Focus on Man with Pipe and analyze the Apollinaire or Max Jacob.
In his review of an exhibition at Galerie Der Sturm during the month of July, 1914, Guillaume Apollinaire writes of Metzinger’s Man with Pipe as a portrait of himself:Albert Gleizes, Jean Metzinger, Duchamp-Villon, and Jacques Villon are currently exhibiting at the Der Sturm gallery in Berlin. Jean Metzinger represents an extremely sophisticated art. He completes to perfection what he paints—not satisfying himself by drawing, he states. If Mr. Ingres, in spite of his considerable reputation, did not have somewhat restrained press, I would say he has the Japanese qualities of Ingresque painting. Fumeur, Tête de Femme, Marine, Nuit, Paysage, La Liseuse, and En Canot, which is with Fumeur cited above and said to be a portrait of myself, his masterpiece, this is what connoisseurs of the Spree will fight over with perseverance. (Apollinaire, Paris-Journal, 3 July 1914)
Metzinger had painted the portrait of Apollinaire on a prior occasion. Late 1909 or early 1910, Metzinger painted a Cubist portrait of Apollinaire. In his Vie anecdotique, 16 October 1911, the poet proudly writes: "I am honored to be the first model of a Cubist painter, Jean Metzinger, for a portrait exhibited in 1910 at the Salon des Indépendants." It was not only the first Cubist portrait, according to Apollinaire, but it was also the first great portrait of the poet exhibited in public, prior to others by Louis Marcoussis, Amedeo Modigliani, Pablo Picasso and Mikhail Larionov. Apollinaire became the subject of at least one other work by Metzinger; Étude pour le portrait d'Apollinaire, 1911 (Musée National d'Art Moderne, Paris).The model is seen smoking a pipe, as did Apollinaire, but Cubist portraits did not always accurately represent characteristics of the sitter. The pipe was a common theme in the poems of Stéphane Mallarmé and was used as a sexual device by several Cubists because of its phallic symbolism.  "The question of identity in Metzinger’s portraits is further obscured by their titles" writes Joann Moser, for example, "the study for the Portrait of Apollinaire would seem to be a study for the Portrait of an American Smoker… Although Apollinaire did smoke a pipe, the man portrayed in the drawing does not have the round cheeks and double chin characteristic of Apollinaire. The later Man with Pipe [Le Fumeur] would seem to resemble Apollinaire more closely, yet it is obviously the same sitter as Portrait of Max Jacob". (Moser, p. 44)
Metzinger’s study for the Portrait of Apollinaire, coupled with period photographs of the poet and Cubist portraits by other artists around 1912 and 1913, argue persuasively, according to the Carnegie Museum of Art, that Apollinaire was indeed the man in Metzinger's café. "Likenesses by Louis Marcoussis and Pablo Picasso, which simplify and caricature Apollinaire's features, emphasize the wide, rounded jaw line and almond-shaped eyes of Metzinger's subject. Assuming that Metzinger carried through with a portrait of Apollinaire, Man with Pipe would seem to be it".
Jean Metzinger Jacques Villon Louis Marcoussis Berlin Cubist Amedeo Modigliani En Canot Max Jacob Portrait of an American Smoker Guillaume Apollinaire Albert Gleizes Musée National d'Art Moderne Der Sturm Salon des Indépendants Carnegie Museum of Art Stéphane Mallarmé Mikhail Larionov Pablo Picasso