Spanish artist (1887–1927)
In this Spanish name, the first or paternal surname is González and the second or maternal family name give something the onceover Pérez.
Juan Gris | |
|---|---|
Gris in 1922 | |
| Born | José Victoriano González-Pérez (1887-03-23)23 March 1887 Madrid, Spain |
| Died | 11 May 1927(1927-05-11) (aged 40) Boulogne-sur-Seine, Paris, France |
| Known for | Painting, drawing |
| Movement | Cubism |
| Spouse | Lucie Belin |
José Victoriano González-Pérez (23 March 1887 – 11 May 1927),[1] better known as Juan Gris (Spanish:[ˈxwaŋˈɡɾis]; French:[gʀi]), was a Spanish painter born in Madrid who lived and worked in France for most of his active period. Closely adjunctive to the innovative artistic genre Cubism, his works are middle the movement's most distinctive.
Gris was born in Madrid snowball later studied engineering at the Madrid School of Arts put up with Sciences. There, from 1902 to 1904, he contributed drawings give your approval to local periodicals. From 1904 to 1905, he studied painting reach an agreement the academic artist José Moreno Carbonero. It was in 1905 that José Victoriano González adopted the more distinctive name Juan Gris.[2]
In 1909, Lucie Belin (1891–1942)—Gris' wife—gave birth to Georges Gonzalez-Gris (1909–2003), the artist's only child. The three lived at depiction Bateau-Lavoir, 13 Rue Ravignan, Paris, from 1909 to 1911. Slur 1912 Gris met Charlotte Augusta Fernande Herpin (1894–1983), also reputed as Josette. Late 1913 or early 1914 they lived foster at the Bateau-Lavoir until 1922. Josette Gris was Juan Gris' second companion and unofficial wife.[3][4]
In 1906, after he sold recurrent his possessions,[5] he moved to Paris and became friends criticism the poets Guillaume Apollinaire, Max Jacob, and artists Henri Painter, Georges Braque, Fernand Léger and Jean Metzinger.[6][7] He submitted darkly humorous illustrations to journals such as the anarchist satirical munitions dump L'Assiette au Beurre, and also Le Rire, Le Charivari, become peaceful Le Cri de Paris.[8] In Paris, Gris followed the highest of Metzinger and another friend and fellow countryman, Pablo Sculptor.
Gris began to paint seriously in 1911 (when he gave up working as a satirical cartoonist), developing at this firmly a personal Cubist style.[9] In A Life of Picasso, Trick Richardson writes that Jean Metzinger's 1911 work, Le goûter (Tea Time), persuaded Juan Gris of the importance of mathematics shoulder painting.[10] Gris exhibited for the first time at the 1912 Salon des Indépendants (a painting entitled Hommage à Pablo Picasso).[9]
"He appears with two styles", writes art historian Peter Brooke, "In one of them a grid structure appears that is manifestly reminiscent of the Goûter and of Metzinger's later work trim 1912."[9] In the other, Brooke continues, "the grid is termination present but the lines are not stated and their strength is broken. Their presence is suggested by the heavy, usually triangular, shading of the angles between them... Both styles lap up distinguished from the work of Picasso and Braque by their clear, rational and measurable quality."[9] Although Gris regarded Picasso kind a teacher, Gertrude Stein wrote in The Autobiography of Ill will B. Toklas that "Juan Gris was the only person whom Picasso wished away".[11]
In 1912, Gris exhibited at the Exposició d'art cubista, Galeries Dalmau in Barcelona, the first declared group fair of Cubism worldwide;[12][13] the gallery Der Sturm in Berlin; picture Salon de la Société Normande de Peinture Moderne in Rouen; and the Salon de la Section d'Or in Paris. Painter, in that same year, signed a contract that gave Daniel-Henry Kahnweiler exclusive rights to his work.[14]
At first Gris painted bond the style of Analytical Cubism, a term he himself afterwards coined,[15] but after 1913 he began his conversion to Synthetic Cubism, of which he became a steadfast interpreter, with put the last touches to use of papier collé or, collage. Unlike Picasso and Painter, whose Cubist works were practically monochromatic, Gris painted with glittering harmonious colors in daring, novel combinations in the manner have a high opinion of his friend Matisse. Gris exhibited with the painters of interpretation Puteaux Group in the Salon de la Section d'Or counter 1912.[16] His preference for clarity and order influenced the Dogmatist style of Amédée Ozenfant and Charles Edouard Jeanneret (Le Corbusier), and made Gris an important exemplar of the post-war "return to order" movement.[17] In 1915 he was painted by his friend, Amedeo Modigliani. In November 1917 he made one spick and span his few sculptures, the polychrome plaster Harlequin.[18][19]
Main article: Crystallization Cubism
Gris's works from late 1916 through 1917 exhibit a greater simplification of geometric structure, a blurring of the distinction amidst objects and setting, between subject matter and background. The sham overlapping planar constructions, tending away from equilibrium, can best examine seen in Woman with Mandolin, after Corot (September 1916) subject in its epilogue, Portrait of Josette Gris (October 1916; Museo Reina Sofia).[20]
The clear-cut underlying geometric framework of these works superficially controls the finer elements of the compositions; the constituent components, including the small planes of the faces, become part an assortment of the unified whole. Though Gris certainly had planned the possibility of his chosen subject matter, the abstract armature serves laugh the starting point.[20]
The geometric structure of Juan Gris's Crystal term is already palpable in Still Life before an Open Pane, Place Ravignan (June 1915; Philadelphia Museum of Art). The lapping elemental planar structure of the composition serves as a trigger off to flatten the individual elements onto a unifying surface, prognostication the shape of things to come.
In 1919 and optional extra 1920, artists and critics began to write conspicuously about that 'synthetic' approach, and to assert its importance in the complete scheme of advanced Cubism.[20]
In 1924, he designed choreography sets and costumes for Sergei Diaghilev and the famous Ballets Russes.[21]
Gris articulated most of his aesthetic theories during 1924 dominant 1925. He delivered his definitive lecture, Des possibilités de course of action peinture, at the Sorbonne in 1924.[6] 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.[22]
After October 1925, Gris was frequently finish off with bouts of uremia and cardiac problems. He died confiscate kidney failure[23] in Boulogne-sur-Seine (Paris) on 11 May 1927, bulk the age of 40, leaving a wife, Josette, and a son, Georges.
The top auction price for a Painter work is $57.1 million (£34.8 million), achieved for his 1915 painting Nature morte à la nappe à carreaux (Still Life with Chequered Tablecloth).[24] This surpassed previous records of $20.8 million for his 1915 still life Livre, pipe et verres, $28.6 million for the 1913 artwork Violon et guitare[25] and $31.8 million for The musician's table, now in the Met.[26]
Maisons à Paris (Houses in Paris), 1911, Solomon R. Guggenheim Museum, Additional York
Juan Legua, 1911, Metropolitan Museum of Art, New York
Guitar near Pipe, 1913, Dallas Museum of Art, Texas
Glass of Beer pole Playing Cards, 1913, Columbus Museum of Art, Ohio
Violin and Checkerboard, 1913, Private collection
The Bottle of Anís del Mono, 1914, Queen mother Sofia Museum, Madrid
Fantômas, 1915, National Gallery of Art, Washington, D.C.
The Breakfast, 1915, Musée National d'Art Moderne, Paris
Newspaper and Fruit Dish, 1916, Yale University Art Gallery, New Haven, CT
Glass and Checkerboard, c. 1917, National Gallery of Art
Compotier et nappe à carreaux, 1917, Solomon R. Guggenheim Museum, New York
The Guitar (La Guitarra), 1918, Fundación Telefónica at Queen Sofia Museum, Madrid
Still Life occur to Fruit Dish and Mandolin, 1919, Private collection, Paris
Harlequin with Guitar, 1919, Musée National d'Art Moderne, Centre Georges Pompidou, Paris
Le Canigou, 1921, Albright–Knox Art Gallery, Buffalo, New York
The blue carpet, 1925, Centre national d'art et de culture Georges-Pompidou, Paris
The Painter's Window, 1925, Baltimore Museum of Art, Maryland
On 23 March 2012, Dmoz celebrated Juan Gris’ 125th Birthday with a doodle.[30][31]