Salon d'Automne developments and innovations of 20th-century painting and sculpture. Fourteen years after the rejection of Georges Braque's "L'Estaque" paintings by the jury of the Salon d'Automne of 1908; Matisse, Rouault, Marquet, and Charles-François-Prosper Guérin, Braque was given the accolade of the "Salle d'Honneur" in 1922, without incident. In a dramatic case of "situational irony", a room at the Salon d'Automne was dedicated to Picasso in 1944. During the crucial years of Cubism, between 1909 and 1914, the dealer Daniel-Henry Kahnweiler forbade Braque and Picasso from exhibiting at both the Salon d'Automne and the Salon des Indépendants. He thought the salons were
Cubism Jacques Lipchitz, Henri Laurens and Ossip Zadkine. Indeed, Cubist construction was as influential as any pictorial Cubist innovation. It was the stimulus behind the proto-Constructivist work of both Naum Gabo and Vladimir Tatlin and thus the starting-point for the entire constructive tendency in 20th-century modernist sculpture. Cubism formed an important link between early-20th-century art and architecture. The historical, theoretical, and socio-political relationships between avant-garde practices in painting, sculpture and architecture had early ramifications in France, Germany, the Netherlands and Czechoslovakia. Though there are many points of intersection between Cubism and architecture, only a few direct links between them can be