At this exhibition the Cubist movement was effectively launched before the general public by five artists: Metzinger, Gleizes, Le Fauconnier, Delaunay and Léger.

The following year Metzinger's Deux Nus, titled Dones en un paisatge, was exhibited at Galeries Dalmau, Exposició d'Art Cubista, in Barcelona, 20 April through 10 May 1912 (cat.

By 1910, the robust form of early analytic Cubism of Picasso, Braque and Metzinger (Nu à la cheminée, Nude, 1910) had become practically indistinguishable.

[7][8] Instead of depicting the two nudes in the foreground, the rocks and trees in the background, from one point of view, Metzinger used a concept he wrote about for the first time in Note sur la peinture (published in Pan, 1910),[9] of 'mobile perspective' to portray objects from a variety of angles, resulting in a multitude of image fragments or facets.

[...] Although not particularly apparent due to the haziness of the contemporary photograph of Metzinger’s Two Nudes, such a linear framework was the fundamental ordering principle of his painting and it can be seen clearly in his 1911 canvas, Tea Time / Le Goûter.

Metzinger, however—in contrast to the extreme faceting, simultaneous views and multiple perspective—has rendered his elegant nudes with grace; the tall and slender models expressing tenderness towards one another (with a hand placed on the shoulder).

Metzinger's interpretation targeted a wide audience—as opposed to private gallery collectors—exhibiting in abundance an underlying idealism, a temporal reconstruction of dissected subjects based on the principles of non-Euclidean geometry.

These inferences were compelling because they offered a stimulating and intelligible rationale for his innovations—consistent with contemporary intellectual trends in literature; notably with the Abbaye de Créteil group and Bergson's philosophy.

Articles and reviews were numerous and extensive in sheer words employed; including in Gil Blas, Comoedia, Excelsior, Action, L'Oeuvre, and Cri de Paris.

In carefully considering the canvas of his that caused the scandal ['Nu à la cheminée'], I found that the most daring possibilities were only barely indicated, and that one ought to be grateful to this poet for certain reserve in applying Mallarmism to painting.