esentation of movement, a static composition of indications of various positions taken by a form in movement--with no attempt to give cinema effects to the painting" (quoted in Tomkins, 79).
But Duchamp's painting was not acceptable to the Puteaux Cubists who, apparently believing that it "would be detrimental to the cause of reasonable Cubism," rejected it for the 1912 Salon des IndTpendents (Tomkins, 81). In part their rejection may have been based on the picture's affinity with the work of the Futurists which was now on exhibit in Paris. The Italian group had included ridiculing the academicism of Cubism in their program and Duchamp's picture struck the Puteaux group as a similar "mockery of Cubist esthetics" (Tomkins, 81). And, indeed, Nude Descending a Staircase (1912) does se
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