- Based in the Parisian suburbs of Puteaux and Courbevoie, the group was active from 1911 to around 1914, coming to prominence in the wake of their controversial showing at the Salon des Indépendants in the spring of 1911.
-The group seems to have adopted the name Section d'Or to distinguish themselves from the narrower definition of Cubism developed in parallel by Pablo Picasso and Georges Braque in the Montmartre quarter of Paris, and to show that Cubism, rather than being an isolated art-form, represented the continuation of a grand tradition (indeed, the golden ratio had fascinated Western intellectuals of diverse interests for at least 2,400 years).
-The Puteaux Group (an offshoot of la Société Normande de Peinture Moderne) organized their first exhibition under the name Salon de la Section d'Or at the Galerie La Boétie in Paris, October 1912. Albert Gleizes and Jean Metzinger, in preparation for the Salon de la Section d'Or, published a major defence of Cubism, resulting in the first theoretical essay on the new movement, entitled Du "Cubisme" (published by Eugène Figuière in 1912, translated to English and Russian in 1913).
-The 1912 Salon de la Section d'Or was arguably the most important pre-World War I Cubist exhibition.
-The idea of the Section d'Or originated in the course of conversations between Gleizes, Metzinger and Jacques Villon.
-Peladan attached great mystical significance to the golden section (French: Section d'Or), and other similar geometric configurations.
-After World War I, with the support given by the dealer Léonce Rosenberg, Cubism returned as a central issue for artists.
-With the Salons dominated by a return to classicism, Albert Gleizes attempted to resuscitate the spirit of the Section d'Or in 1920 but was met with great difficulty, despite support by Fernand Léger, Alexander Archipenko, Georges Braque and Léopold Survage.
Albert Gleizes
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