In this artwork, how is the Criticism of the Salon d'Automne, 1913 elucidated?
In a review of the 1913 Salon d'Automne published in The Burlington magazine for Connoisseurs, the critic Robert E. Dell writes:As for the ultra-orthodox Cubists such as M. Gleizes, they are becoming very tiresome. Someone who knows M. Eugène Figuière assured me that he saw a strong resemblance in M. Gleizes's portrait of that eminent publisher, who must, in that case, be made of gun-metal or some similar substance. It may be my stupidity, but I cannot understand what this sort of thing means or what the artist is driving at. There are a few other paintings which may, presumably, be called Cubist in default of any better name, which are merely patterns in bright colours, such as M. Picabia's and M. Metzinger's. One of M. Metzinger's pictures is a puzzle made up of a leg, an arm, a hat, a parasol, and various other objects, and is called En Canot. These patterns have certain decorative qualities and might do for a carpet or a hanging, but they are absurd in frames, and it is a mere affectation to give them titles.
En Canot Salon d'Automne