Proto-Cubism that Metzinger was the first to recognize explicitly and implicitly the significance of the use of "a free, mobile perspective", and the "mixing... of the successive and the simultaneous". He was the first to write of the fact that artists had abandoned traditional perspective and were now free to move around their subjects to paint them from various points in space, and at various moments in time. Metzinger's role at center of Cubism both as a painter and theorist prompted Guillaume Apollinaire to write of Picasso, Braque and Metzinger as the first three Cubist painters. Now well beyond the teachings
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