Le Fauconnier, as "ignorant geometers, reducing the human body, the site, to pallid cubes." The work of Metzinger, Le Fauconnier and Robert Delaunay were exhibited together. Le Fauconnier showed the geometrically simplified Ploumanac'h landscapes: Le Ravin and Village dans les Montagne, along with Femme à l'éventail and Portrait of Maroussia. In the same hall hung the works of Matisse, Vlaminck, Dufy, Laurencin, van Dongen and Henri Rousseau. Apollinaire wrote in the daily newspaper L'Intransigeant, which had a circulation of about 50,000, about the exhibition that consisted of close to 6000 paintings. 1910, Lolo the donkey Remarkably, the presence of a painting made by a donkey named Lolo passed by practically unnoticed. The painting was entitled presented by the fictitious artist Joachim-Raphaël Boronali, the 'excessivist' from Genoa was exhibited at the 1910 Salon des Indépendants. Boronali was in fact a Parisian donkey (Lolo), who made the painting with his tail. It is suspected that Lolo belonged to Frédéric Gérard (Le Père Frédé), owner of the cabaret Lapin Agile in Montmartre. Roland Dorgelès and two friends, et Jules Depaquit, attached a paint brush to the tail of the animal. The donkey did the rest. The painting sold for 400FF (equal to 1,257 Euros today) and was donated by Dorgelès to the Orphelinat des Arts. The painting forms part of the permanent collection at l'Espace culturel Paul Bédu (Milly-la-Forêt). 1911, the major scandal of Cubism The newly formed Montparnasse group (who held meetings not just at Le Fauconnier's studio, but at the cafés Le Dôme, La Coupole, La Closerie des Lilas, Le Select, and Café de la Rotonde) together with other young painters who also want to emphasise a research into form (as opposed to color) take over the hanging committee of the Salon des Indépendants ensuring that the works of painters now dubbed 'Cubists' would be shown together. Gleizes, Metzinger, Le Fauconnier, Delaunay, Léger and Marie Laurencin (at the request of Apollinaire) are shown together in Room 41. The result of the group show is a major scandal. Even though the pictures shown are still conventional representations that generally observe the rules of classical perspective (according to Gleizes), the public is outraged by the representation of subject matter as cones, cubes and spheres, resulting in the obscurity of the subject matter. The predominance of sharp geometrical faceting and the fact that a group of artists are all working in similar directions, gives