It was also exhibited at the Musée Rath, Geneva, Exposition de cubistes français et d'un groupe d'artistes indépendants, 3–15 June 1913 (L'éventail vert, no.

[3] Metzinger's Cubist contribution to the 1912 Salon d'Automne created a controversy in the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such 'barbaric' art.

The rest of the canvas consists of a series of geometric forms of greater or lesser abstraction, of convex and concave gradations that stem from the teachings of Georges Seurat and Paul Cézanne.

The Divisionist brushwork, mosaic-like 'cubes', present in Metzinger's Neo-Impressionist phase (circa 1903 through 1907) have returned giving texture and rhythm to vast areas of the canvas, visible both in the figures and background.

"The style of the clothes is meticulously up-to-the-minute" writes Cottington of Metzinger's three entries at the 1912 Salon d'Automne, "the cut of the dresses, and the relatively uncorseted silhouettes they permitted their weavers to display, owe much more to Poiret than to Worth—indeed the check of one figure in the Dancer and the polka dots of the Woman with a Fan anticipate the post-war geometries, if not the colour harmonies, of Sonia Delaunay's fabrics, while the open-collared sportiness of the dress and cloche-style hat in The Yellow Feather look forward to the 1920s.

Though very subtle, there does manifest itself in Femme à l'Éventail a spatial depth or perspective reminiscent of the optical illusion of space of the Renaissance; in the way, for example, windows appear of varying dimension depending on distance from the observer.

[18][19] The painting, as Metzinger's enchanting Dancer in a café, inscribes an ambivalence in that it expresses both contemporary and classical, modern and traditional, avant-garde and academic connotations, simultaneously.

The "busy geometry of planar fragmentation and juxtaposed perspectives has a more than reflexive function," notes Cottington, "for the symmetrical patterning of its reticulations (as in the dancer's décolletage) and their rhythmic parallel repetitions suggest not only movement and diagrams but also, metonymically, the mechanised object-world of modernity.

"[20] Apollinaire, possibly with the work of Eadweard Muybridge in mind, wrote a year later of this state of motion present in the Cubist paintings of Metzinger and others, as akin to cinematic movement around an object, revealing a plastic truth compatible with reality by showing the spectator "all its facets.

"[15] Albert Gleizes in 1911 remarks Metzinger is "haunted by the desire to inscribe a total image": Now liberated from the one-to-one relationship between a fixed coordinate in space captured at a single moment in time assumed by classical vanishing-point perspective, the artist became free to explore notions of simultaneity, whereby several positions in space captured at successive time intervals could be depicted within the bounds of a single painting.

"[23] There are two methods of regarding the division of the canvas, according to Metzinger and Gleizes, (1) "all the parts are connected by a rhythmic convention", giving the painting a centre from which the gradations of colour proceed (or towards which they tend), creating spaces of maximum or minimum intensity.

(2) "The spectator, himself free to establish unity, may apprehend all the elements in the order assigned to them by creative intuition, the properties of each portion must be left independent, and the plastic continuum must be broken into a thousand surprises of light and shade."

It was also a central idea of Jean Metzinger's Note sur la Peinture, 1910; Indeed, prior to Cubism painters worked from the limiting factor of a single view-point.

The history of the Salon d'Automne is marked by two important dates: 1905, bore witness to the birth of Fauvism (with the participation of Metzinger), and 1912, the xenophobe and anti-modernist quarrel.

Recall too, it was Vauxcelles who, on the occasion of the 1910 Salon des Indépendants, wrote disparagingly of 'pallid cubes' with reference to the paintings of Metzinger, Gleizes, Le Fauconnier, Léger and Delaunay.

La Maison Cubiste was a fully furnished house, or Projet d'Hôtel, with a staircase, wrought iron banisters, and a bedroom, and a living room—the Salon Bourgeois, where paintings by Marcel Duchamp, Gleizes, Laurencin, Léger and Metzinger's Woman with a Fan were hung.