of Fauvism was visible at the Indépendants, prior to the infamous Salon d'Automne exhibition of 1905 which historically marks the birth of the term Fauvism, after critic Louis Vauxcelles described their show of work with the phrase "Donatello chez les fauves" ("Donatello among the wild beasts"), contrasting the paintings with a Renaissance-style sculpture that shared the room with them. At the 1905 Indépendants Henri Matisse exhibited with Albert Marquet, Jean Puy, Henri Manguin, Othon Friesz, Raoul Dufy, Kees van Dongen, André Derain, Maurice de Vlaminck, Charles Camoin and Jean Metzinger. This exhibition was reviewed by Vauxcelles in Gil Blas on 4, 18 and 23 March 1905. Matisse exhibited the proto-Fauve painting Luxe, Calme et Volupté. In the Divisionist technique and brightly colored, it was painted in 1904, after a summer spent working in St. Tropez on the French Riviera alongside the neo-Impressionist painters Paul Signac and Henri-Edmond Cross. The painting is Matisse's most important work in which he used the Divisionist technique advocated by Signac, which Matisse had first adopted after reading Signac's essay, "D'Eugène Delacroix au Néo-impressionisme" in 1898. Signac purchased the work after the 1905 Salon des Indépendants. Matisse is in charge of the hanging committee, assisted by Metzinger, Bonnard, Camoin, Laprade Luce, Manguin, Marquet, Puy and Vallotton. 1906, all the Fauves At the Salon des Indépendants of 1906 the elected members of the hanging committee included Matisse, Signac and Metzinger. Following the Salon d'Automne of 1905 which marked the beginning of Fauvism, the Salon des Indépendants of 1906 marked the first time all the Fauves would exhibit together. The centerpiece of the exhibition was Matisse's monumental Le Bonheur de Vivre (The Joy of Life). The triangular composition is closely related to Cézanne's Bathers; a series that would soon become a source of inspiration for Picasso's Les Demoiselles d'Avignon. Critics were horrified by the flatness, bright colors, eclectic style and mixed technique of Le Bonheur de Vivre. According to Metzinger's memoirs, it was at the 1906 Salon des Indépendants that he met Albert Gleizes and visited his studio in Courbevoie several days later. In 1907, at Max Jacob's place, Metzinger met Guillaume Krotowsky, who already signed his works Guillaume Apollinaire. In 1906 Metzinger had acquired enough prestige to be elected to the hanging committee of the Salon des Indépendants, in addition to his entry of eight works. He formed a close friendship at this time with Robert Delaunay,