of modern, bourgeois life. Spectators at the Salon d'Automne passed through the full-scale 10-by-3-meter plaster model of the ground floor of the facade, designed by Duchamp-Villon. This architectural installation was subsequently exhibited at the 1913 Armory Show, New York, Chicago and Boston, listed in the catalogue of the New York exhibit as Raymond Duchamp-Villon, number 609, and entitled "Facade architectural, plaster" (Façade architecturale)."Catalogue of international exhibition of modern art: at the Armory of the Sixty-ninth Infantry, 1913, Duchamp-Villon, Raymond, Facade Architectural For the occasion, an article entitled Au Salon d'Automne "Les Indépendants" was published in the French newspaper Excelsior, 2 Octobre 1912. Excelsior was the first publication to privilege photographic illustrations in the treatment of news media; shooting photographs and publishing images in order to tell news stories. As such L'Excelsior was a pioneer of photojournalism. 1913–1914 By 1913 the predominant tendency in modern art visible at the Salon d'Automne consisted of Cubism with a clear tendency towards abstraction. The trend to use brighter colors that had already begun in 1911 continued through 1912 and 1913. This exhibition, held from 15 November to 8 January 1914, was dominated by de La Fresnaye, Gleizes and Picabia. Works by Delaunay, Duchamp and Léger were not exhibited. The preface of the catalog was written by the French Socialist politician Marcel Sembat who a year earlier—against the outcry of Jules-Louis Breton regarding the use of public funds to provide the venue (at the Salon d'Automne) to exhibit 'barbaric' art—had defended the Cubists, and freedom of artistic expression in general, in the National Assembly of France.Patrick F. Barrer: Quand l'art du XXe siècle était conçu par les inconnus, pp. 93-101, gives an account of the debate "I do not in the least wish... to offer a defense of the principles of the cubist movement! In whose name would I present such a defense? I am not a painter... What I do defend is the principle of the freedom of artistic experimentation... My dear friend, when a picture seems bad to you, you have the incontestable right not to look at it, to go and look at others. But one doesn't call the police!" (Marcel Sembat) This exhibition too made its flashing appearance in the news, when a nude by Kees van Dongen entitled The Spanish Shawl (Woman with Pigeons or The Beggar of Love) was ordered by the police to be removed from the Salon