rise to the term 'Cubism'. Although this and similar terms have been used before in artistic circles (usually in relation to the works of Metzinger, Delaunay and Braque), this is the first time the use of the term becomes widespread. The term 'Cubism' is employed in June 1911 by Apollinaire, speaking in the context of 'Les Indépendants', Musée Moderne de Bruxelles in Brussels, which includes works by Gleizes, Delaunay, Léger, and Le Fauconnier. During the summer, Gleizes is in close contact with Metzinger, who has recently moved to Meudon. Both are discontent with the conventional perspective mechanism. They have long conversations about the nature of form and perception. They agree that traditional painting gives a static and incomplete idea of the subject as experienced in life. Things, they conclude, are in fact dynamic, observed to move, are seen from different angles and can be captured at successive moments in time. Another Cubist scandal is produced several months later at the Salon d'Automne, where the Indépendants exhibitors develop relations with the Duchamp brothers, Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp. The studios of Jacques Villon and Raymond Duchamp-Villon at 7, rue Lemaître, become, together with Gleizes' studio at Courbevoie, regular meeting places for the newly formed Groupe de Puteaux (soon to exhibit under the name Section d'Or). František Kupka, the Czech painter interested in non-representational painting based on analogies with music and the progressive abstraction of a subject in motion, joins the discussions. In the spring of 1911 the cubists made sure they were shown together, infiltrating the placement committee. That Le Fauconnier was the secretary of the salon facilitated the goal of hanging their works together. Until then, works in alphabetical order of the artists names. In room 41 hung works by Metzinger, Gleizes, Léger, Delaunay, Le Fauconnier and Archipenko. In room 43 hung works by André Lhote, Roger de La Fresnaye, André Dunoyer de Segonzac, Luc-Albert Moreau and André Mare. This exhibition involved more than 6,400 paintings. In room 42 was a retrospective exhibition of Henri (Le Douanier) Rousseau, who died 2 September 1910. Articles and reviews were numerous and extensive in sheer words employed; including in Gil Blas, Comoedia, Excelsior, Action, L'Oeuvre, and Cri de Paris. Apollinaire wrote a long review in the 20 April 1911 issue of L'Intransigeant. Henri Le Fauconnier's Abundance, 1910-11 (Haags Gemeentemuseum, Den Haag), partly due to its large size and partly to the