white, white and black, gray and brown, pink and black, and painted an Eiffel Tower flanked on the ground undoubtedly to crush houses, which, while dancing the cancan, stuffed their chimneys through the windows. A talented artist, Albert Gleizes, also allowed himself to try a trianguliste representation of the human figure. This is sad, deeply. At the 1911 Salon d'Automne (room 8), Gleizes exhibited his Portrait de Jacques Nayral and La Chasse (The Hunt), with, in addition to the group of Salle 41, André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye and André Dunoyer de Segonzac. In the fall of that year, though the intermediary of Apollinaire, he met Pablo Picasso for the first time and joined the Puteaux Group which held meetings in the studio of Jacques Villon (Gaston Duchamp) and also included Villon's brothers, Raymond Duchamp-Villon and Marcel Duchamp, amongst others. Many of these artists also frequented the cafés Le Dôme, La Closerie des Lilas, La Rotonde, Le Select, and La Coupole in Montparnasse. People crowded into our room, they shouted, they laughed, they got worked up, they protested, they luxuriated in all kinds of utterances. (Albert Gleizes, on the Salon d'Automne exhibition of 1911) Gleizes exhibited his Les Baigneuses (The Bathers) at the 1912 Salon des Indépendants; a show marked by Marcel Duchamp's Nude Descending a Staircase, No. 2, which itself caused a scandal even amongst the Cubists (Duchamp removed the painting before the opening of the exhibition). This was followed by a group show at the Galeries Dalmau in Barcelona, the first exhibition of Cubism in Spain, another exhibit in Moscow (Valet de Carreau), the Salon de la Société Normande in Rouen, and the Salon de la Section d'Or, October 1912 at the Galerie de la Boétie in Paris. From 1911 through 1912, drawing to some extent on theories of Henri Poincaré, Ernst Mach, Charles Henry and Henri Bergson, Gleizes began to represent the object, no longer considered from a specific point of view, but rebuilt following a selection of successive viewpoints (i.e., as if viewed simultaneously from numerous viewpoints, and in four-dimensions). This technique of relative motion is pushed to its highest degree of complexity in the monumental Le Dépiquage des Moissons (Harvest Threshing) (1912). This ambitious work, with Delaunay's La Ville de Paris (City of Paris), is one of the largest paintings in the history of Cubism. At the Salon d'Automne of