launched the career of Mare; after the First World War, he co-founded a design company, the Compagnie des arts Francais , with Louis Suë. He designed two major pavilions and the main entrance of

4662-399: The salon. Thousands of spectators at the salon passed through the full-scale model. While the facade and paintings in the installation were inspired by cubism, the decoration of the interior, by André Mare , was also one of the first important examples of Art Deco . Mare, a painter, worked with a group of artists to design the wallpaper, upholstery, cushions, carpets and other decoration of

4736-515: The sculptor Raymond Duchamp-Villon . The interior design of the house was conceived by the painter and designer André Mare , in collaboration with Cubist artists from the Section d'Or group. La Maison Cubiste had a 10 by 8 meter plaster facade with highly geometric trim, behind which were two furnished rooms; a living room ( Salon Bourgeois ) and a bedroom. Paintings by Albert Gleizes , Jean Metzinger , Marie Laurencin , Marcel Duchamp , Fernand Léger and Roger de La Fresnaye were hung in

4810-587: The show were the works of Pierre Bonnard , Coup de vent , Le magasin de nouveautés , Étude de jeune femme (no. 62, 63 and 64); Albert Gleizes , A l'ombre (l'Ile fleurie) , Le soir aux environs de Paris (no. 252, 253); Henri Matisse , Dévideuse picarde (intérieur) , Tulipes (386, 387), along with paintings by Francis Picabia , Jacques Villon , Édouard Vuillard , Félix Vallotton , Maxime Maufra , Henri Manguin , Armand Guillaumin , Henri Lebasque , Gustave Loiseau , Albert Marquet , Eugene Chigot with an homage to Paul Gauguin who died May 8, 1903. At

4884-468: The treatment of news media; shooting photographs and publishing images in order to tell news stories. As such L'Excelsior was a pioneer of photojournalism . Walter Pach , president of the landmark 1913 exhibition known as the Armory Show, wrote a pamphlet for the occasion, "A Sculptor’s Architecture", in which he discussed Duchamp–Villon's La Maison Cubiste as exemplary of a new architectural style for

4958-522: The tremendous impact of its exhibitions on both the art world and the general public, extending from 1903 to the outset of the First World War . Each successive exhibition denoted a significant phase in the development of modern art: Beginning with retrospectives of Gauguin, Cézanne and others; the influence such would have on the art that would follow; the Fauves ( André Derain , Henri Matisse ); followed by

5032-476: The viewers saw first hand, and many for the first time, what had been done abroad, opened up a potential of what could be done in the field of decorative arts at home. Jourdain had successfully staged the German show to provoke French designers into improving the quality of their own work. The effects would be felt in Paris, first with the 1912 exhibition of French decorative arts at the Pavillon de Marsan , then again at

5106-626: The wild beasts"), contrasting the "orgy of pure tones" with a Renaissance -style sculpture that shared the room with them. Henri Rousseau was not a Fauve, but his large jungle scene The Hungry Lion Throws Itself on the Antelope was exhibited near Matisse's work and may have had an influence on the pejorative used. Vauxcelles' comment was printed on 17 October 1905 in Gil Blas , a daily newspaper, and passed into popular usage. The pictures gained considerable condemnation—"A pot of paint has been flung in

5180-764: The works of Berthe Morisot (174 works) and Jean-Baptiste Carpeaux (149 works), and a Paul Cézanne retrospective exhibition which included 56 works as a tribute to the painter who died in 1906. Apollinaire referred to Matisse as the "fauve of fauves". Works by both Derain and Matisse are criticized for the ugliness of their models. Braque and Le Fauconnier are considered as Fauves by the critic Michel Puy (brother of Jean Puy ). Robert Delaunay showed one work, Bela Czobel showed one work André Lhote showed three, Patrick Henry Bruce three, Jean Crotti one, Fernand Léger five, Duchamp-Villon two, Raoul Dufy three, André Derain exhibited three paintings and Matisse seven works. For

5254-484: Was a public scandal which brought Cubism to the attention of the general public for the second time. The first was the organized group showing by Cubists in Salle 41 of the 1911 Salon des Indépendants . In room 41 hung the work of Gleizes, Metzinger, Léger, Delaunay, Le Fauconnier and Archipenko. Articles in the press could be found in Gil Blas , Comoedia , Excelsior , Action , L'Œuvre , Cri de Paris . Apollinaire wrote

5328-462: Was lost. The critics would begin by saying: there is no need to devote much space to the Cubists, who are utterly without importance and then they furiously gave them seven columns out of the ten that were taken up, at that time, by the Salon. (Gleizes, 1925) Reviewing the Salon d'Automne of 1911, Huntly Carter in The New Age writes that "art is not an accessory to life; it is life itself carried to

5402-408: Was reviewed in all the major journals. Louis Vauxcelles added to the crisis in a Gil Blas article. The exhibition was an enormous success in that it served to catalyze anew designers, decorators, artists and architects in France, who prior to the 1910 Salon d'Automne had been lagging behind in the design sector. It also catalyzed public opinion, formerly interested solely in paintings. The fact that

5476-523: Was subsequently exhibited at the 1913 Armory Show , New York, Chicago and Boston. Metzinger and Gleizes in Du "Cubisme" , written during the assemblage of La Maison Cubiste , described the autonomous nature of art, stressing the point that decorative considerations should not govern the spirit of art. Decorative work was called the "antithesis of the picture". "The true picture" wrote Metzinger and Gleizes, "bears its raison d'être within itself. It can be moved from

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