Editing Cubism (section)

===Intentions and criticism===
[[File:Juan Gris - Portrait of Pablo Picasso - Google Art Project.jpg|thumb|left|upright=0.95|[[Juan Gris]], ''Portrait of Pablo Picasso'', 1912, oil on canvas, [[Art Institute of Chicago]]<ref>{{Cite web|last=Gris|first=Juan|title=Portrait of Pablo Picasso|url=https://www.artic.edu/artworks/8624/portrait-of-pablo-picasso|access-date=2021-06-07|website=The Art Institute of Chicago|language=en}}</ref>]]
The Cubism of Picasso and Braque had more than a technical or formal significance, and the distinct attitudes and intentions of the Salon Cubists produced different kinds of Cubism, rather than a derivative of their work. "It is by no means clear, in any case," wrote Christopher Green, "to what extent these other Cubists depended on Picasso and Braque for their development of such techniques as faceting, 'passage' and multiple perspective; they could well have arrived at such practices with little knowledge of 'true' Cubism in its early stages, guided above all by their own understanding of Cézanne." The works exhibited by these Cubists at the 1911 and 1912 Salons extended beyond the conventional Cézanne-like subjects—the posed model, still-life and landscape—favored by Picasso and Braque to include large-scale modern-life subjects. Aimed at a large public, these works stressed the use of multiple perspective and complex planar faceting for expressive effect while preserving the eloquence of subjects endowed with literary and philosophical connotations.<ref name="Christopher Green" />

In ''Du "Cubisme"'' Metzinger and Gleizes explicitly related the sense of time to multiple perspective, giving symbolic expression to the notion of 'duration' proposed by the philosopher [[Henri Bergson]] according to which life is subjectively experienced as a continuum, with the past flowing into the present and the present merging into the future. The Salon Cubists used the faceted treatment of solid and space and effects of multiple viewpoints to convey a physical and psychological sense of the fluidity of consciousness, blurring the distinctions between past, present and future. One of the major theoretical innovations made by the Salon Cubists, independently of Picasso and Braque, was that of ''simultaneity'',<ref name="Christopher Green" /> drawing to greater or lesser extent on theories of [[Henri Poincaré]], [[Ernst Mach]], [[Charles Henry (librarian)|Charles Henry]], [[Maurice Princet]], and Henri Bergson. With simultaneity, the concept of separate spatial and temporal dimensions was comprehensively challenged. [[Perspective (graphical)|Linear perspective]] developed during [[the Renaissance]] was vacated. The subject matter was no longer considered from a specific point of view at a moment in time, but built following a selection of successive viewpoints, i.e., as if viewed simultaneously from numerous angles (and in multiple dimensions) with the eye free to roam from one to the other.<ref name="David Cottington" />

This technique of representing simultaneity, multiple viewpoints (or [[relative motion]]) is pushed to a high degree of complexity in Metzinger's ''[[Nu à la cheminée]]'', exhibited at the 1910 Salon d'Automne; Gleizes' monumental ''[[Harvest Threshing|Le Dépiquage des Moissons (Harvest Threshing)]]'', exhibited at the 1912 Salon de la Section d'Or; Le Fauconnier's ''Abundance'' shown at the Indépendants of 1911; and Delaunay's ''City of Paris'', exhibited at the Indépendants in 1912. These ambitious works are some of the largest paintings in the history of Cubism. Léger's ''The Wedding'', also shown at the Salon des Indépendants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force. The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by [[Umberto Boccioni]], Gino Severini and [[Carlo Carrà]]; themselves made in response to early Cubism.<ref name="MoMA, Meanings and interpretations" />

Cubism and [[modern art|modern European art]] was introduced into the United States at the now legendary 1913 [[Armory Show]] in [[New York City]], which then traveled to [[Chicago]] and [[Boston]]. In the Armory show [[Pablo Picasso]] exhibited ''La Femme au pot de moutarde'' (1910), the sculpture ''Head of a Woman (Fernande)'' (1909–10), ''Les Arbres'' (1907) amongst other cubist works. [[Jacques Villon]] exhibited seven important and large drypoints, while his brother [[Marcel Duchamp]] shocked the American public with his painting ''[[Nude Descending a Staircase, No. 2]]'' (1912). [[Francis Picabia]] exhibited his abstractions ''La Danse à la source'' and ''La Procession, Seville'' (both of 1912). [[Albert Gleizes]] exhibited ''[[La Femme aux Phlox (Gleizes)|La Femme aux phlox]]'' (1910) and ''[[Man on a Balcony (Gleizes)|L'Homme au balcon]]'' (1912), two highly stylized and faceted cubist works. [[Georges Braque]], [[Fernand Léger]], [[Raymond Duchamp-Villon]], [[Roger de La Fresnaye]] and [[Alexander Archipenko]] also contributed examples of their cubist works.