treatment of its subject matter, was an eye-catcher, causing a sensation. This painting was soon bought by the Dutchman art critic and painter Conrad Kickert (1882-1965), who was secretary of the Contemporary Art Society (Moderne Kunstkring). In 1934 he donated the painting to the Gemeentemuseum, Den Haag. 1912, the scandal continues The Salon des Indépendants transpired in Paris from 20 March to 16 May 1912. This massive exhibition occurred exactly one year after Metzinger, Gleizes, Le Fauconnier, Delaunay, Léger and Laurencin were shown together in Room 41 of the 1911 Salon des Indépendants, which provoked the scandal out of which Cubism emerged and spread throughout Paris. Its wide-ranging repercussions were felt in Germany, Holland, Italy, Russia, Spain and elsewhere (influencing Futurism, Suprematism, Constructivism, De Stijl and so on). Just five months prior to this show another polemic developed at the Salon d'Automne of 1912. Originating in Salle XI where the Cubists exhibited their works, this quarrel involved both the French and non-French avant-garde artists. On 3 December 1912 the polemic reached the Chambre des députés and was debated at the Assemblée Nationale. At stake was more than just the future of public funding for exhibitions that included Cubist art. Le Fauconnier, Gleizes, Léger, Metzinger and Archipenko formed the core of the hanging committee at the 1912 Indépendants. The common hall, room 20, in which the Cubists placed themselves became the nucleus of the exhibition.c At the 1912 Salon des Indépendants Albert Gleizes exhibited Les Baigneuses (The Bathers) (no. 1347) — Marcel Duchamp's Nude Descending a Staircase, No. 2 was listed in the catalogue (n. 1001) but was withdrawn prior to the exhibition — Roger de La Fresnaye exhibited Artillerie (no. 1235) — Robert Delaunay showed his monumental Ville de Paris (no. 868) — Jean Metzinger exhibited La Femme au Cheval (Woman with a horse) and Le Port — Fernand Léger showed La Noce — Henri Le Fauconnier, Le Chasseur (The Huntsman) — and the newcomer Juan Gris exhibited his Portrait of Picasso. The art critic Olivier-Hourcade writes of this exhibition in 1912 and its relation to the creation of a new French school: "Metzinger with his Port, Delaunay with Paris, Gleizes with his Baigneuses, are close to this real and magnificent result, this victory comes from several centuries: the creation of a school of painting, 'French' and absolutely independent." Roger Allard's reviewed the 1912 Salon des Indépendants in the March–April