040515 Cubism Art Paintings
040515 Cubism Art Paintings
Artist: Juan Gris
Product ID: 040515
High standard prints on artist-grade 100% cotton canvas
We print to scale and no cropping or alteration is done
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Before you buy, please click to see IMPORTANT notes about your order:
Before you buy, please click to see IMPORTANT notes about your order:
1. The watermark (www.wall-art-gallery.com) which appears on the left-side image will not print on the finished canvas.
2. We ship in 3-5 business days, and it typically arrives within 21 days at the most.
3. No P.O. box address, please. Shipments must be made to a physical street address along with your phone number as requested by the express carrier.
4. As shipping cost is calculated by volumetric weight, we believe that is more cost-effective for you to order just the art print (rolled canvas) and have your canvas stretched locally. If you cannot, then we are pleased to do it for you.
5. International orders might be subject to import duties and taxes, such as VAT and others, assessed by your country’s authorized departments, and are due upon delivery or could be added right now by your card issuer/bank. In any case, however, it is neither determined nor collected by wall-art-gallery.com.
6. Unstretched canvas will be finished with an additional 2.5cm (1") blank border on each side for stretching and framing locally. If you prefer to have a black border instead of an image wrap border, you can use black fabric tape to finish the sides.
7. Unstretched canvas will be covered with a protective wrap and rolled inside a secured mailing plastic or cardboard tube. For small sizes, however, less than 20” inches (50 cm), the canvas might be shipped flat between two protection sheets, inside a tight cardboard or bubbled mailing envelope.
8. Stretched canvas will be wrapped around 0.75” or 1.5” thick (based on canvas size) wooden stretcher bars to end up with a “gallery wrap” border, which is the highest professional grade of wrapping. The canvas then gets covered with a protective wrap, placed inside a tight cardboard box, and then shipped to you with all the hanging kits, ready to hang.
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About The Artist: Juan Gris
Juan Gris, Spanish (1887-1927)
José Victoriano (Carmelo Carlos) González-Pérez, better known as Juan Gris, was a Spanish painter born in Madrid who lived and worked in France for most of his active period. Closely connected to the innovative artistic genre Cubism, his works are among the movement's most distinctive.
Gris was born in Madrid and later studied engineering at the Madrid School of Arts and Sciences. There, from 1902 to 1904, 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 1909, Lucie Belin (1891–1942)—Gris' wife—gave birth to Georges Gonzalez-Gris (1909–2003), the artist's only child. The three lived at the Bateau-Lavoir, 13 Rue Ravignan, Paris, from 1909 to 1911. In 1912 Gris met Charlotte Augusta Fernande Herpin (1894–1983), also known as Josette. Late 1913 or early 1914 they lived together at the Bateau-Lavoir until 1922. Josette Gris was Juan Gris' second companion and unofficial wife.
In 1906, he moved to Paris and became friends with the poets Guillaume Apollinaire, Max Jacob, and artists Henri Matisse, Georges Braque, Fernand Léger and Jean Metzinger. He submitted darkly humorous illustrations to journals such as the anarchist satirical magazine L'Assiette au Beurre, and also Le Rire, Le Charivari, and Le Cri de Paris. In Paris, Gris followed the lead of Metzinger and another friend and fellow countryman, Pablo Picasso.
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 in painting. Gris 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 Exposició d'art cubista, Galeries Dalmau in Barcelona, the first declared group exhibition of Cubism worldwide; 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 Daniel-Henry 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. In November 1917 he made one of his few sculptures, the polychrome plaster Harlequin.
Gris's works from late 1916 through 1917 exhibit a greater 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 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 controls 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 to assert 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.
After October 1925, Gris was frequently ill with bouts of uremia and cardiac problems. He died of kidney failure in Boulogne-sur-Seine (Paris) on 11 May 1927, at the age of 40, leaving a wife, Josette, and a son, Georges.
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This artwork is in public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 70 years or less. If you’re a copyright owner of this artwork, or his/her legal representative, and you don’t agree that this artwork is public domain, please contact us.
Legal Notice (Disclaimer):
The colors of the printing material, as well as the imprint might differ somewhat from the image on your device's monitor. Depending on the settings of your screen and the nature of the surface, not all colors will be printed as realistically as the digital version.
Furthermore, some pigments of the print products, as well as the printing may diverge somewhat from the representation on the device's screen.
Unlike almost all our competitors, and in spite of its cost impact, we go on printing to scale maintaining the proportions of the original painting as the Artist wanted it to be. In some cases however there might be around plus/minus ±1% tolerance in average, and maximum ±5% in very, very few cases.