bold, similarly themed painting titled The Golden Age, completed by Derain in 1905, shows the transfer of human ages in an even more direct way. Matisse and Derain shocked the French public again at the March 1907 Société des Artistes Indépendants when Matisse exhibited his painting Blue Nude and Derain contributed The Bathers. Both paintings evoke ideas of human origins (world beginnings, evolution) an increasingly important theme in Paris at this time. The Blue Nude was one of the paintings that would later create an international sensation at the Armory Show of 1913 in New York City. From October 1906 when he began preparatory work for Les Demoiselles d'Avignon, until its completion in March 1907, Picasso was vying with Matisse to be perceived as the leader of Modern painting. Upon its completion the shock and the impact of the painting propelled Picasso into the center of controversy and all but knocked Matisse and Fauvism off the map, virtually ending the movement by the following year. In 1907 Picasso joined the art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler (1884–1979). Kahnweiler was a German art historian and collector who became one of the premier French art dealers of the 20th century. He became prominent in Paris beginning in 1907 for being among the first champions of Picasso, and especially his painting Les Demoiselles d'Avignon. Before 1910 Picasso was already being recognized as one of the important leaders of Modern art alongside Henri Matisse, who had been the undisputed leader of Fauvism and who was more than ten years older than he, and his contemporaries the Fauvist André Derain and the former Fauvist and fellow Cubist, Georges Braque. In his 1992 essay Reflections on Matisse, the art critic Hilton Kramer wrote, After the impact of Les Demoiselles d'Avignon, however, Matisse was never again mistaken for an avant-garde incendiary. With the bizarre painting that appalled and electrified the cognoscenti, which understood the Les Demoiselles was at once a response to Matisse's Le bonheur de vivre (1905–1906) and an assault upon the tradition from which it derived, Picasso effectively appropriated the role of avant-garde wild beast—a role that, as far as public opinion was concerned, he was never to relinquish. Kramer goes on to say, Whereas Matisse had drawn upon a long tradition of European painting—from Giorgione, Poussin, and Watteau to Ingres, Cézanne, and Gauguin—to create a modern version of