It doesn't mean that I copied these photographs. The Futurists were also interested in somewhat the same idea, though I was never a Futurist. And of course the motion picture with its cinematic techniques was developing then too. The whole idea of movement, of speed, was in the air." Rather than depicting the subject matter classically, from one point of view, Metzinger has used a concept of 'mobile perspective' to portray the subject from a variety of angles. The images captured from multiple spatial view-points and at successive time intervals are shown simultaneously on the canvas. The anti-Hellenic concept of representing a subject from multiple view-points was a central idea of Jean Metzinger's "Note sur la Peinture", 1910. Indeed, prior to Cubism painters worked from the limiting factor of a single view-point. And it was Jean Metzinger, for the first time in "Note sur la peinture" who enunciated the stimulating interest in representing objects as remembered from successive and subjective experiences within the context of both space and time. In that article, Metzinger writes about the works of Robert Delaunay, Henri Le Fauconnier, Georges Braque and Pablo Picasso, noting that they "discarded traditional perspective and granted themselves the liberty of moving around objects." All four, according to Metzinger, held in common the notion of simultanety. This is the concept of "mobile perspective" that would tend towards the representation of the "total image." Though he does not discuss his own work in "Note sur la peinture", clearly at the time of writing he had already discarded classical perspective ("Nu", "Landscape" and "Nu à la cheminée (Nude)", c. 1908, 1909 and 1910 respectively) turning his attention fully towards the geometric abstraction of form. The idea exemplified in "La Femme au Cheval" of moving around an object in order to see it from different view-points was elaborated upon in "Du "Cubisme"" (1912), written in collaboration with Albert Gleizes. In addition to being illustrated in "Du "Cubisme"", Metzinger's "La Femme au Cheval" is also reproduced in "Les Peintres Cubistes" by Guillaume Apollinaire, 1913. Metzinger and Gleizes wrote with reference to non-Euclidean geometry in "Du "Cubisme"". It was argued that Cubism itself was not based on any geometrical theory, but that non-Euclidean geometry corresponded better than classical, or Euclidean geometry, to what the Cubsists were doing.