a sober Dérain, a co-experimenter, loses his head, moulds a neolithic man into a solid cube, creates a woman of spheres, stretches a cat out into a cylinder, and paints it red and yellow!" "Metzinger once did gorgeous mosaics of pure pigment, each little square of color not quite touching the next, so that an effect of vibrant light should result. He painted exquisite compositions of cloud and cliff and sea; he painted women and made them fair, even as the women upon the boulevards fair. But now, translated into the idiom of subjective beauty, into this strange Neo-Classic language, those same women, redrawn, appear in stiff, crude, nervous lines in patches of fierce color." 1909, simplified forms According to John Golding's influential history of Cubism published in 1959, it was at the Salon des Indépendants of 1909, held 25 March through 2 May, that one of the first Cubist painting was exhibited to the public: Little Harbor in Normandy (Petit port en Normandie), no. 215, entitled Paysage, by Georges Braque (Art Institute of Chicago). On 25 March 1909, Louis Vauxcelles qualifies the works of Braque (Bracke, sic) exhibited at the Salon des Indépendants as "bizarreries cubiques" (cubic oddities). In Room 16 hung works by Derain, Dufy, Friesz, Laprade, Matisse, Jean Puy, Rouault and Vlaminck. The evolution towards a more linear style with simplified forms continues with greater emphasis on clear geometric principles (derived from Cézanne) not solely visible in the works of Braque, but too in the works of Metzinger, Gleizes, Le Fauconnier and Delaunay (Picasso being absent from the salons). 1910, ignorant geometers Gleizes exhibits in the Salon des Indépendants for the first time: Portrait de René Arcos and L'Arbre, two paintings in which the emphasis on simplified geometric form overwhelms to a large extent the representational interest of the painting. The same tendency is evident in Metzinger's Portrait of Apollinaire exhibited in the same salon. According to Apollinaire this was the 'first Cubist portrait'. Apollinaire himself has pointed out in his book The Cubist Painters (1913), that Metzinger, following Picasso and Braque, was chronologically the third Cubist artist. According to Gleizes's memoirs, Alexandre Mercereau introduces him to Metzinger, but only after the Salon d'Automne do they become seriously interested in each other's work. Louis Vauxcelles, in his review of the 26th Salon des Indépendants (1910), made a passing and imprecise reference to Metzinger, Gleizes, Delaunay, Léger and