Juan Gris

Spanish, Cubism, Modern Art, 1887-1927

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Portrait of Picasso
Juan Gris
224 USD



Woman with Mandolin, after Corot
Juan Gris

219 USD

Guitar and Pipe
Juan Gris

223 USD

Glass of Beer and Playing Cards
Juan Gris

219 USD
 
Violin and Checkerboard
Juan Gris

217 USD
 
The Bottle of Anís del Mono
Juan Gris

229 USD
 
Fantômas
Juan Gris

242 USD
 
Still Life with Checkered Tablecloth
Juan Gris

241 USD
 
Newspaper and Fruit Dish
Juan Gris

217 USD
 
Fruit Dish on a Checkered Tablecloth
Juan Gris

217 USD
 
The Guitar (La Guitarra)
Juan Gris

221 USD
 
Still Life with Fruit Dish and Mandolin
Juan Gris

219 USD
 
Harlequin with Guitar
Juan Gris

222 USD
 
Le Canigou
Juan Gris

217 USD
 
The Painter's Window
Juan Gris

225 USD
 
 Book, Pipe and Glasses
Juan Gris

224 USD
 
 Violin and Guitar
Juan Gris

223 USD
 
 
 

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José Victoriano (Carmelo Carlos) González-Pérez (March 23, 1887 – May 11, 1927), better known as Juan Gris, was a Spanish painter and sculptor born in Madrid who lived and worked in France most of his life. Closely connected to the innovative artistic genre Cubism, his works are among the movement's most distinctive. 

Born in Madrid, Gris studied mechanical drawing at the Escuela de Artes y Manufacturas in Madrid from 1902 to 1904, during which time he contributed drawings to local periodicals. From 1904 to 1905, he studied painting with the academic artist José Moreno Carbonero. It was in 1905 that José Victoriano González adopted the more distinctive name Juan Gris.

In 1906 he moved to Paris and became friends with Henri Matisse, Georges Braque and Fernand Léger. In Paris, Gris followed the lead of another friend and fellow countryman, Pablo Picasso. He submitted darkly humorous illustrations to journals such as Le Rire, L'assiette au beurre, Le Charivari, and Le Cri de Paris.

Gris began to paint seriously in 1911 (when he gave up working as a satirical cartoonist), developing at this time a personal Cubist style. In A Life of Picasso, John Richardson writes that Jean Metzinger's 1911 work, Le goûter (Tea Time), persuaded Juan Gris of the importance of mathematics (numbers) in painting. Gris started painting persistently in 1911 and exhibited for the first time at the 1912 Salon des Indépendants (a painting entitled Hommage à Pablo Picasso).

"He appears with two styles", writes art historian Peter Brooke, "In one of them a grid structure appears that is clearly reminiscent of the Goûter and of Metzinger's later work in 1912." In the other, Brooke continues, "the grid is still present but the lines are not stated and their continuity is broken. Their presence is suggested by the heavy, often triangular, shading of the angles between them... Both styles are distinguished from the work of Picasso and Braque by their clear, rational and measurable quality." Although Gris regarded Picasso as a teacher, Gertrude Stein wrote in The Autobiography of Alice B. Toklas that "Juan Gris was the only person whom Picasso wished away".

In 1912 Gris exhibited at the Exposicío d'art cubista, galeríes J. Dalmau in Barcelona; the gallery Der Sturm in Berlin; the Salon de la Société Normande de Peinture Moderne in Rouen; and the Salon de la Section d'Or in Paris. Gris, in that same year, signed a contract that gave D.-H. Kahnweiler exclusive rights to his work.

At first Gris painted in the style of Analytical Cubism, a term he himself later coined, but after 1913 he began his conversion to Synthetic Cubism, of which he became a steadfast interpreter, with extensive use of papier collé or, collage. Unlike Picasso and Braque, whose Cubist works were practically monochromatic, Gris painted with bright harmonious colors in daring, novel combinations in the manner of his friend Matisse. Gris exhibited with the painters of the Puteaux Group in the Salon de la Section d'Or in 1912. His preference for clarity and order influenced the Purist style of Amédée Ozenfant and Charles Edouard Jeanneret (Le Corbusier), and made Gris an important exemplar of the post-war "return to order" movement. In 1915 he was painted by his friend, Amedeo Modigliani. 

Gris's works from late 1916 through 1917, more so than before, exhibit a simplification of geometric structure, a blurring of the distinction between objects and setting, between subject matter and background. The oblique overlapping planar constructions, tending away from equilibrium, can best be seen in the artists Woman with Mandolin, after Corot (September 1916) and in its epilogue Portrait of Josette Gris (October 1916) Museo Reina Sofia.

The clear-cut underlying geometric framework of these works seemingly control the finer elements of the compositions; the constituent components, including the small planes of the faces, become part of the unified whole. Though Gris certainly had planned the representation of his chosen subject matter, the abstract armature serves as the starting point. The geometric structure of Juan Gris's Crystal period is already palpable in Still Life before an Open Window, Place Ravignan (June 1915) Philadelphia Museum of Art. The overlapping elemental planar structure of the composition serves as a foundation to flatten the individual elements onto a unifying surface, foretelling the shape of things to come. In 1919 and particularly 1920, artists and critics began to write conspicuously about this 'synthetic' approach, and asserting its importance in the overall scheme of advanced Cubism.

In 1924, he designed ballet sets and costumes for Sergei Diaghilev and the famous Ballets Russes.

Gris articulated most of his aesthetic theories during 1924 and 1925. He delivered his definitive lecture, Des possibilités de la peinture, at the Sorbonne in 1924. Major Gris exhibitions took place at the Galerie Simon in Paris and the Galerie Flechtheim in Berlin in 1923 and at the Galerie Flechtheim in Düsseldorf in 1925.

The top auction price for a Gris work is $57.1 million (£34.8 million), achieved for his 1915 painting Nature morte à la nappe à carreaux (Still Life with Checkered Tablecloth). This surpassed previous records of $20.8 million for his 1915 still life Livre, pipe et verres (Book, Pipe and Glasses) and $28.6 million for the 1913 artwork Violon et guitare (Violin and Guitar)

Source: Wikipedia.