▁widely ▁among ▁the ▁Cub ists . ▁The ▁Ch ah ut ▁[ R ij ks museum ▁Kr öll er - M üller , ▁Ot ter lo ] ▁was ▁called ▁by ▁André ▁Sal mon ▁" one ▁of ▁the ▁great ▁icons ▁of ▁the ▁new ▁dev otion ", ▁and ▁both ▁it ▁and ▁the ▁Cir que ▁( Circ us ), ▁Musée ▁d ' O rs ay , ▁Paris , ▁according ▁to ▁Guillaume ▁Ap oll inaire , ▁" al most ▁belong ▁to ▁Syn th etic ▁Cub ism ". ▁ ▁The ▁concept ▁was ▁well ▁established ▁among ▁the ▁French ▁avant - gar de ▁that ▁painting ▁could ▁be ▁expressed ▁mathemat ically , ▁in ▁terms ▁of ▁both ▁color ▁and ▁form . ▁This ▁mathematical ▁expression ▁resulted ▁in ▁an ▁independent ▁and ▁comp elling ▁' object ive ▁truth ,' ▁perhaps ▁more ▁so ▁than ▁the ▁objective ▁truth ▁of ▁the ▁object ▁represented . ▁Indeed , ▁the ▁Ne o - Im pression ists ▁had ▁succeeded ▁in ▁establish ing ▁an ▁objective ▁scientific ▁basis ▁in ▁the ▁domain ▁of ▁color ▁( Se ur at ▁addresses ▁these ▁problems ▁in ▁Circ us ▁and ▁Dan cers ). ▁So on , ▁the ▁Cub ists ▁were ▁to ▁do ▁so ▁in ▁both ▁the ▁domain ▁of ▁form ▁and ▁dynamics ▁( Or ph ism ) ▁would ▁later ▁do ▁so ▁with ▁color ▁too . ▁ ▁Met z inger ▁played ▁a ▁cru cial ▁role ▁in ▁the ▁establishment ▁of ▁the ▁Cub ist ▁movement , ▁on ▁both ▁art istic ▁and ▁theoretical ▁levels ▁( organ izing ▁and ▁exhib iting ▁at ▁the ▁first ▁public ▁manifest ations ▁of ▁Cub ism ▁at ▁the ▁ 1 9 1 0