Editing Cubism (section)

====Galeries Dalmau====
In 1912, [[Galeries Dalmau]] presented the first declared group exhibition of Cubism worldwide (''Exposició d'Art Cubista''),<ref name="Antliff, Leighten">Mark Antliff and Patricia Leighten, ''A Cubism Reader, Documents and Criticism, 1906–1914'', University of Chicago Press, 2008, pp. 293–295</ref><ref name="Carol A. Hess">[https://books.google.com/books?id=qrP60BqU634C&dq=cubisme+en+espana%2C+galeries+dalmau&pg=PA76 Carol A. Hess, ''Manuel de Falla and Modernism in Spain, 1898–1936''], University of Chicago Press, 2001, p. 76, {{ISBN|0226330389}}</ref><ref>[http://acca.cat/formacions/commemoracio-del-centenari-del-cubisme-a-barcelona-1912-2012/ Commemoració del centenari del cubisme a Barcelona. 1912–2012], Associació Catalana de Crítics d'Art – ACCA</ref> with a controversial showing by Jean Metzinger, Albert Gleizes, Juan Gris, Marie Laurencin and Marcel Duchamp (Barcelona, 20 April to 10 May 1912). The Dalmau exhibition comprised 83 works by 26 artists.<ref name="Vidal">[http://www.publicacions.ub.edu/ficha.aspx?cod=03809 Mercè Vidal, ''L'exposició d'Art Cubista de les Galeries Dalmau 1912''], Edicions Universitat Barcelona, 1996, {{ISBN|8447513831}}</ref><ref>[https://archive.org/details/cubisminshadowof00cott/page/227 <!-- quote=Galerie d'Art Ancien et d'Art Contemporain, rue Tronchet. --> David Cottington, ''Cubism in the Shadow of War: The Avant-garde and Politics in Paris 1905–1914''], Yale University Press, 1998, {{ISBN|0300075294}}</ref><ref name="Cubista">{{Cite web|url=http://pandora.girona.cat/viewer.vm?id=2933958&view=dalmau&lang=en|title=Exposició d'Art Cubista.|website=Dalmau Galleries}}</ref> Jacques Nayral's association with Gleizes led him to write the Preface for the Cubist exhibition,<ref name="Antliff, Leighten" /> which was fully translated and reproduced in the newspaper ''La Veu de Catalunya''.<ref>[http://mdc2.cbuc.cat/cdm/compoundobject/collection/veup1/id/31472/rec/8 Joaquim Folch i Torres, ''Els Cubistes a cân Dalmau'', Pàgina artística de La Veu de Catalunya] {{Webarchive|url=https://web.archive.org/web/20180422134407/http://mdc2.cbuc.cat/cdm/compoundobject/collection/veup1/id/31472/rec/8 |date=2018-04-22 }} (Barcelona) 18 April 1912, Any 22, núm. 4637–4652 (16–30 abr. 1912)</ref><ref>[http://acca.cat/wordpress/wp-content/uploads/2013/02/premsa_exposicio_art_cubista.pdf Joaquim Folch y Torres, "El cubisme", Pàgina Artística de La Veu, La Veu de Catalunya] {{Webarchive|url=https://web.archive.org/web/20160304023339/http://acca.cat/wordpress/wp-content/uploads/2013/02/premsa_exposicio_art_cubista.pdf |date=2016-03-04 }}, 25 April 1912 (includes numerous articles on the artists and exhibition)</ref> Duchamp's ''Nude Descending a Staircase, No. 2'' was exhibited for the first time.<ref name="Robinson et al">[https://books.google.com/books?id=6EvIx6zOuqgC&q=dalmau&pg=PA319 William H. Robinson, Jordi Falgàs, Carmen Belen Lord, ''Barcelona and Modernity: Picasso, Gaudí, Miró, Dalí''], Cleveland Museum of Art, Metropolitan Museum of Art (New York), Yale University Press, 2006, {{ISBN|0300121067}}</ref>

Extensive media coverage (in newspapers and magazines) before, during and after the exhibition launched the Galeries Dalmau as a force in the development and propagation of modernism in Europe.<ref name="Robinson et al" /> While press coverage was extensive, it was not always positive. Articles were published in the newspapers ''Esquella de La Torratxa''<ref>[http://mdc2.cbuc.cat/cdm/compoundobject/collection/esquella/id/13001/rec/1746 Cubist caricature, ''Esquella de La Torratxa'', Núm 1740 (3 maig 1912)]</ref> and ''El Noticiero Universal''<ref name="Noticiero Universal">{{Cite web|url=http://pandora.girona.cat/viewer.vm?id=2934290&view=dalmau&lang=en|title=[Exposició d'Art Cubista – Noticiero Universal].|website=Dalmau Galleries}}</ref> attacking the Cubists with a series of caricatures laced with derogatory text.<ref name="Noticiero Universal" /> Art historian Jaime Brihuega writes of the Dalmau show: "No doubt that the exhibition produced a strong commotion in the public, who welcomed it with a lot of suspicion.<ref>Jaime Brihuega, ''Las Vanguardias Artísticas en España 1909–1936'', Madrid. Istmo.1981</ref>

A major development in Cubism occurred in 1912 with Braque's and Picasso's introduction of collage in the modernist sense. Picasso is credited with creating the first Cubist collage, ''[[Still life With Chair Caning]]'', in May 1912,<ref name="Rubin_36">Rubin, William, Pablo Picasso, Georges Braque, and Museum of Modern Art (1989). ''Picasso and Braque: Pioneering Cubism''. New York, Boston: Museum of Modern Art.  p. 36. {{ISBN|9780870706752}}</ref> while Braque preceded Picasso in the creation of Cubist cardboard sculptures and [[Papier collé|papiers collés]].<ref>Rubin, William, Pablo Picasso, Georges Braque, and Museum of Modern Art (1989). ''Picasso and Braque: Pioneering Cubism''. New York, Boston: Museum of Modern Art.  p. 30. {{ISBN|9780870706752}}</ref> Papiers collés were often composed of pieces of everyday paper artifacts such as newspaper, table cloth, wallpaper and sheet music, whereas Cubist collages combined disparate materials—in the case of ''Still-life With Chair Caning'', freely brushed oil paint and commercially printed oilcloth together on a canvas.<ref name="Rubin_36"/>