One has but to look at a series of Picasso’s work to see how often and radically he has changed his style in these ten years from drawing and painting with great facility and success in Impressionistic and Neo-Impressionistic manner to the most abstract Cubism; what he will be doing two years hence, no one can predict, save that, judging by the past, he will not be painting Cubist pictures. * * * * * The name “Cubism” was given to the new school “in derision, in the autumn of 1908, by Henri Matisse, who happened to see a picture of buildings the cubical representation of which struck him forcibly.”[34] That year Georges Braque exhibited a Cubist picture in the Salon des Independents. In 1910, Jean Metzinger exhibited a Cubist portrait in the Salle d’Automne, and a number of pictures were hung in the Salon des Independents. The first collection was gathered together in room 41 at the Salon des Independents in 1911. The same year the first exhibition outside of Paris was held in Brussels, and there the names “Cubism” and “Cubistes” were adopted. In 1911 the exposition of the Cubists in the Salle d’Automne caused considerable sensation. Gleizes, Metzinger, Leger, and, for the first time, Marcel Duchamp and his brother, the sculptor-architect, Duchamp-Villon, exhibited. Other expositions were held in November, 1911, at the gallery d’Art Contemporaine rue Tronchet; in 1912, at the Salon des Independents, where Juan Gris first exhibited; in May of the same year, in Barcelona; in June, at Rouen, where Picabia joined the new school. The different tendencies of the movement are described as follows:[35] 1. _Cubism scientifique_ is the tendency toward pure cubism; it is the painting with elements borrowed not from the realities of vision, but the realities of knowledge. The geometrical lines, which so impressed all who first saw their scientific works, resulted from the attempt to paint the essential--rather than the visual--realities of things which were rendered on canvas with an abstract purity, and in which objective realities and story-telling qualities were eliminated. Most of Picasso’s geometrical representations and Duchamp’s “King and Queen” are good illustrations of _scientific_ or _pure_ Cubism. 2. _Cubism physique_ is painting compositions the elements of which are borrowed for the most part from realities of vision. Inasmuch as objective realities are more or less in evidence in these works, they are not pure Cubism. Picasso’s “Woman and the Pot of Mustard” is a very striking--and indifferent--example of _Cubism physique_, which simply means cubist paintings in which figures and objects are more or less apparent to the casual observer. In Marcel Duchamp’s “Chess Players” the figures are quite plain; in Picabia’s “Dance at the Spring” one figure is distinguishable at first glance, the second is not so easily discerned, while the spring is more obscure, though plain enough after a little study.