They now used glue to paste the detritus of everyday life, including newsprint, advertisements, cheap wallpaper, and other cut items into their cubist still lifes. In 1912 Braque and Picasso took cubism in a new direction with their invention of collage. Additionally, Braque until spring 1909 and Gris until 1912 exhibited their emerging cubism at the public salons.Ī 'second wave' of foreign artists joined the movement after 1911, including painters Louis Marcoussis (1883–1941), Alice Halicka (1895–1975), Francis Picabia (1879–1953), and sculptors Alexander Archipenko (1887–1964), Henri Laurens (1885–1954), and Jacques Lipchitz (1891–1973). Before 1912, the work of Picasso and Braque was also visible at Uhde's gallery, where Picasso had a show in May 1910 another Picasso exhibition appeared at Ambroise Vollard's gallery in December 1910–February 1911.

Kahnweiler also campaigned to exhibit his artists' work outside of Paris, where it was shown together with many of the salon cubists, for instance in exhibitions before 1914 in Lyons, Amsterdam, Munich, Budapest, Moscow, London, New York, Chicago, and Boston. By 1912 Kahnweiler had signed exclusive contracts with these artists, restricting them from exhibiting anywhere in Paris other than their studios or his gallery. From 1909 to 1913, Braque and Picasso developed their version of cubism in close collaboration, with small-scale still lifes and intimate half-length portraits as their preferred motifs. In the heyday of cubism, Picasso, Braque, and Gris used a private dealer, Daniel-Henry Kahnweiler (1884–1979). These subjects sometimes had a political inflection: for instance, Gleizes's paintings of Gothic cathedrals in 1912–1913 registered his allegiance to the French Celtic League, while Le Fauconnier's Abundance is an allegorical symbol not only of France but of French Catholicism. Paintings by the salon cubists were frequently monumental in scale andĭepicted public events or well-known edifices identified with modern Paris or the history of France. Typical works by these cubists include Delaunay's Eiffel Tower (1911), Gleizes's Chartres Cathedral (1912), Léger's The Wedding (1911), and Le Fauconnier's Abundance (1910–1911). At the 1911 Salon des Indépendants, these artists proclaimed their allegiance to cubism by exhibiting together, with the addition of French painters Robert Delaunay (1885–1941), Marie Laurencin (1885–1956), and Fernand Léger (1881–1955). The critic Roger Allard identified Henri Le Fauconnier (1881–1946), Gleizes, and Metzinger as the progenitors of a new movement in his review of the 1910 Salon d'Automne. They became the public face of the cubist movement and are frequently referred to as the salon cubists. The Puteaux group regularly exhibited paintings of epic and sometimes allegorical subjects in Paris's large public venues, such as the spring Salon des Indépendants and the fall Salon ďAutomne. These two groups differed in their exhibition practices and their choice of subject matter.

In December 1908, Metzinger exhibited paintings alongside those of Braque and Picasso at Wilhelm Uhde's small Notre-Dame-des-Champs gallery. Metzinger lived in Montmartre from 1906 to 1912, and from 1907 on he frequented Picasso's studio and befriended Braque, poet Max Jacob (1876–1944), Salmon, and Apollinaire. The French painter Jean Metzinger (1883–1956) moved between these two circles. The second cubist group frequently met in Puteaux, a town on the outskirts of Paris where other key figures lived, including French artist Albert Gleizes (1881–1953) and the Duchamp-Villon brothers: Gaston Duchamp (pseudonym Jacques Villon, 1875–1963), Raymond Duchamp-Villon (1876–1918), and Marcel Duchamp (1887–1968). The Spaniard Pablo Picasso (1881–1973), French artist Georges Braque (1882–1963), and their circle-including the poets/art critics Guillaume Apollinaire (1880–1918) and André Salmon (1881–1969)-congregated in the Bateau Lavoir (Washboat), a building on the slopes of Montmartre where Salmon, Picasso, and the Spanish artist Juan Gris (1887–1927) had their studios. There were two groups of cubists who interacted in various ways. Cubism is the name given to one of the seminal movements in modern art in the early twentieth century.

Cubism art movements