Portrait of Eugène Figuière is an oil painting on canvas with dimensions 143.5 by 101.5 cm (56.5 x 40 inches) signed and dated "Alb Gleizes 13", lower right.

The work represents Eugène Figuière who is closely associated with Gleizes' friends from the Abbaye de Créteil, Jacques Nayral and Alexandre Mercereau.

In this portrait which Salmon admired for its "fine and most adroit psychology", he is surrounded by his publications which were written by Gleizes' friends: Alexandre Mercereau, Georges Polti, Guillaume Apollinaire, Jean Metzinger, Paul Fort, Gustave Kahn, Henri-Martin Barzun and Jacques Nayral.

In addition to the simultaneous views and multiple perspective, the artist has included the image of a clock in the upper left quadrant (as in Metzinger's Nu à la cheminée, Nude of 1910), a fact that reveals Gleizes' didactic visual and literary reference to the mathematician and philosopher of science Henri Poincaré, and to the philosopher Henri Bergson's concept of 'duration'.

(Gleizes, 1913)[5]La Revue Indépendante began publication in June 1911 under the patronage ('Dépôt générale') of Eugène Figuière, later publisher of Du "Cubisme" and of Apollinaire's Aesthetic Meditations - The Cubist Painters.

Its enemies could, eventually, have forgiven it if only it had passed away, like a fashion; but they became even more violent when they realised that it was destined to live a life that would be longer than that of those painters who had been the first to assume the responsibility for it.

At the 1913 Salon des Indépendants could be seen a very large work of Jean Metzinger's - L'Oiseau Bleu; Robert Delaunay showed L'Equipe de Cardiff; two important canvasses from Léger; still lifes and L'Homme au Café from Juan Gris; enthusiastic new work from La Fresnaye and from Marcoussis, and from others again; and finally, from myself, Les Joueurs de Football.

[8] 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.

(Marcel Sembat)[9]In a review of the 1913 Salon d'Automne published in The Burlington magazine for Connoisseurs, the critic Robert E. Dell writes: As for the ultra-orthodox Cubists such as M. Gleizes, they are becoming very tiresome.

Someone who knows M. Eugène Figuière assured me that he saw a strong resemblance in M. Gleizes's portrait of that eminent publisher, who must, in that case, be made of gun-metal or some similar substance.

One of M. Metzinger's pictures is a puzzle made up of a leg, an arm, a hat, a parasol, and various other objects, and is called En Canot.