only its preliminary phase had been investigated. It was the revival of the Section d'Or which ensured that Cubism in general and Gleizes in particular would become Dada's preferred target. Similarly, an effort to organize an artists' cooperative received the support of Robert Delaunay, but of no other major artists. The polemic resulted in the publication of Du cubisme et des moyens de le comprendre by Albert Gleizes, followed in 1922 by Painting and its Laws (La Peinture et ses lois), within which appear the notion of translation and rotation that would ultimately characterize both the pictorial and theoretical aspects of Gleizes' art. His post-Cubist style of the twenties—flat, forthright, uncompromising—is virtually Blaise Pascal's "Spirit of Geometry." Gleizes was in nearly every sense a maverick Cubist, perhaps the most unyielding of them all; both in his paintings and writings (which had a big impact on the image of Cubism in Europe and the United States). He developed a single-minded, thoroughly uncompromising Cubism without the diversion of a classical alternative. During the 1920s Gleizes worked on a highly abstract brand of Cubism. In addition to his shows at Léonce Rosenberg's L'Effort Moderne, the dealer-publisher Povolozky printed his writings. His art was indeed backed by a prodigious theoretical effluence, most notably in La Peinture et ses lois (first published in La Vie des Lettres, October 1922). Gleizes fused aesthetic, metaphysical, moral and social priorities to describe the status and function of art. Painting and its Laws In La Peinture et ses lois writes Robbins, "Gleizes deduced the rules of painting from the picture plane, its proportions, the movement of the human eye and the laws of the universe. This theory, later referred to as translation-rotation, ranks with the writings of Mondrian and Malevich as one of the most thorough expositions of the principles of abstract art, which in his case entailed the rejection not only of representation but also of geometric forms." Flat planes were set in motion simultaneously to evoke space by shifting across one another, as if rotating and tilting on oblique axes. Diagrams entitled "Simultaneous movements of rotation and shifting of the plane on its axis" were published to illustrate the concept. Gleizes undertook the task of writing the characterizations of these principles in Painting and its Laws (La Peinture et ses lois), published by gallery owner Jacques Povolozky in the journal La Vie des lettres et des arts,