From which French philosopher's work did John Maus derive the title of the album whose positive response caused him to grow more widely accepted as an outsider artist?
John Maus John Maus (born February 23, 1980) is an American musician, singer, songwriter, composer, and academic from Minnesota. An early collaborator of Ariel Pink, he has released several albums that incorporate elements of 1980s synth-pop, post-punk, and Medieval music. He is a former professor of philosophy at the University of Hawaii and his intellectual pursuits are reflected in his style and approach to music. His first two albums, "Songs" (2006) and "Love Is Real" (2007), generally drew negative reviews upon release. After the positive response to 2011's "We Must Become the Pitiless Censors of Ourselves", Maus grew more widely accepted as an outsider artist, and there was a critical reevaluation of his earlier work.
Man on a Balcony Man on a Balcony (also known as Portrait of Dr. Théo Morinaud and 'L'Homme au balcon), is a large oil painting created in 1912 by the French artist, theorist and writer Albert Gleizes (1881–1953). The painting was exhibited in Paris at the Salon d'Automne of 1912 (no. 689). The Cubist contribution to the salon created a controversy in the French Parliament about the use of public funds to provide the venue for such 'barbaric art'. Gleizes was a founder of Cubism, and demonstrates the principles of the movement in this monumental painting (over six feet tall) with its projecting planes and fragmented lines. The large size of the painting reflects Gleizes's ambition to show it in the large annual salon exhibitions in Paris, where he was able with others of his entourage to bring Cubism to wider audiences.