In 1907 Apollinaire wrote Bestiaire ou cortège d'Orphée, symbolizing Orpheus as a mystic and influential poet and artist, just as the Symbolists. The voice of light that Apollinaire mentioned in his poems was a metaphor for inner experiences. Apollinaire Apollinaire mentioned the term Orphism in an address at the Salon de la Section d'Or in 1912, referring to the pure painting of František Kupka. In his 1913 Les Peintres Cubistes, Méditations Esthétiques Apollinaire described Orphism as "the art of painting new totalities with elements that the artist does not take from visual reality, but creates entirely by himself. [...] An Orphic painter's works should convey an 'untroubled aesthetic pleasure', a meaningful structure and sublime significance." Orphism represented a new art-form, much as music was to literature. These analogies could be seen in the titles of paintings such as Kupka's Amorpha: Fugue in Two Colors (1912); Francis Picabia's Dance at the Source (1912) and Wassily Kandinsky's Über das Geistige in der Kunst (1912). Kandinsky described the relationships between sound and color. Robert Delaunay was concerned with color and music, and exhibited with the Blaue Reiter at the request of Kandinsky. The increasingly abstract paintings of Fernand Léger and Marcel Duchamp were also treated as Orphists by Apollinaire. Exhibitions The Salon de la Section d'Or in 1912 was the first exhibition that presented Orphism to the general public. In March 1913 Orphism was exhibited at the Salon des Indépendants in Paris. Reviewing the salon in Montjoie (29 March 1913) Apollinaire argued for the abolition of Cubism in favor of Orphism: "If Cubism is dead, long live Cubism. The kingdom of Orpheus is at hand!" The Autumn salon (Erster Deutscher Herbstsalon, Berlin) of 1913, organized by Herwarth Walden of Der Sturm, exhibited many works by Robert and Sonia Delaunay, Jean Metzinger's L'Oiseau bleu (1913, Musée d'Art Moderne de la Ville de Paris), Albert Gleizes' Les Joueurs de football (1912–13, National Gallery of Art), paintings by Picabia, and Léger, along with several Futurist works. From this exhibition Apollinaire's relation with R. Delaunay cooled, following remarks with Umberto Boccioni about the ambiguity of 'simultaneity'. Apollinaire no longer used the term Orphism in his subsequent writings and began instead promoting Picabia, Alexander Archipenko, and Futurist concepts. Delaunays Robert Delaunay and his wife Sonia Terk Delaunay remained the main protagonists of the Orphic movement. Their earlier works focused on Fauvist colors, variously abstract; such as Sonia's 1907