1912 issue of La Revue de France et des Pays, noting Metzinger's 'refined choice of colors' and the 'precious rarity' of the painting's 'matière'. André Salmon too, in his review, noted Metzinger's 'refined use of color' in La Femme au Cheval and praised its 'French grace', while noting Metzinger 'illuminated a cubist figure with the virtues of a smile'. Gleizes, on the other hand, would write in 1913 of the Cubist movements continual evolution: And regarding the reception received by the Cubists at the Salon des Indépendants and Salon d'Automne Gleizes writes: 1913, the peak of Cubism The Salon des Indépendants was held March 9 through 18 May, the Cubist works were shown in room 46. Jean Metzinger exhibited his large L'Oiseau bleu — Albert Gleizes, Albert Gleizes. Les Joueurs de football (Football Players) 1912-13, National Gallery of Art, Washington D.C — Robert Delaunay The Cardiff Team (L'équipe de Cardiff ) 1913, Van Abbemuseum, Eindhoven — Fernand Léger, Le modèle nu dans l'atelier (Nude Model In The Studio) 1912-13, Solomon R. Guggenheim Museum, New York — Juan Gris, L'Homme dans le Café (Man in Café) 1912, Philadelphia Museum of Art. In room 45 hung the works of Robert Delaunay, Sonia Delaunay, František Kupka, Morgan Russell and Macdonald-Wright. This was the first exhibition where Orphism and Synchromism were emphatically present. Apollinaire in L'Intransigeant mentioned la Salle hollandaise (room 43), which included Jacoba van Heemskerck, Piet Mondrian, Otto van Rees, Jan Sluyters en Leo Gestel and Lodewijk Schelfhout. 1914, Orphism The 1914 exhibition, held from 1 March to 30 April, was composed of many Orphist works of large dimension and took place in one of the largest rooms on the ground floor: Robert and Sonia Delaunay, Patrick Henry Bruce and Arthur Burdett Frost were largely represented. 1915-1919 During the First World War there were no exhibitions. After the war, however, there was a revival of Cubism, led by Gleizes and others, which included exhibitions at Léonce Rosenberg's Galerie l'Effort Moderne and a revival of the Salon de la Section d'Or. 1920, the emergence of Dada In an attempt to regain their pre-war status at the forefront of the avant-garde, and faced with the possibility of being overthrown by Dada, the cubists regrouped. Their first chance to exhibit together presented itself at the Salon des Indépendants of 1920. But the fight wasn't going to be easy. Opening on 28 January, over three thousand