Braque and Picasso introduced a “fake” element on purpose, not to mislead or fool their audience, but rather to force a discussion of art and craft, of high and low, of unique and mass-produced objects. They ask: “Can this object still be art if I don’t actually render its forms myself, if the quality of the art is no longer directly tied to my technical skills or level of craftsmanship?" 

https://www.coursehero.com/file/p57rcfq/Pablo-Picasso-Still-Life-with-Chair-Caning-1912-Picassos-mixed-media-work-uses/

Picasso aligns himself with other modern artists in asking the questions of what painting really is and whether or not painting should be confined to the imitation of the real. Further calling into question the reality of painting even at its most realistic, he drags strokes of paint across the surface of the wrapping paper to illustrate that the wicker pattern is mere optical illusion, a trickery of vision. The insertion of extraneous materials such as the wrapping paper into works of art—one of many forms of mixed media—is known as collage, and Picasso was one of the first artists to use this kind of mixed media. Newsprint and other printed matter became a staple of Picasso’s early collages. Notice too the innovative framing of the work with a coarsely braided rope.

Jou - journal (newspaper), game - deception by media. 

Like the Analytical phase of Cubism, the Synthetic phase conveyed a sense of the tableau-objet (painting as a subject in itself). However, this was brought to a new level where non-artistic materials in the painting were used to create its own reality. This work is revolutionary in that the inclusion of exterior materials into art was to transform Cubism and to become the source for much of 20th century art. As the first Cubist Collage, Still Life with Chair Caning creates a reality without using illusionism. Instead of using traditional painting methods, Picasso incorporates a piece of commercially made oil cloth printed with a cane chair pattern, and thick textured rope as a frame. Cubists wanted to regain and recreate a genuine sense of reality in their artworks and through this collage, Picasso challenges the ‘false’ sense of reality in painting, implying that artworks through the history of art are only imitations of the real world. This is the first instance that an artist has used such a vulgar and rough material in his work in order to challenge his audience’s perceptions of so-called “high art”. Still Life with Chair Caning shows not only faux chair caning, but a pipe, glass, lemon, oyster and newspaper. While there are no figures in this work, the chair caning and the letters ‘JOU’ (as part of the French newspaper title ‘Journal’), suggest a cafe setting that encompasses the human audience. https://artmusette.wordpress.com/2013/10/26/whaddaya-lookin-at-picassos-still-life-with-chair-caning/

Although the Fauve works on display were condemned by many—"A pot of paint has been flung in the face of the public", declared the critic Camille Mauclair—they also gained some favorable attention.[4] The painting that was singled out for attacks was Matisse's Woman with a Hat, which was bought by Gertrude and Leo Stein: this had a very positive effect on Matisse's morale, which had suffered with the bad reception of his work.[4]

Sarah Stein, the wife of Gertrude and Leo's elder brother Michael, claimed to have been the original purchaser of this painting, not Gertrude (Leo did not like the painting at first). One can see it in photographs of Sarah and Michael's home on Rue Madame. It was a centerpiece in Sarah's home in Palo Alto, California for many years. During the 1950s, in San Francisco, it was bought by the Haas family. In 1990 Elise S. Haas bequeathed thirty-seven paintings, sculptures and works on paper to the San Francisco Museum of Modern Art, among themFemme au chapeau.[2]"

- https://en.wikipedia.org/wiki/Woman_with_a_Hat