This well-orchestrated program showed that Cubism was still very much alive, and it would remain so for at least a half-decade. Missing from this sequence of exhibitions were Jacques Lipchitz (who would exhibit in 1920), and those who had left France during the Great War: Robert Delaunay and Albert Gleizes most obviously. Nonetheless, according to Christopher Green, "this was an astonishingly complete demonstration that Cubism had not only continued between 1914 and 1917, having survived the war, but was still developing in 1918 and 1919 in its "new collective form" marked by "intellectual rigor". In the face of such a display of vigour, it really was difficult to maintain convincingly that Cubism was even close to extinction". Further evidence to bolster the prediction made by Vauxcelles could have been found in a small exhibition at the Galerie Thomas (in a space owned by a sister of Paul Poiret, ). "The first exhibition of Purist Art" opened on 21 December 1918, with works by Amédée Ozenfant and Charles-Édouard Jeanneret (later called Le Corbusier), who claimed to be successors of pre-war Cubism. The beginnings of a Purist manifesto in book-form had been published to coincided with the exhibition, titled "Après le cubisme" (After Cubism):  The War over, everything organizes, everything is clarified and purified; factories rise, already nothing remains as it was before the War: the great Competition has tested everything and everyone, it has gotten rid of the aging methods and imposed in their place others that the struggle has proven their betters... toward rigor, toward precision, toward the best utilization of forces and materials, with the least waste, in sum a tendency toward purity. Ozenfant and Jeanneret felt that Cubism had become too decorative, practiced by so many individuals that it lacked unity, it had become too fashionable. Their clarity of subject matter (more figurative, less abstract than the Cubists) had been welcomed by members of the anti-Cubist camp. They showed works that were a direct result of observation; perspectival space only slightly distorted. Ozenfant and Jeanneret, like Lhote, remained faithful to the Cubist idiom that form should not be abandoned. Some of the works exhibited related directly to the Cubism practiced during the war (such as Ozenfant's "Bottle, Pipe and Books", 1918), with flattened planar structures and varying degrees of multiple perspective.