This chapter differs from Picasso and Braque
This chapter differs from Picasso and Braque in that it reflects on the exhibition of Parisian Cubism. Talks about this artwork had been going on in the city for a long time, particularly after the death of Cubist Salon officials in 1910. Later that year, Apollinaire and Picasso collaborated on new paintings that were heavily inspired by the philosophies of Mercereau Alexandre's Cubist movement. When the paintings were made public, the cubists' works were shown in rooms 41 and 43, with the latter receiving a lot of attention. Some of the amazing pictures on display included the Delaunay's Eiffel tower, Gleizes's woman and phlox and works of Laurencin (Altshuler 24-41).
Cubism gained popularity at a tremendous rate
Cubism gained popularity at a tremendous rate and was used by several critics in belittling new paintings. As for Gleizes and Metzinger, the exhibition strengthened their friendship, and this was marked by the regular meetings that they held in Paris. With time, the Indian Futurist paintings become a subject of discussion among the artists. Some of them argued that the painting only but displayed different perspectives but under the similar subjects (Altshuler 24-41). Marinetti was the central figure in the futurist paintings and was recognized for his manifesto art. The Italians painters were keen a rubbishing the works of the cubists, arguing that most of them were a reflection of the classical past of poussin and lacked modernity in them.
The Section d'Or was marked by art work diversity
The Section d'Or was marked by art work diversity, with individuals such as Marcel Duchamp and Albert Gleizes displaying most of their artworks. Delaunay and Fauconnier failed to participate in this exhibition that was marred with issues of abstractions (Altshuler 24-41). Additionally, during this event, the relationship between music and paintings improved significantly. The chapter ends with friction between the promoters of salon cubists and Parisian avant-garde.
Work Cited
Altshuler, Bruce. The Avant-Garde In Exhibition. Berkeley: University of California Press, 1998. Print.
