Focus on Man on a Balcony and analyze the Salon d'Automne, 1912.
The Salon d'Automne of 1912, held in Paris at the Grand Palais from 1 October to 8 November, saw the Cubists (listed below) regrouped into the same room XI. For the occasion, Danseuse au café was reproduced in a photograph published in an article entitled Au Salon d'Automne "Les Indépendants" in the French newspaper Excelsior, 2 Octobre 1912. Excelsior was the first publication to privilege photographic illustrations in 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.
The history of the Salon d'Automne is marked by two important dates: 1905, bore witness to the birth of Fauvism (with the participation of Metzinger), and 1912, the xenophobe and anti-modernist quarrel (with the participation of both Metzinger and Gleizes). The 1912 polemic leveled against both the French and non-French avant-garde artists originated in Salle XI where the Cubists exhibited their works. The resistance to avant-garde artists and foreigners (dubbed "apaches") was just the visible face of a more profound crises: that of defining modern French art, centered in Paris, and the dwindling of an artistic system crystallized around the heritage of Impressionism. Burgeoning was a new avant-garde system, the international logic of which—mercantile and médiatique—put into question the modern ideology elaborated upon since the late 19th century. What had begun as a question of aesthetics quickly turned political, and as in the 1905 Salon d'Automne, with his infamous "Donatello chez les fauves", the critic Louis Vauxcelles (Les Arts..., 1912) was most implicated in the deliberations. It was 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 the Chambre des députés and was debated at the Assemblée Nationale in Paris.
Albert Gleizes, exhibited l'Homme au Balcon (Man on a Balcony), (Portrait of Dr. Théo Morinaud) 1912 (Philadelphia Museum of Art), also exhibited at the Armory show, New York, Chicago, Boston, 1913.
Jean Metzinger entered three works: Dancer in cafe (Danseuse au café), La Plume Jaune (The Yellow Feather), Femme à l'Éventail (Woman with a Fan) (now at the Solomon R. Guggenheim Museum, New York), hung in the decorative arts section inside La Maison Cubiste (the Cubist House).
Fernand Léger exhibited La Femme en Bleu (Woman in Blue), 1912 (Kunstmuseum, Basel) and Le passage à niveau (The Level Crossing), 1912 (Fondation Beyeler, Riehen, Switzerland)
Roger de La Fresnaye, Les Baigneuse (The bathers) 1912 (The National Gallery, Washington) and Les joueurs de cartes (Card Players)
Henri Le Fauconnier, The Huntsman (Haags Gemeentemuseum, The Hague, Netherlands) and Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) 1912 (Museum of Art, Rhode Island School of Design).
André Lhote, Le jugement de Paris, 1912 (Private collection)
František Kupka, Amorpha, Fugue à deux couleurs (Fugue in Two Colors), 1912 (Narodni Galerie, Prague), and Amorpha Chromatique Chaude.
Francis Picabia, 1912, La Source (The Spring) (Museum of Modern Art, New York)
Alexander Archipenko, Family Life, 1912, sculpture
Amedeo Modigliani, exhibited four elongated and highly stylized heads, sculptures
Joseph Csaky exhibited the sculptures Groupe de femmes, 1911-1912 (location unknown), Portrait de M.S.H., no. 91 (location unknown), and Danseuse (Femme à l'éventail, Femme à la cruche), no. 405  (location unknown)This exhibition also featured La Maison cubiste. Raymond Duchamp-Villon designed facade of a 10 meter by 3 meter house, which included a hall, a living room and a bedroom. This installation was placed in the Art Décoratif section of the Salon d'Automne. The major contributors were André Mare, a decorative designer, Roger de La Fresnaye, Jacques Villon and Marie Laurencin. In the house were hung cubist paintings by Marcel Duchamp, Albert Gleizes, Fernand Léger, Roger de La Fresnaye, and Jean Metzinger (Woman with a Fan, 1912). Though in the Deco section of the Parisian salon, the installation would soon find its way into the Cubist room at the 1913 Armory Show in New York City.
photojournalism Jacques Villon André Mare Louis Vauxcelles Amedeo Modigliani Danseuse (Femme à l'éventail, Femme à la cruche) Excelsior Boston Lhote Chicago Roger de La Fresnaye Albert Gleizes La Maison Cubiste Alexander Archipenko Fauvism Impressionism Marie Laurencin Salon d'Automne Marcel Duchamp Groupe de femmes Dancer in cafe (Danseuse au café) Chambre des députés New York City Joseph Csaky František Kupka Jean Metzinger Francis Picabia Armory show Philadelphia Fernand Léger Henri Le Fauconnier Armory Show André Lhote Salon des Indépendants Raymond Duchamp-Villon Philadelphia Museum of Art