Focus on this artwork and explain the 1911 in brief.
Meetings at the studio of Henri Le Fauconnier include young painters who want to emphasise a research into form, in opposition to the Divisionist, or Neo-Impressionist emphasis on color. The hanging committee of the Salon des Indépendants ensure that the works of these painters with similar ambitions be shown together. Albert Gleizes, Jean Metzinger, Henri Le Fauconnier, Robert Delaunay, Fernand Léger and Marie Laurencin are shown together in Room 41 (Salle 41). Guillaume Apollinaire has become an enthusiastic supporter of the new group. The result of the exhibition is a major scandal.The public is outraged by the apparent obscurity of the subject matter, and the predominance of the elementary geometrical shapes, which give rise to the term 'Cubism'. Although the term 'cube' has been used before with respect to the works of Metzinger (1906), Delaunay and Metzinger (1907), and Georges Braque (1908), this is the first time the word 'Cubism' is used. The designation becomes widespread as an artistic movement.
The term "Cubisme" is accepted in June 1911 as the name of the new school by Guillaume Apollinaire, speaking in the context of the Brussels Indépendants which includes works by Gleizes, Delaunay, Léger, Le Fauconnier and André Dunoyer de Segonzac.
Over the Summer of 1911, Gleizes, living and working in Courbevoie, is in close contact with Metzinger, who has recently moved to Meudon. Gleizes paints Le Chemin, Paysage à Meudon. The two have extensive conversations about the nature of form and perception. Both are discontent with classical perspective, which they feel give only a partial idea of the subject matter as experienced in life, seen in movement and from many different angles.
Albert Gleizes André Dunoyer de Segonzac Cubism Fernand Léger Georges Braque Guillaume Apollinaire Henri Le Fauconnier Jean Metzinger Le Chemin, Paysage à Meudon Marie Laurencin Robert Delaunay Salon des Indépendants