The crucial years Gleizes' evolvement in Cubism saw him exhibit at the twenty-sixth Salon des Indépendants in 1910. He showed his Portrait de René Arcos and L'Arbre, two paintings in which the emphasis on simplified form had already begun to overwhelm the representational interest of the paintings. The same tendency is evident in Jean Metzinger's Portrait of Apollinaire in the same Salon. When Louis Vauxcelles wrote his initial review of the Salon, he made a passing and imprecise reference to Gleizes, Jean Metzinger, Robert Delaunay, Fernand Léger and Henri le Fauconnier, as "ignorant geometers, reducing the human body, the site, to pallid cubes." Guillaume Apollinaire, in his account of the same salon at the Grand Palais (in L'Intransigeant, 18 March 1910) remarked "with joy" that the general sense of the exhibition signifies "La déroute de l'impressionnisme," in reference to the works of a conspicuous group of artists (Gleizes, Delaunay, Le Fauconnier, Metzinger, André Lhote and Marie Laurencin). In Gleizes' paintings of the crucial year 1910, writes Daniel Robbins, "we see the artist's volumetric approach to Cubism and his successful union of a broad field of vision with a flat picture plane. [...] The effort to grasp the intricate rhythms of a panorama resulted in a comprehensive geometry of intersecting and overlapping forms which created a new and more dynamic quality of movement. Gleizes exhibited at the 1910 Salon d'Automne with the same artists, followed by the first organized group showing by Cubists, in Salle 41 of the 1911 Salon des Indépendants (La Femme aux Phlox (Woman with Phlox)) together with Metzinger, Delaunay, Le Fauconnier and Léger. The result was a public scandal which brought Cubism for the first time to the attention of the general public (in contrast, Picasso and Braque were exhibiting in a private gallery and selling to a small circle of connoisseurs). In a review of the 1911 Indépendants published in Le Petit Parisien (23 April 1911), critic Jean Claude writes: Then there is Le Fauconnier, who, jealous of the Cubist Metzinger, became trapezoid… and painted something of the sort he titled, I think, L’Abondance… Metzinger himself painted nudes thatlook like puzzles, the pieces of which are cubes of various sizes; F. Léger lacking originality, adopted stove pipes [tuyau de poêle] as a means of reproduction of the human figure… The other, which I have never been able to guess the name, uses small checkerboards, gray and