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JUAN
Juan Antonio Gaya-Nuno

NEW YORK GRAPHIC SOCIETY

BOSTON
IKANSIATED BY KENNETH LYONS
DESIGNED BY JUAN PEDRAGOSA

Copyright © 19 75 by Edicioties Poligrafa, S. A. - Balmes, 54

Barcelona, Spain
Translation copyright ©
1975 by Edicioties Poligrafa, S. A.
Reproduction rights: A.D.A.G.P.

International Standard Book Number: 0-8212-0667-2

Library of Congress Catalog Card Number : 75-9106

First United States edition

All rights reserved. No book may be reproduced in any form or by any

part of this
electronic or mechanical means including information storage and retrieval systems
without permission in writing from the publisher, except by a reviewer who may quote
brief passages in a review.

New York Graphic Society books are published by Little, Brown and Company.
Published simultaneously in Canada by Little, Brown Canada) Limited.

Printed in Spain
Contents

Preliminary 6

I. The Spanish half (1887-1906) 25

II. The encounter with rigour (1907-1913) 56

III. The great years ofJuanGris (1914-1918) 104

IV. Towards the end (1919-1927) 153

V. Image and radiography of Juan Gris 189

Notes 211

Additional works 212

Drawings published in newspapers and magazines 237

Index of illustrations 244

Index of drawings published in newspapers and magazines 251

Critical and anthological bibliography 256

Index of places, names and subjects 264

PRELIMINARY
To a certain extent, the relationship
which [inks Velazquez with Zurbaran
has been bitterly and most unjustl\
repeated In the case ol Picasso and
Juan Gris. Nothing functions less ei-
lirinitk than the administration and
precise appraisal of reputations when
fate capriciously decides to couple two
ol them which are both contemporary
and alike in heir aims, one immediately
t on the grounds of any decline in qualitv
recognized, the other destined to a
tardier estimation. But this estimation,
because of its very tardiness and per-
tinacity, because it has been arrived
at without any of the disturbing pre-
judice forced upon us by the splendours
of masterpieces, eventually achieves
great solidity. This is the first occasion
but it will not be the last- on which
- pair on their persevering devotion to
the name of Zurbaran appears in these
pages as the ideal painter to be com-
pared with Juan Gris. Neither has the
former painted The lances or The
ladies in waiting, tor has the latter
produced Les demo, lies oV Avignon or
Guernica. (Oh, this unconscious dam-
age that is done by a capolavoro,
ill-observed, isolated, uncontrasted !)
4
But the two supposed *
second-raters'*
were patient artificers, of a quality
that was continuous and free from
faults, one that may not have been
illumined by spectacular achievements,
it is true, but which cannot be faulted
or botching, faults of which we may
possibly acquit Velazquez, but cer-
tainlv not Picasso. The first and most
evident difference between Picasso and
Juan Gris is not greatly dissimilar to
that to be observed between Velaz-
quez and Zurbaran; Picasso and Ve-
lazquez rely on their talents, the other
a "will to style"; the former believe
in themselves and in their extremeh
lucky stars, while the latter, unprovided
with any such stars, seek guidance in
the aesthetic doctrine to which the)
have given their whole souls. History,
however, sees to it that justice is done gence not exclusively ours, for if
is

in the end. A man who believes in it is the first written by a Spaniard it

what he is doing is an everyday hero, is no more than the eighth or ninth

with the heroism of one who feels
detached from the irremediable cir-
cumstances of success or failure, but
with right on his side in the end,
however posthumously. Justice suffers
no loss in qualitv from being late rather
than early, and it is this justice that
assures us - -though without any shout-
ing about it- that Juan Gris is the
artist par excellence^ the most eminent
devotee, of that fantastic plastic adven-
ture that was called Cubism. He may
not have been its creator, but he was
certainly its greatest formulator: what
we might call the St Paul of that im-
to be written in any language, apart
from a rather scanty bibliography,
which is of no great brilliance... And
this in an age in which, all over the
world, any little dauber that has just
crept out of his shell has a right to sap-
ient theories, drum-beating eulogies,
obscure apologetics and other such
extravagances. The truth is that we
are losing sight of our proper weights
and measures, of a gauging system
endowed with the responsibility needed
for passing judgment on art and artists.
It no great thing that a Spanish
is

portant aesthetic doctrine. book should only now be written and

published about the Spaniard Juan
These words, in which we have attempted Gris, thus lessening, though infinitesi-
to restrain our enthusiasm, constitute mally, the unbelievable shame that
a minimum of previous salutation to the work of this artist -beautiful
Juan Gris, in the first Spanish book and outstanding- should be as absent
to be devoted to him. But this negli- from our galleries and collections as
i Portrait ••! luan G
I, Portrait >! luan Grii painted b) Vazquez l)i.i/ in Paris in the autumn
,,i 1906

that of Matisse or that of Leger; or their respective fields of endeavour.

that his fame should still be in doubt, Any help he received came from outside,
if not internationally at least in his and even then far from lavishly, which
native land. Among many
other mis- was not entirely unreasonable con-
fortunes, Juan Gris suffered that of sidering that the Spaniards of his own
not having belonged to a famous gen- generation pursued the most hetero-
eration, one of those whose members geneous goals imaginable. Alfonso Ro-
help one another mutually, whatever driguez Castelar, Luis Araquistain and
1. Illustration in "Blanco \ Negro" (Madrid). September 22ml 1906.
2. Illustrations in "Blanco \ Negro", September 22nd l'H)6.

3. Typographical trade mark for Editorial Pueyo, Madrid.

1. Illustrated page of "Blanco \ Negro", Ma\ 26th 1906.
5-9. Illustrations tor tlmu ImSrica l>\ Santos Chocano.

LgcQ^QOiSTa e I J l
...
daw

mi cqIm hi I i

I,. i
iptMBdo »u Willi i

i . .

...,.
ni de ollu much** o»M l.ft ram da Ii

ha vraidr. inuv a mvnoa y no be da M I

jn»i;iiflc» vi.'n.w t.i.. '.

>.
ti«ie oatvt) DfBcia y »^ axpnaa GOD nn i

'

qvtdatna *'•*• • ' i

Kti nnn.o *n> j jCdjBO lc .'

mando *to qoa qaarta aatad .

•« nihin no U-rt*o tldda-

.

_La Ar\ nnlMn e* to*a <|uc to va1|;a •

p»n*A pam adaslroa cob tctqucdmt Ineom-

ii hi c-uarto
definitive I
' piepar.idu— penad. y cl vcrauo ><k'ui< Bb
•
.,[.,..! IIIIMICI ill ..
Ki/utendo »inuprr cl
laaal
II >r Mcn-1'i'n > :

Ir tat tan I i b Dtetambu

;,,,,,,. ,,:
-

Men M ur- lilurni

d) lin pudo r»
I. , ,
|

nil Sf Mrndoi.i nlr,i|.jr iidj BOptli

obrtna, un* cuarrntn, fca. obi-.i
HltWl.
.

Sfgtfl cl papd »*irnla dclu.i

nohrc «. y dc la coal
on" Or 1.'. Htl
no.tfila p-ir
i>.i Li
Jnj tc pnen-
podta. 4< nv*1* aMn, abandonat hacicnda. In ,»j./i.-,u v una hiatal
nm.i. en let dr rn1.nl CfB que ttepodbi irscd our la lli.t.m.i lit Bapaftl Si
I*\proptainmlr . \

., MtUt par*
I 11a .

T i. fl l.rtn <' i. in , ' - 1 Sr Uattdoaa ^ I l »* nina* u.i«'in.Ur»r a la cortc T-imtnen pM

'

'
ii i tie rd-
... v aun Irmcrano planlarv Madrid m . II „,

110 gran nocntirto. v que luce" pal en.il qulata del DBS.
Oil i;rin»dn '
u 'in-t..(iii(i. ni> [iiiil i Nuca I'lMiio el prim
I MI i.i. i

E» pontile que ile li IBpCtlCiOB co

n. iMfunni dci antfiiiiin.1 * ii In i Ii
idlld • •
ii i

i
.

nbid ana bbcyb out* iii s>

jlinri'.lo mi pectin .1. urn. nii el
I

. ,1 C.i>"» -li S.in ; l.iiHl.S GAHCIA

dt Morria •
i ck-ii.i U carta) m an innrd da alia /«-»-

ajfudr/ >
n »n» olo* u/ulr-. v KIM eaballu* de

I • Anl.iiia notd en nctfuid ' '

'
'

.
i ,
.1 ,!

t tc habian :
!
'.,-,
la e (life
u jii<atta
I
1
BUM GBBBB) Bl 04 mi ».>l.rm.i I no da ml Inc.
. . U CA»tn-
que y* o»
o. ,,|,« ../i.i, . ,,,,... ,iu .linn . .., pebago
di mi padra in. r
— i H nil radi taagu la
• .if rrjln .
i

n>. dabt » tl»(rd linrxirtarle, ai.-fido BBtad i.in

KaaUBBI Mflicxlo * 1> paBCB Jr in . nci .. nn laaara J* iBocaacia ' da bow
I

,
, ,

p*t i
j r i

rta In noa
i pnaaaiai
Ill

In Illustration in I \--i. u. m Beurre", October 24th I'WK. page I'M.

II IIIii-i i.iiion in I Vwiette au Beurre**, Vugual 20th 1908, |>.i'_''- tS5.

III. i ii in I \--iriii- .in Beurre", lugu»l 12th 1908, page UK.

13 llln-ir. ii in I \- i.m. .,u Beurre", M.ir. h 20th 1909, i>.il"- »-'(.

1
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i
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afe
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J^fr
aWlA
wt
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vS^^^^ I
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PJ
* 4i
14. Self-portrait No. 1. 1909-1910. Charcoal drawing. 18 31.5 cm. Galerie
Louise Leiris. Paris.

14
15 W in n idins 1910 ' harcoal drawing, 18 '! cm.
 Id. Tin' beggar. L909. Charcoal drawing, 31.5 2.~> cm.
IT. Woman's head. 1411). Charcoal, 32 25 cm.

16

1
1 * flV* « "*' mm MF
1 V |W -J B^B
1

fv K. Jin if r
*L

^B & T^^.

§T

Jose Gutierrez Solaria were all born dead, are sufficient -in a list which
in 1886; 1887, the year of Juan it would be difficult to enlarge-
Gris, was also that of Jose Moreno for us to rest assured that there was
Villa, Victorio Macho and Gregorio nothing to unite them in any con-
Maranon; and in the following year, gruent fashion, and if they were still
1888, came Benjamin Jarnes, Ramon alive and were to read these lines,
de Basterra and Ramon Gomez de la they would certainly be astonished,
Serna. These ten names, all of men now and quite rightly so, at such an appar-
 1

IK \lilk-..in bottle and coffee-pot. 1910 Charcoal and gouache, 48 31.5cm.

19 l*ii. t • r and bottle 1910 Pencil drawing, 17.5 31.5 cm
20 Still life 1910 « (>.• r I
and gouache, IK :s_' cm.
21 StUl life 1910 Water-colour 13.5 11 5 cm Uusee dee Beaux-Arts,
nil I ii urn

ently But the

capricious grouping.
fact is that it is exactly the same case
with Juan Gris in the French world
into which he plunged. All the Cubists
-Picasso, Villon, Gleizes, Leger, Braque,
Herbin, Marcoussis, Metzinger, Lhote,
Delaunay and La Fresnaye were —
older than he; some of them, like
Villon, bv as mu< as twelve years.
And though this cumstance may
seem unimportant link that it is

21 1
I
 22. The three lamps. 1910-1911. Water-colour. 62 18 cm. Kunstmuseum,
Berne.
23. The coffee-pot. 1910. Charcoal. 18 31.5 cm.
24. The bowler hat. 1910. Charcoal. 31.5 18 cm.

22

of some weight, since the fact of his

being the baby of the group, though
it may have helped him to be wel-

comed with a certain affectionate ten-

derness, may also have given rise to
another kind of tenderness, superior
and disparaging. I have said all this in

my introduction in order to emphasize

the forlorn isolation against which
Gris almost always had to struggle.
And since the fates of Spain and
If,

Bowl md ii if( 1910 !'• in il drawing, 18 II 5 • m.

siphon 1910 i
ban oal 18 '.I
'•
•
m.
-nil lii, 191 I Pencil drawing, '.I 18 •
m.

26

Portugal are nearly always linked, we

should remember here with affection
i
! x

a Portuguese who followed a very

- i

;
similar road to that of Juan Gris:
Amadeo de Souza Cardoso, who was
born in the same year, 1887, and died
even earlier, in 1918, after having
been successively a Modernist and a
28. Portrait of Legua. 1911. Charcoal. 18 31 cm.
29. Portrait of Maurice Raynal. 1911. Charcoal. 48 31.5 cm.
30. Jugs with lamp. l
l
'll. Pencil drawing. +8 32 cm.
31. Pitcher with bottle of milk. Pencil drawing. 18 31 cm.
32. Cup with flasks. Charcoal drawing. 18 31.5 cm.

28 29

30 32

*
JL' S
P?

./ J
5
•
Y
-
H

,
Poi ' i 111 "i I • gua I '' I I 'Ml on i am as.
Portrait "t Maurici li'.isn.il l
(
'|| iiii on canvas, 55 l<> cm
III. _illl.il I
' I | | | I | n, 1 1 ,
g

36

"^

*
 21

36. Still life. L911. Charcoal drawing. 74 43 cm.

37. Woman's head. 1911. Charcoal drawing. 48 31.5 cm.

37
Ifl Bottle* with bowl, 1911 Charcoal drawing, IH 32 cm.
19 II" coffee-pol l'*li Pen-and-ink drawing, IT II cm.

19
40. The kettle. 1911. Peneil drawing, 48 31 em.

41. The coffee-pot. 1911. Peneil drawing. 48 31.5 em.

I
.

- .

42. Portrait of the painter's mother. 1912. Oil on canvas, .)"> 16 cm. Pri-
vate collection. Paris.

Cubist, like our compatriot. It is useless I. THE SPANISH

to look for his name in the inter-
national bibliography, for he was Por-
HALF
tuguese; but at least he has his place (1887-1906)
in his national bibliography (1), some-
thing hitherto lacking in the case of It seems incredible that itshould be
Juan which is the
Gris, fault we are easier for us to reconstruct the bio-
now seeking to remedy. graphy of an artist of the 17th or
18th century than that of one of
The present volume comes after the our own time, one whom I myself
excellent works of Kahnweiler and Soby, (and I am not exactly an ancient) might
and we feel obliged to say how much have met and known if the circum-
it owes to them. The author is also stances had been propitious. But one
grateful to such other persons — men- would almost say that everybody con-
tioned in the appropriate place- as cerned, beginning with the artist him-
have provided further information re- self, had conspired to leave his Spanish

garding the life and times of our in- years wrapped in obscurity. Thus Go-
comparable artist. The idea was to mez de la Serna was able to spread the
produce a book in Spanish written by strange report that Juan Gris's father
a Spaniard, and so all the information was a 'high-ranking professional
received from sources in the artist's soldier", confusing the artist with Ma-
own country has been especially wel- nolo Hugue. Of his family and circum-
come. These pages, in short, devoted stances nobody gave us more than the
to a man called Gonzalez Perez, are scantiest of information, which told
dedicated to the innumerable Gonza- us very little indeed. It is hardly sur-
lezs, the countless Perezs, of all Spain. prising that in a much-consulted history
And the ''greyer" they are, if we may of Spanish art the painter should
be permitted a pun on the Spanish figure as a Catalan. Nor am I going
gris, the better for our intentions. to go into details here of the time and
efforts I have spent trying to amplify
 i ; li an in iht top hal 1912. < I >l 18 11.5 cm.
II II. ... 1911 "il m\..- 10 15 cm. Sprengel Collection,
1 1. v • r

I, Still lii. Bottle* and knife I'M: Oil on canvas, 54.5 16 cm. Kroller-
\| nil. i I ti um. Otterloo

this Information, though may sa\ I were in the majority. The family was
thai have been fortunate enough to
I comfortably circumstanced, thanks to
amplif\ ii to some extent. In this the shop owned by Don Gregorio at
work have been most efficaciously I Number 3 in the Calle de Carretas.
and generously helped h\ Don Gui- Before me as I write is an invoice
llermo Sanchez Gonzalez, nephew to from this shop, the rather pompous
Juan Gris, m\ gratitude to whom I heading of which reads as follows:
take this opportunity of expressing. 'G. Gonzalez Rodriguez. Honourable
mention. 3-Carretas-3. Madrid. Pur-
Jose \ ictoriano Carmelo Carlos Gonza- veyor by appointment to H.M. the
lez Perez was horn at Mo. in the dalle 1 Queen Regent. Gifts. Fine stationery.
del Carmen, Madrid, at seven o'clock Visiting cards. Stamps. Leather arti-
in he evening of March 23rd 1887 (2).
I cles. Vienna bronzes". The business
The building Still stands, very close still exists and still sells the same arti-
to the Puerta del Sol and on the corner cles. And its external appearance is

of the (alle de Tetnan. but as it has undoubtedly still the same as in Don
since become an hotel, it is impossible Gregorio's time.
lo ascertain which room the great in
painter was horn. His parents were It seems that Don Gregorio and his
Don Gregorio Gonzalez Rodriguez, who family were able to move to a flat in
was horn in \ illalon de Campos (Va- the same house (No. 3, Calle de Carre-
lladolid) on April 22nd 18-19. and Dona tas) as his shop (3). But neither this
Isabel Perez Brasategui, who was born address nor that in the Calle del Carmen
in Malaga in 1851. Theirs was a most were the only ones inhabited by the
prolific union, for the future Juan Gris Gonzalez family, since my research
was the thirteenth fourteen of the in the municipal archives of Madrid
children born t< them. Most of these reveals that in 1890 they lived at
children died ag, and it would No. 17 in the Calle de Alcala, a very
appear that the -Marta, Anto- good address, while in 1900 they resided
nieta. Maria Lu. Carmen, etc- at No. 73 bis, an enviable situation
 . 1
.

I.!

TO
±$i [c

nm » an •
HP«9
>
If

—— . tu i ii i wiiu n iii

"Sl^Ufi

f'V
$M

;# «

a*-**
I I

ttttpl

--•:~rr-

If ti »
_j r

45
\b I ' • 1 1 1 • • i ul Umi i.' mi. •
Ravnal. 1912. < hi mi ranvas. 55 '•''
cih.
M in' I! i . ii. il I ..lit . i H. ii I
*
r i
-

47

1
» ±i

IT. Townscape, Paris. I'M 2. Oil on canvas, 98 65 cm. Douglas Cooper 19. Portrail of Picasso. 1912. Oil on canvas, 92 73 cm. The \ri Institute
Collection, France. ot Chicago. Leigh H. Block Donation.
18. Still life with book. I'M:?. Oil on canvas, 16 30 cm. Private collection, ol). Bottle ami pitcher. 1912. Oil on canvas, .!."> JT.."i cm. Kroller-Miiller
Paris. Rijksmuseum, < >tterloo.

right in front of the Retiro Park. I

do not know exactly when Don Gre-

goriowas ruined, but it may be sup-
posed that his ruin would have mo-
tivated many of the changes of address,
which were very frequent at this time,
reflecting the slightest signs of fair
all

or foul weather in the family economy.

Let us now turn to that one child of
theirs whose life is of interest to us.
We know that at such an early age
'
 M ...

V\*k\.Wr'
II

, I I I,. Plai l!i\ ignan 1912 Pen< il draw mu

II,. banju 1912 Oil on canvan. II" 68 cm. Museu I Modern Vrt.

"i ork.

i-»b"S

..
as six 1 "mad about drawing", favourite toys were military trappings,
l)ii t simply a characteristic he
this is shakos, swords, etc., which seems rather
shares with a ousand other artists incongruous in view of his total rejec-
when they were ildren. It is rather tion of such things in later life. Studies:
more interesting know that his his primary and secondary studies were
Z*i.

53. The band-basin. 1912. Oil and fragment <>f looking-glass stuck on can
\ a*. 130 KM cm. Vicomtesse de Noailles Collection, Paris.
. 1 1 . Glass, pitcher and fruit-bowl. I'M:!. Pencil drawing, 34.5 28 cm.

at a good school, according to Gomez all,not only foreign sources of infor-

de la Serna, who says that he was a mation -the French being particu-
schoolfellow of the Bergamins, hut this larly inclined to error on
Spanish
is impossible, because Jose Bergamin subjects- but also sources from the
was not born until 1897. To crown it Peninsula itself gave it as certain that
16

,. Violin and guitai 1913. Oil on <.ms.i-. 100 65.5 cm. Mr. and Mr-. \
Ralph I "I"' * ollf ' Nen ^ '>rk

... w itch with -li.rrv bottle. 1912. <>il on canvas and collage. 65 92 cm.
II in- Grether < !olle< tion, Basle

Violin with wine-glaiw

,1 \m Moderne Parii
1913. Oil on canvas, 16 73 cm. Musee National
*h
56

Jose Victoriano had studied engin-

eering. One person, by no means uncul-
tured, has even seriously assured me
that the painter was an engineer. The
truth is rather different. That imagin-
ary School of A and Manufactures
which appears in all his biographies

rs
39
58
— r vj^
;
 I hi _•'
'i" 191 '•
< »>l ,in\.i-. '>_' 60 ' in. Museum ol Modern \n.
New '(.tk \lr- \iini I in k-i.n Levene Donation.
III. beei gla -
ind the « .1 r< I - . 1913. '
'il and collage on canvas, 52.5
.'. . .in 1 mIiimiIiii- Caller] "i Fine \n-. Columbus (Ohio). Ferdinand
How ird ' ollei tion

60 I hi bi .1 gla 191 \. '),l mi ,

anva», 73 54 cm.
_J r±i
1.3

61. \ iolin hanging on wall. 1913. Collage. 92 60 cm.

62. The three playing-cards. 1913. Oil on canvas, 65 16 cm.
63. The smoker. 1913. Oil on canvas, 73.5 54.5 cm. Mr. and Mr*. Armand
P. Barton Collection. New York.

61
i, i I be .hi ii 1913 i »il i. ii . .ui\ .1-. ill *>ii i in.
T*u
I.',

65. Saint-Matorel. 1913. Oil on canvas, Id 30 cm.

66. Houses in Ceret. 1913. Oil on canvas, 100 65 cm.
 1

I'.

I mi. I .
1 r Cere I 1913. Oil 01 vas, 92 60 cm. Moderna Museet.
Sto< k li'.lni

Violin with draughl-l r«l l'»l i Oil on canvax, 100 65 cm. Mr. and
Mr I... Simon Collection, Nev* ^ <>rk.
VAi

47

69. The muj! of l>eer. 1911. Collage, 55 ~'.i cm. Marx Collection, Chicago.
i::

.11 Id. I, ..ill. ..I wine from Banyult*. 1914. Collage. 55 16cm. 72. Bottle with j;la>^. I'Jl I. Oil and pencil on cardboard, 'Mi -7 cm. Peter
71 Hie vane of flowerx, 1914. Oil and collage 55 16 cm. Private collection. \. Riibel Collection, Cos Cob, Connecticut.

Pari 7i. Ilii' Venetian Mind. 1914. Oil and collage on canvas, 92 72.."> em.
late Gallery, London.

yakJPl
 1M

71. The breakfast, 1911. Collage, pencil and oil on canvas, HI 60

Museum of Modern Art. \ew \ork. Lillie P. Donation.
Bliss

75. The bottle of "Anis del Mono". 1914. Collage, II < 24 cm.

76. Fruit-bowl, glass and basket. 1918. Oil on canvas, 54 65 cm.

77. Guitar with glass. 1411. Collage. 55.5 • 49 cm.
 i
uitai I '' I I
i
.In. il paper 65 \<> i m
> llii.li.iir I
'* I 1 Oil and colla im\.i-.i>I 16 cm. Private collection,
Pari

was. in fact,
Industries,
to be divided into the present School
of Applied Arts and Artistic Crafts
and the School of Industrial Tech-
niques. In 1902 -the year given for
the commencement of Jose Victoriano's
studies- degrees in industrial engin-
eering did not even exist, and the above-
the School of Arts and mentioned institution did not award
which some years later was degrees but only certificates of apti-
tude. Nevertheless, I attempted to
obtain data from the two schools
formed from that in which Victoriano
was supposed to have studied; but
this proved impossible, for the archives
of both, at least for the dates that
interested me, had disappeared. But

^-mt
one member of the family did become
an industrial engineer: the painter's
brother Carlos, who died in 1928.
Without yet leaving the hypothetical,
and without the existence of data to
confirm the assumption (and even
though the memoirs of Vazquez Diaz
seem to make it doubtful), I am led
to suspect that it must have been after
those later exaggerated studies, i.e.,
in 1904and 1905, that Jose Victoriano
had lessons from the Malaga painter
Jose Moreno Carbonero, who was then
about forty-four or forty-five years
old and was in possession of first prizes
dating from 1881 and 1885. Picasso
and Dali, among hundreds of others,
were also pupils of his. Jose Victoriano,
in later years, was to anathematize
this master; rightly so as regards the
aesthetics he professed, but wrongly
with regard to all the assured mastery
of draughtsmanship it is to be supposed
he learnt from him. (For we can hardly
demand any more of our masters but
that they should teach us to paint or
to write, so that later, on the basis
of their teaching, we may write or
paint as the spirit moves us.)
I imagine that our artist, some time
around this key year of 1900, had
become fairly independent of his fam-
ily, for he was often to be seen in
the Ateneo of Madrid and was working
in a vast garret-studio he had rented
in the Calle de Martin de los Heros
along with his friend Enrique Eche-
varria, who was later tobecome a
mere caricaturist under the pseudonym
of Echea. Apart from Echevarria, he
had four other particular friends, all
very different Daniel Vazquez Diaz,
:
his guide and mentor; the Asturian
writer and critic Pedro Penzol, who
died some years ago and with whom I
corresponded, though I cannot now
console myself for not having taken
advantage of this correspondence with
a view to the present volume (he gave
all his letters from Juan Gris to Kahn-
weiler) ;the notable Czech painter
George Kars (1885-1945), who at that
time, after his studies in Munich, was
a more or less orthodox Impressionist;
and the German painter Willy Geiger,
a frequent contributor to Jugend and
the one I consider responsible for
Gris's interest in Art Nouveau graphics.
And though we have no data to go
on, we ma\ be justified in supposing as respectable a surname as any to
thai he was also friendly with Eulogio be found, today it fills seventy tightly-
\ arela, the most Art Nouveau in packed columns in the Madrid tele-
^l\lr of all the contributors to "Blan- phone directory. All of this is an invi-
co \ N egro tation to use a pseudonym. A gentle-
man whose name was Jose Martinez
Now lei us see how Juan Gris. as such, Ruiz preferred to adopt the name
was horn. It is possible that the first Azorin years before Jose Victoriano
work with this signature was the book- Gonzalez chose to call himself Juan
plate Madrid publishing firm
ol the Gris in his dealings with the world.
Editorial Pueyo, which was undated With the unofficial world, that is, for
and was still being used by this firm if he decided to try his luck in a
in books published in 1915. It shows National Exhibition he could not use
a If ol books with a kind of eagle
|
> i his pseudonym. But the choice of grey
on top, bearing a volume in its beak -a colour which, let us not forget,
inscribed: "PUEYO Madrid". It is is one of the few words spelt the same

signed simply Gris, without the Juan. in Spanish and in French, being "gris"
II we imagine it as complete, we in both, which seems to imply that it
encounter for the first time the illus- was chosen with a view to some distant
trious pseudonym: Juan Gris. And future— was not the most suitable
this long before there was any question for the artist's chromatic range, or at
of succeeding or not in Paris. But least not until much later on, for
the fact is that even in Spain
no it is ochre in various tones, green, blue,
easy task to win laurels if you have violet and black were really his
to sign yourself Jose Victoriano Gon- favourite colours. It is true that a
zalez. \Jose" The is all The
right. pseudonym may be the result of some
'Victoriano", God knows why, had fleeting state of mind, without pausing
and still has vague echoes of rusticity to consider that this self-given device
and certainly does not sound in the isgoing to obliterate one's true origins.
least intellectual. As for "Gonzalez", And whatever he was worth —
and he

IMHM
 53

was worth a great deal —

Jose Vic- in the above-mentioned drawing, The
toriano Gonzalez had now disappeared minstrel's soul, in which this instrument
from public life, to be succeeded by is elegantly represented.
Juan Gris. His legal name was going
to trouble him very little in his future This first illustrated book — the artist
life. Let us, therefore, examine the was not to do another until 1915, with
first works signed by Juan Gris, apart Pierre Reverdy's Poemes en prose —
from the one already mentioned. had the result of providing Juan Gris
with colleagues of exceptional quality^
In the spring of 1906 the 'Libreria since he was collaborating with no less
General de Victoriano Suarez", of Ma- a man than Menendez Pelayo, who had
drid, published a volume entitled Alma written a letter of praise to Santos
America, Poemas indoespanoles, by a Chocano (page IX), Unamuno, who
minor poet of the transatlantic Par- wrote the prologue (pages XI-XIX),
nassus, the Peruvian Jose Santos Cho- and Ruben Dario, who contributed
cano (1875-1934), with 67 illustrations, the Preludio, which is accompanied by
besides the covers, by Juan Gris. This the first of the drawings — also one of the
was an important commission, possibly least felicitous- - by our would
artist. It
not badly paid, and it is rather seem that the latter ought to have
interesting to look now at these_Art made some use of such distinguished
N^uyeau_ allegories^ in several of company, especially perhaps that of
which — The elegy of the organ. The Ruben Dario, he made
but either
Viceroy's sword, The minstrel' s soul — no endeavour to do so or he was
one can already detect the artist's unsuccessful in the attempt. For the
fondness for diagonal compositions, moment, however, this fine book gave
while in the drawing accompanying him access to the pages of ''Blanco
The collapse there is, as it were, a defi- y Negro", undoubtedly the most dis-
ni te fores hadowing of Cubism. Another tinguished graphic review in Madrid
indication, that of his future interest at that time. In number 786 of this
in stylized guitars, is to be found review, which came out on May 26th
1906 the verv number that contained dated as of 1908 in the catalogue of
the critique of the National Exhibition the exhibition of illustrators of 'Blan-
of Fine Arts there is page with
a co y Negro" held in Madrid in 1954
two ol the sonnets ol Santos Chocano but the first.
The marshes, which is not illustrated
in the hook, and The iceroy's sword,
I In the same year, 1906, the National
which in the hook has only a small Exhibition of Fine Arts had closed on
draw ing framed hv a border with June 30th. The first medals for paint-
a double design signed by Juan Gris. ings went to Alvarez de Sotomayor,
this time in handwriting, rhough his Benedito, Cabrera Canto and Meifren,
future as a contributor to this publi- and the medal of honour to Agustin
cation seemed assured and with it Querol. Decidedly there was no future
the possibility of fraternizing with reg- in this sort of thing for a justifiably
ular contributors like Mendez Bringa, impatient young man, while the illus-
Sancha, Xaudaro and Eulogio Varela, trations we have mentioned were not
who was the most avant-garde and regular enough to provide him with
the closest in Juan Gris-
style to any more than a precarious future.
the truth is that the artist was given His decision was soon taken. He sold
no further opportunity until number what few possessions he had, including
803, on September 22nd of the same his bed and his mattress, managed to
year, when he did three drawings to scrape a little money together and
illustrate a storv bv Francisco Flores bought a ticket to Paris. There is evi-
Garcia entitled: ha conquista del pan. dence that his father, Don Gregorio
Apuntes para una comedia modernista (who died a few years later), offered
(The conquest of the bread. Notes for to pay his son's fare, but that Gris
a "modernistic" comedy). The story did not accept the offer, doubtless
itself, mediocre enough though not from motives of delicacy. Corpus Barga
totally devoid of wit, was animated tells us (4) how he met him in the
by these three facile drawings, the best street, with the ticket already in his
of which is not ic third —
erroneously pocket or his wallet, and was informed
of his decision.At that time Juan Gris
was a friend of Alejandro Sawa, which
implies, that he was a member of the
blackest, most wretched and most
picturesque of all the Bohemian circles
of Madrid. Now we can understand
why, years later, he was interviewed
in Paris by Pedro Luis de Galvez.
Like everybody else who had any way
of doing so, he was to avoid the burden
of militar y ser vice, though it is
that this meant he could never return
to Spain and was officially branded
as a 'fugitive", a rather sinister word
in its unpleasant legal possibilities.
It seems perfectly credible that Juan
Gris did not go to Paris simply for the
reason we have just mentioned, or in
order to make his name as an artist,
but also to find some solution to his
sejxual prob lem, which indeed was diffi-
cult to solve in Spain. At any rate that
is what Vazquez Diaz Rafael
told
Alberti many years ago, and the latter
speaks of it in his autobiography (5),
using Vazquez Diaz's own expression,
one so exaggeratedly coarse that it
hardly seems discreet to repeat it.
Vazquez Diaz himself has told us of
Juan's arrival in Paris. He had sent
word of his itinerary and his friend
from Huelva went to meet him at the
Gare d'Orsay at eight o'clock one
morning towards the end of September
1906. Vazquez Diaz established Gris in
a room in front of his own in the Hotel
Caulaincourt, begged credit from the
proprietor, M. Eclaire, who consented
to wait for a month to be paid, and
true made a similar arrangement with the
bistro where he and his friends ate.
It should be mentioned that when Juan
Gris arrived in Paris his entire capital
amounted and he urgently
to 16jfrancs
needed to earn some money. The good
Vazquez Diaz introduced him to every-
body he could and found him a post
on the editorial staff of "L'Assiette
au Beurre", most probably flourishing
proofs of his friend's ability as an illus-
trator and poster painter. Anyone who
has known Daniel Vazquez Diaz's
charm and powers of persuasion will
readily understand the lavish use he
would be likely to make of both in
order to procure all the work he could
for this kind of younger brother of his,
who was indeed his junior by six years.
II. THE ENCOUNTER
Willi RIGOUR
(1907-191.?)

It appears thai Juan (iris, who was fortunate for Gris- the name of the
accompanied l>\ \ azquez Diaz in liis man who occupied the studio on the
lirsl wanderings around Paris, was left of the passage, looking from the

\er\ soon able to look alter himself, entrance. This was the studio which
though not until alter his friend from had first been occupied by Van Dongen
llueka and others had taken him to (6) and later by another painter, not
the Bateau-Lavoir, i.e.. to number 13, well-known but pleasant, called Vail-
Rue Ravignan, where Picasso held lant. The studio, in short, that was to
swa\ and where Gris imrnediatelv be occupied by Juan Gris until 1922.
made friends with Apollinaire, Andre Two windows gave on to the street
Salmon, Max Jacob and other future and the artist used to sit in front of
apostles of milita nt Cubism On Oc- . them to paint. It is said that this
tober 22nd Cezanne died, but bv then lodging was never remarkable either
Picasso had already secretly begun to for cleanliness or for order, the latter
work on his Demoiselles eT Avignon, fault being rather surprising in a person
with which he was preparing to take like Gris, brought up to be so tidy.
the place of the patriarch of Aix. Nat- The lack of cleanliness can be more
urally he didn't show the newcomer easily understood —or at least ex-
from Spain so much as a square inch of cused — considering the prevailing filth
this picture, for he never let anyone see of the building as a whole and the lack
it. Besides. Picasso — as we shall see of ready money.
never accepted Gris wholeheartedly
until after he latter's death. It was Kahnweiler tells us that he found
Picasso, he who told Kahn- himself confronted by a man who was
weiler — and lis was to be extremely 'very young and, I think, handsome,
with dark chestnut hair and an olive That this Spaniard soon solved the
complexion. Rather than a 'Spanish problem of female companionship there
type' precisely, he was a perfect ex- can be no doubt. By the time Kahn-
ample of what is usually called a 'Creole weiler first met him he was already
type', that is to say, almost mulatto living with a woman whose surname
in appearance". We must forgive Da- alone — —Belin has come down to us,
niel-Henry Kahnweiler for these racial and who, as soon as she had given him
fantasies about a pure-blooded Span- a son — Jorge, born on April 9th
iard, in our gratitude for all he did 1909 — disappeared in the greatest
for him. The supposed Creole or mulatto haste. There was nothing to be done
had been portrayed by Vazquez Diaz but send the child to Madrid, to be
in a famous picture of his done the taken care of by his aunts and uncles,
same vear as Gris arrived in Paris and this Gris did. He did not live with
— most probably to help the newcomer any other woman until 1913, when
kill time — and all we can see in it is he met Josette. In the meantime he
the portrait of a dark-complexioned continued to lead the life of a poor
Spaniard. In the later portrait by man, with his intermittent work as
Modigliani — not nearly such a good an illustrator and his constant hanker-
likeness, on account of Modigliani's ing to become a figure in the world of
usual exaggerated proportions what — Cubism.
chiefly strikes us is the handsomeness
of the sitter, which coincides exactly The two principal biographers of Juan
with that singular countenance" of
"' Gris pass over the four years Gris
his recalled by Ramon Gomez de la spent working as an illustrator as if
Serna. they were walking on live coals; as
 riHM

though were a demeaning profession

it principal subjects treated by Juan
or, at least, one unworthy of him. Bui Gris, with as much assurance as if,
there was no question cither of glory instead of being a mere lad of twenty
or of discreditable activities, nor did or so, he were already a veteran, not
he descend to anything reprehensible. only with his pencil but also in inter-
The most important of his illustrations national politics. We may be permitted
are hose w hieh appeared in "L'Assiette
I to discover in these series an under-
an Beurre", in which he was helped by standable coincidence with the style of
the excellent Leal da Camara and in the German "Simplicissimus", which
which lie made his debut on March was perhaps the most characteristic
28th L908. On August L2th of the publication of this type and the one
same year he contributed two drawings most in tune with the aesthetic aims of
ol Christ, the only ones he ever did the Jugendstil. It hardly necessary
is

ol such a subject. Other drawings by to recall this style here: ve ry well-

4
him appeared in Le Cri de Paris'. defined outlines, with a tendency to the
u c
'Le Charivari", Le Hire" and Le angular, a clear preferen7^e~ioTline o ver
Temoin". Usually these drawings are mass, (great graphic freedomjand the
both carefree and apposite, much more closest possible atten tion to exp£ession_
supple than those of his brief Madrid and gesture. Nor need we look very far
period, though also much more inclined to find the masters: Steinlen, Forain,
to caricature, a field which, at all Wely and, of course, reminiscences
events, was not really his. In Gris of the most illustrious of all, Toulouse-
there is always a sense of nobility which Lautrec. On the other hand, there was
limited him to accentuating and sharp- always room for great diversity of
pen ing features, surely very much in style and for contributions by foreign
accordance witli his own ideas and artists. The French illustrators willingly
those ol the we have
publications admitted their Spanish colleagues, and
mentioned. The questions of Turkey in "Le Rire" during 1907, for instance,
and Macedonia, he rapacity of Russia we find contributions from Pedro Tor-
and the Frenci attitude were the ne Esquius, Ricardo Flores, Cardona,

Ricardo Opisso, Jose Sancha and Xa-
vier Gose. These Catalan colleagues
were obviously of great assistance to
Gris, making it possible for him to con-
tribute numerous illustrations to the
Barcelona magazine "Papitu" and, of
course, to itsalmanac for 1908, which
settled some serious economic difficult-
ies for the artist. He continued
contribute the Barcelona weekly
to
until November 15th 1911. In any
case, I am quite sure that these years
spent as an illustrator and semi-cari-
caturist were of the greatest benefit
to Juan Gris; not only did they permit
him to live on in Paris in the hope of
better things to come, they also obliged
him to maintain a skilful hand and
shrewd head. His fees, we may suppose,
were minimal, just enough for absolute
essentials. should be remembered
It
u
that the annual subscription to L'As-
siette au Beurre" cost no more than
25 francs. Picasso once boasted that
the review in question had offered him
800 francs per contribution, but such
a sum cannot be even remotely com-
pared with what Juan Gris was paid.
Vazquez Diaz recalls him at about
that time with hardly so much as a
59
franc in his pocket, without even the
sou he needed to write to Spain, as
Gris himself laments in a letter to
Echea. His contributions to "L'Assiette
au Beurre" continued until March 20th
1909.
Without a franc or without a sow, but
to with a world of secret plans in his head.
He had not come to Paris merely to
satirize the Turks, the Russians or the
Germans, though it may be supposed
that this amused him enormously,
but to be a painter; indeed, a great
painter. He knew he could not achieve
this aim as long as the slavery he found
himself in continued, that he had to
a escape from it. This he was aware of,
but we shall never know just how
great, of how many embittered hours
the result, was the heroism of this
firm decision of Juan Gris, this man
who by now hardly remembered that
his real name was Jose Victoriano
Gonzalez, who no longer wished to
remember where he was born. The
whole story of his later triumphs may
well be considered much less important,
in human terms, than this long hiatus,
this decision to break with his entire
> •«* % • .

»* * * %

T* » Mrunj w
TJifcl m iW HI
W*W«

% * * ^ *
 61

80. The guitar on the table. 1915. Oil on canvas, 73 12 cm. Kroller-Miiller
Rijksmuseum, Otterloo.
• • •'•'#"

past and order himself an order —

he obeyed at all costs to go where —
he wanted to go. We shall never know,
I repeat, the details of all this isolated
heroism. All we can be certain of is this :

that he gave himself an order and

obeyed it~ As if he were subjecting
himself to that abhorred military disci-
pline to which he had refused to submit.

The change in activity, technique and

intention involved in Juan Gris's move
from illustration to pure painting was
much brusque and drastic than
less
one might think. As far as technique
was concerned, the change was con-
fined for the moment to the switch
from gouache to water-colour, though
his pencil remained as active and rig-
orous as ever and, we might say, more
influencedby the mute lessons of
Cezanne than by anything else. It is,
however, evident that the doctrine
Gris reallywanted to follow was that
of Cubism. We would even go as far
as to say that absolutely everything
had conspired to bring about this re;

The Fauves were at the verv

of their renown when Gris a 1

Paris, but we may be certai xh

eminently undisciplined and sensual may still amuse ourselves wondering
painting, premeditatedly free from any what course the painting career of
straightness and from any possibility Juan Gris -i.e., of a Spanish painter
of acting in accordance with given rules. working in France —
might have taken
cannot have met with his approval. if he had been exiled in the 17th cen-

tury, or in the 18th, or in the 19th.

V- if were not enough, the first
t his In my opinion there can be no doubt
impact of the Rue Ravignan, where as to the correct solution of such a
Picasso concocted his schemes, must puzzle. In the 17th century he would
have dazzled the young Castilian, as have been a Philippe de Champaigne,
also, and to no less a degree, the army but even more rigorous, for he would
of poets and critics flourishing in the have been more Jansenistic. In the
shade of Cubism in its triumphant 18th, an even more meticulous Char-
rising. We should also remark how din. In the 19th, he would have pre-
strongly this doctrine appealed to one ferred Ingres to Delacroix. And we
so attracted by the idea of a straight have left for the end of this discussion
line, or of two. three, four ormore a point which is not unworthy of no-
equally straight lines making up a tice: the fact that in Cubism, which
picture, a picture inwhich that colour is essentially the painting of inanimate

so lavishly squandered by the fames objects and still lifes, there is an

could he administered, distributed and immanent and pantheistic religious
arranged. Above alb arranged. Let us principle. To say that Juan Gris ab-
not forget that the painter's greatest horred the mechanics of religion is one
inner preoccupation -though the one thing, but to suggest him to be a
he spoke of least, if at all- was to man devoid of religious spirit is quite
he that of order. But though Cubism another. His active history will show
proved to be the best receptacle for us how true that is.

the ideas nearest his heart (whether

he knew them or not, whether or not There are fewer witnesses to Juan Gris 's
they formed part of his dialectic), we debut in Cubism than there are to
^1
63

81. The tea-cups. I'M I. Oil. charcoal and collage on canvas, 65 l

)2 cm.
Kunstsammlung Nordrhein, Westfalen, Diisseldorf.

82. Slill lite. l

(
)l 1. nil and pencil, hi
Collage, gouache, '.\H cm. Smilli College
Museum of Art. Northampton, Massachusetts.
8i>. Fruit-bowl with bottle. *H 1 Oil, charcoal and collage
1 . on canvas,
02 65 cm. Kroller-Muller Rijksmuseum, Otterloo.
.....— MM HMMMMnHMMMHI I
83
- «J
 Ml Lcaaattfattata' *'
(,::

lli. breakfast. 1915. Oil and char I cm canvas. 92 .

'.
cm. Vlusce 86. I ruit-bowl, and newspaper. 1916. Oil on canvas, 33
I k 16 cm.
National .1 \ii Vloderni P —>iiiit !
College Museum
i>l \rt. Northampton, Massachusetts. Joseph

Still life in a luvtnsrapc I'l.i. . Ravignan), 1915. Oil on canvas. 16.5 1

Brummer Donation (2-1-1923).
in Philadelphia Museum ..I \n Louise and Walter "irensberg
i ..II. . 1 1. .ii
rf^MMJ
69

87. Newspaper with coffee-mill. 1915. (HI on canvas. <>l 16 cm.

88. Still life dedicated to Vndre Salmon. I
(
M<>.

89. Mottle, newspaper and fruit-bowl. 1915. (HI mi wood, 72..~> 50 cm.
Kunstmuseum, Basle.
•*"»»-
8 (>
 Jt*2
W\

'»> ll>. drauphl -hoard. I'M".. Mil invas. 92 73 cm. \n Institute.

i In

91 Violin with wine-giant 1915 Oil on canvas 92 60 cm.

I ruit-howl, pipe '""I newspaper. 1917. Mil on pK« I 92 65.5 cm.
>. IK. woman with the mandolin (after • orot). 1916. Mil on plywood.
in K mi- 1 inii-i urn Basil

became the lot of this honest, modest,

persevering and self-denying Spaniard.
Whatever he showed, whatever he de-
cided to exhibit in the future, it would
have to be of the highest quality.

Cubism^ ^rmreoyer^ was something

much too important to be discoverepL
in a flash, overnight, requiring as it

did, despite his haste, a maturing of

later events
ports of this part of his pre-history
are more superficial. And so we shall
never be able to know for certain
-though we may imagine it without
much fear of being mistaken- how
great and nun terous were the struggles,
the privatio the endeavours, the
silently furioi
style after which he would steer his
own course. For the moment, his
beginnings could hardly be more modest
and restrained, more soothing, reliable
and moderate. One would say that
they were test-papers in an examin-
ation, not an examination in adventure
but one which would fit him for some
solid hierarchy of that traditional paint-
ing which respects
everything that
deserves respect in art as a whole;
in his life, and their re- we can never speak too highly of this
gesture of ritual politeness. Two im-
portant pictures in this new start of
his in 1911 are the Still life with book
(Private collection, Paris) and the Still
life with eggs and bottle (Clive Bell).
In the first, the objects in the group
continue to preserve a classical co-
vexations, which now hesion, perhaps with rather gratuitous
73
S3

j
 -'* J

M Bat hi r- (aftei Cezanne) 1916. Pencil drawing, 28 39 cm. Claude

Bernard- Haim Collection, I'.in-.

jr.- ,
.-•-/ ..•:
:

'*,*'
L

|M

and preconceived faceting, but at any
rate extremely well-controlled and
exemplarily clear. Nothing is confused
with anything else. The jar, the coffee
pot, the cup and the book could lead
their own independent lives if they
were not so much better off in their
successful inter-relationship. And
though the canvas is only fifty-five
centimetres high, forecasting Gris's
fondness_ for intermediate surfaces,
neither too big nor too small, the
whole seems designed for monumental-
ity in this work which is at once so fresh
and so magnificent within its cleverly
compressed proportions.
For the time we find an echo of
first
the solitude and majesty of Zurbaran,
together with the coincidence with
one of his works, the Still life with
four pots, which Gris could not have
known. Apart from this, the year was
as rich in mute acknowledgments as
was poor In the still
in fulfilments.
life with the bottle and the eggs, the
classicism of French tradition —
the
tradition of Cezanne, and before him
of Manet or of Fantin-Latour, and
perhaps even of Chardin before them,
—
for all three were Gris's predecessors
in respect for the eternal in form, and
we might even adduce some others
can be seen quite clearly. This respect
and this classicism are so great that
even at that time, at some indefinite
moment in 1911, nobody could
guarantee that the artist's foreseeable
course would necessarily be Cubist,
in view of such weighty and indepen-
dent compositions. The first client to
appear in Juan Gris's studio must
certainly have thought so. And who
was this first client, who deserves all
our thanks ? It was Clovis Sagot, a very
shrewd ex-clown, who now supported
himself as best he could by buying and
selling pictures by young painters.
A landscape painted in the same year,
1911, Houses in Paris (Sprengel Collec-
tion, Hanover), might be considered
more Expressionist than Cubist and
more German than French, since it
it possesses rather more traditional organ-
ization and many more identifiable
objects, arranged in their proper places,
than we find in Picasso's landscapes of
Horta de Ebro. The same Expressionist
method was to be used in the Toivnscape
of Paris done in 1912 (Douglas Cooper

Collection, London), this time with a
greater attempl at scenographic effect.
This lasl painting, incidentally, is dedi-
cated " / mon ami Picabia, avec
cher
toute V admiration". do not really
I to continue, there can be no doubt
know whether Francis Picabia was then
deserving of much admiration, hut at
all events he was eight years older than
Juan Gris. These, then, were Gris's
preliminary advances in Cubism.
It may be objected that as preliminary
stages they are rather scanty, which is
true; hut Gris, fearing that the Cubism
ol Picasso and Braque was moving too
rapidly towards its own destruction
and suicide, since in 1912 the inventors
had already decided that the analytical
period was finished, hesitated no longer
and joined the movement. He did so
rather belatedly, for he remained faith-
ful to that glorious, murdered phase,
the analytical, though very much in
his own way. The still lifes painted that
year were to be arranged in the form
of designs in which the predominant
features were uncompromisingly diag-
onal guiding lines accentuated by
violent shading, which were used for
spherical and tubular objects, the whole
thus presenting a rather machine-like
M*MM*MO**i*MMaiaH
effect, though in this Gris was not to
persevere, leaving it to be exploited by
Leger. And he was right to leave it,
for if he had permitted this tendency
that, with such very firm plasticity,
much of our artist's lyricism would
have become prosaic. There is no fear
of this in other compositions, in which
the classical method of the previous
year is followed, even to the extent of
speculating with the same bottle (Bottle
and jar, in the Otterloo Museum) but ;
this time the lines are unbroken, the
whole is the result of another determi-
nation. In one very beautiful work,
with almost exaggeratedly elongated
proportions (Banjo and glasses, in the
Leiris Collection, Paris), the resources
of Cubism are applied not so much to
the general construction as to the par-
ticular modulations of each object, and
ifJuan Gris had been content to stop
at this moment, he would already be
considered a painter out of the common
run. But he did not stop. The great
still life of this year was to be that
which is called, after its contents,
Guitar and flowers (Museum of Modern
Art, New York), which is already a
 79

*).">. Man's head (portrait of ili«' artist). L916. Oil on canvas, 65 50 cm

 aMH MM — »
-

'"• Portrait 1916 Pencil drawing, 22 IT cm.

 81
^7
97, Figure of a woman (alter Corot). L916. Pencil drawing, 39 28.5 cm.

98. Man with lii> elbow on a table (alter Cezanne). 1910. Pencil drawing,
22 - 17 cm.

98

r* . >

splendid and unequivocal model early marvel attenuates the emphasis

— though still a trifle curly, with a of some of the planes with the lightness
tinge of Baroque, a faint suspicion of of others; those of the lower half are
the romantic of what was to be — diagonal and dark, rushing headlong
Gris's characteristic sobriety in the downwards the upper planes, in various
;

future. Here, at last, we can see the tones of blue, ochre and salmon, affirm
dynamic needed to transform Cubism the fluidity, to which a more aerial
into a truth conscious of itself; this character is given; and the horizontal
 UMB MMM

divisions solicitously balance the whole indeed from the antifigurative, and
composition, In which the touches of that a Cubist portrait can and should
colour are of unprecedented delicacy, be as good a likeness as an academic
the flowers reduced to petals, the guitar one, if not better.
left to be guessed al rather than re-
produced. The sensation of beauty The Portrait of Picasso with the rather
,

"
achieved is amazing. unusual inscription Hommage a Pablo
Picasso" above the signature —
a cu-
\ihI I be port raits done in same year
the rious form of salutation from a Cas-
are still preliminary, preceded by his tilian to an Andalusian —
is, in the first

own. possible done in 1911 (Bruguiere place, a masterpiece of Cubist painting,

Collection, Paris), and those of Maurice but it is also a sign of the strange,
Raynal and his wife. That of his mother, respectful affection that Gris felt for
w Inch w as naturally painted from mem- the man considered his master,
he
ory, of considerable expressive vio-
is though to tell the truth Picasso was
lence, with a play of diagonals which far from being anything of the sort, as
dramatizes- perhaps exaggeratedly- later events were to prove. Though
the likeness of Dona Isabel. This se- future developments were to cause
cret iveness is not repeated in another Picasso to grow to gigantic dimensions,
figure, the Portrait of Picasso (Block while Juan Gris disappeared from the
Collection. Chicago), which has no scene, the truth is that in those days of
gratuitousness of style and is very 1912 there were no decisive differences
pleasing in its pale colouring, of admir- as to quality between the two. Indeed,
able composition -forced, of course, the work done between 1913 and
into the diagonal- and with a geo- 1917 obliges us to revise our opinion
metrical conciseness that merely in- of Gris vis-a-vis Picasso. But when we
creases the likeness of the subject. Like are young, as everybody knows, a
Picasso's own portrait of Vollard, this difference of six years of age is big
picture is a proof that Cubism, as long enough to give the whether more
idea,
as it was true to itself, was very far or less mistaken, of a difference between
 83

99. Fruit-bowl with bottle. 1916. Oil on canvas, 65 80 cm. Smith College
Museum of Art. Northampton. Massachusetts. Joseph Brummer Do-
nation (8-4-1921).
1'iu P I Mm. Grin. 1916. i>il "N canvas, 55 16 cm. Rupl Foun-
dation hVi

Mil Harlruuin (after ••/.hum). 1916. Pencil drawing -'-' IT cm.

- \% itli In 1916. i oloured drawing, 15 -'<'<
cm.

junior and senior, and the good Juan ately followed the Cubist movement. He
Gris felt himself to be the junior. And studied what we might call the 'tricks'
with all his honesty he never noticed of Cubism, and he made use of them
that he was not exactly a welcome visi- with a certain intelligence, but without
tor in Picasso's house. So we should art". A graceful tribute indeed, apart
conclude, at least, from what Fernande from the injustice of calling Juan Gris
Olivier (7), then Picasso's mistress, cunning! But as Fernande's own in-
4
Juan Gris, not telligence hardly seems to have been
'

says on the subject:

greatly gifted but cunning, immedi- on the same level as her undeniable
102

>\u
erotic beauty, uc may take it that this years later, at the time of the exhibition
opinion was not thought ii|> by her, in the Galerie Simon in 1923, he re-
but heard in the course oi heaven proached Gertrude for defending Gris's
knows how man\ evenings in the Rue painting. This would explain why the
Ravignan, in the gav and insouciant much-praised portrait did not receive
company of the non-painting apostles the logical acknowledgment of a
of Cubism. It should not he forgotten portrait of Gris by Picasso
Picasso.
in this respect that the eulogies of was now soaring to the stars, while
\pollinaire. so hyperbolical with regard Juan Gris remained attached to the
to Picasso, are not nearly so well- earth, to the cobblestones of Paris.
known in their references to Juan Gris,
t he true Cubist. Together with the successful paintings
of Juan Gris that we have mentioned,
\t events this deferential homage
all it is only natural that there should be

to Picasso, apart from being a proof of a mistaken attempt or two, or even

the honesty of Juan Gris, is one of his
very best paintings. That pale blue,
that springlike tone, those little spots
of colour on Picasso's palette, were
painted with genuine emotion, with all
the real selflessness of a friend and
compatriot. Unfortunately, the reaction
of the sitter is revealed to us by Ger-
trude Stein in her Autobiography of
Alice B. Toklas (8), in which she affirms
i4
that Juan Gris was the one person
Picasso would willingly have wiped off
the map". Picasso may have taken a
poor view of the friendship between
Juan and the American writer, for many
more. And in fact there were. For by
now everything that represented a more
or less considerable evasion of the disci-
pline imposed upon himself by the
artist would be a mistake, which is as
unpardonable in art as it is in politics.
Let us look at one of them. It is the
Man in the cafe, in the Philadelphia
Museum, a canvas measuring 128 by
86 centimetres, a size that can in no
way be justified by the subject of the
painting, unless it be because it is the
figure of a man wearing a top hat and
apparently in evening dress, sitting at
a bar with a drink. The slight back-
 87 111

103. Portrait of Max Jacob. 1916. Pencil drawing, 35 27.5 cm.

104. The vase. 1916. Pencil drawing, 40 • 28.5 cm.

105. Harlequin (after Cezanne). 1916. Pencil drawing, 22 17 cm.

106. The coffee-mill. 1916. Pencil drawing, 10 28. 5 cm.

103 101

105 106
 I I I -..>-—. _
Slill III. with newitpapei 1916. Pencil drawing, 13.5 (8.5 cm. Phillipi
I '.IK . i ii.ii \\ i- hingl "M

Still lii. with poffee-pol 1915-1916. Pencil drawing. 58 19.3 cm.

109. Still life with newtpapei 1916 Oil on canvas, 73 60 cm. Phillips Collec
i \\ .i-liin^ i '.ii

r
in: Id!!

t"

ground is
outlandish figure of the man, clearly
inclined to the comical or, at least, to
a more malevolent humour than that
of 'L'Assiette an Beurre", which can
only be harmful to the reputation
of the artist, so much so that if the
of greater merit than the work were not signed we should be
more than willing to attribute it to
one of the lesser lights of Cubism.
Unfortunately, 1912 was also the year
of The smoker (Thompson Collection,
Pittsburgh), a drawing which is a kind
of arbitrary divertissement, quite devoid
109
 ——*— I II II

I In ||„. Plan Ravienan. 191 I Pen< .1 drawing. 17 29

 91

111. Bottle with fruit-bowl. 1917. Charcoal drawing, 18 32 cm. III. Still life on plaque. 1917. Oil on canvas, fil 65.5 cm. Kunstmuseum.
112. The open hook. I
l
)17. Pencil drawing, 2M 35 cm. Basle.

113. The violin. l

l
)lo. Oil on wood. 116.5 73 cm. Kunstmuseum. Basle 115. The strawberr\ jam. 1917. <*il on canvas. Kunstmuseum. Basle.
116. Still life on a chair. 1917. Oil on plywood, 100 73 cm. Musee National
il \ri Moderne. Paris.

of logical intention unless that of a

sense of humour which, though mis-
taken, is at least more acceptable than
that of its namesake in oils, painted
in the following year. And then there
is The bottle of sherry, also in the
Thompson Collection in Pittsburgh,
which at could be taken for
first sight
a much later painting by, for instance^
Torres Garcia; and this might be all
very well for Torres Garcia, but it will
hardly do for Juan Gris. It is an oblong
composition, with a rhomboid whose
diagonal sides divide the surface well;
but then, within the network inserted
in this rhomboid, there are too many
things lacking homogeneity, while on
the left side a heavy curtain, caught
up with cords and tassels painted with
deliberate roughness, hardly adds any
appeal to the whole. These works so
foreign to the true spirit of Juan Gris,
in short, though curiously contempor-
ary with some which we have con-
sidered his greatest master-pieces,
would have made us fear a regression
had the facts not proved the contrary.
Juan Gris had painted much more than
in the year before and his work, in con-
sequence, was more abundant in sue-
 .. —M^^l

1 1 I

i
 —»
aa^»n

I I
 95

lid
"'' ""

K'
.—-»->

f
 _ — I .fa^MMri til l i

I I,, null, i 1918. '»il .,n canvae I

1 "' i'.l cm. Calerie I se Leiris.

Pai
Mm h..i,i i..iii. 1918 "ill "ii canvas, 100 65 cm. VI usee Vh I

.1 \t i \ I ... i - i ii. I'.u i

-

||9 I in.l. ,|.. ,i It. .mil. n rn:: Oil on canvas, 90 64 cm. Kroller-Miiller
II i|k-niii-. ii in < h lerloo

cesses and failures. It may well be In this year, though still in his initial
supposed thai lie himself, so excellent period, he suddenly passed from total
a judge of what he did, was more obscurity to the relative and grudgingly
anxious than his chroniclers to learn admitted fame of an exhibitor. Not
the lessons of both. It was onh from without significance is the appearance
The smoker that he seems to have of a selective and extremely knowl-
learnt nothing, since he went on to edgeable client, Herman Rupf of Berne.
make an oil painting of it. today in
the collection of Armaml P. Bartos in It was in 1913, when
Picasso had
New ^ ork. already cruelly simplified his Cubist
method by means of the most frenzied
We have already seen that 1912 was synthesis, that Juan Gris ascended,
a year of hesitations and contradictions. rather suddenly, the position of
to
behind w Inch were revealed an immense the most responsible preserver of this
codifying talent and a system of com- movement. Undoubtedly he, too, was'
position which was to he followed by moving towards a synthesis. He, too,
two of the legislators of Cubism, Gleizes had abandoned his taste for the baroque
and Metzinger. 1912 was also the year curves of the previous year. But if we
in which Gris participated in the great compare his new paintings with those
collective exhibitions: in March and done in the same period by Picasso
\pril with three works in the Salon and Braque, we shall observe much
des Independants ; in April and May greater solidity and a parallel deepening
with five oils and three drawings in the of the mystery with which he estab-
Cubist exhibition at the Galerias Dal- lishes the presence of the objects
mau in Barcelona; in June and July which figure in them. The synthesis
with two pictures and a drawing in the lies more in the conception than in the
collective exhibition of modern painting execution, and order acquires entirely
in Rouen; and in October with two new authority. For the moment the
pictures in the exhibition of "La section prestige previously enjoyed by the
d'or" of the Galerie La Boetie in Paris. diagonals as the main ordering lines
 » • *
•
• • • • • •
#' » « • * *
« • • • • • •^•^* '

••*••
 i i i .^fc+ddmaag

120, Still life 1917 • >! >>ti . i v . . 91.5 cm. The Minneapolis InMitule
,,i \ 1 1 1 1,, lohn I! Van I lei li|> I nunda i ion.

120

gives wa\ to a greater predominance of

the vertical (sometimes several verti-
cal-, exactl) and geometrically paral-
lel), as an example of which we might

take tin' magnificent iolin and guitar I

(Ralph Colin Collection, New York), or

Seer glass and playing cards, in the
Museum of Columbus, Ohio; or the
other version of Violin and guitar, in
Douglas Cooper S collection in London.
\\ e have now come to a gravity of

diction, a rigour of line and a solemnity

of colour, all at once, that make us
hold our breath before what is almost
a rit ualizat ion of the object. There
were many violins and many guitars
that year, not only recognizable as such
and even realistic -but filled with
all the volume they could for centuries
have dreamed of possessing. While
Picasso and Braque were painting in
ever barer hieroglyphics, Juan Gris
accentuated the nobility of solidity.
A sonorous polychromy, which was the
ripening of the almost lily-like strokes
of the previous year, affirmed his power.
The hard black of the surrounding
shadows clinched it. The planes which
were not intended to allude to any
essential part of what was depicted
 I llllllll I
~_. «*-
|n !

were nevertheless still essential be- what excites the will to investigate in
cause the solidit) of the composition Juan Gris is volume; and planes, too,
demanded it. Here we can see tin' truth that contain a graphic quality of their
ol Douglas Cooper's felicitous phrase own, which is respected by the painter.
in defining the artist: "Juan (wis or
the taste lor solemnity". Here we have From this moment on, Juan Gris would
lull justification lor our comparison no longer be just another Cubist painter,
with Zurbaran, as far as silence and the but the Cubist painter par excellence,
communion of things are concerned. the reasonable being who assured the
Juan (/lis had just recovered the plastic world of an irreproachable
meaning that great painting had lost starting-point in the adventure that
in its treatment of still life, and this setting out to paint a picture always
recovery endowed Cubism with the involves. An adventure which ceases
considerable qualities of responsibility to exist when every moment of the
and respectability. Cubism was not consequent process of gestation is taken
jusl a game; Juan Gris. at all events, care of by a whole scale of exigencies,
was not prepared to let it become one so that the point of arrival, the one
in his hands. His structures are alwaxs offered to the viewer, does not contain
logical in appearance, for whatever is the slightest pinch of chance, not so
deformed inthem owes its deformity much as a milligram of improvisation.
rather to geometry than to caprice. I am not surprised that the legend

Even the urge he feels to draw pains- concerning Juan Gris should have im-
takingly the graining in the wood of a agined him as being in possession of no
table or of adado ensures the contrast less than a degree in engineering. Even
ol textures which has already been if he never had one, it is no less a fact

noticed independently anyway. In the that every ingredient in his pictures

same way a playing card, a musical fits in with the one beside it as if they
score or the headline of a newspaper were the constituent pieces of an engine.
are reproduced with absolute fidelity, When Gerardo Diego declared some
perhaps becau e they are planes, while years ago that Juan Gris began to plan
 L03

his pictures with^jtnangleand a T Josette, a woman from Touraine whom

square, he was not exaggerating, and
this fact isconfirmed by several other
anecdotes, such as the one about Braque
pointing out to Gris a certain purely
geometrical mistake in a painting. I can
understand that such a procedure may
appear improbable, strange and even,
if you like, monstrous, but what matters
is not this, but rather the result, over-
whelmingly beautiful, obsessively per-
fect, full of religious self-communion.
It was also in 1913 that Juan Gris
commenced his relationships with two
people who were to remain absolutely
faithful to him. One was Daniel-
Henry Kahnweiler, the German art
dealer who had turned his commercial
activities into a cult, accentuated by
his excellent critical sense. He came
an agreement with Gris by which he
freed him for the moment -and, we
may suppose, forever — from any kind
of financial embarrassment. A close
relationship grew up between the two
men, recorded in a long series of letters
in which the Spaniard confessed his
changes of spirit, his thousand hopes
and despairs. The other person was
we should imagine as not exactly beauti-
ful, but a truly good and effective
companion for the artist. The fact that
the two of them had some really
terrible rows, as happens in every good
marriage, is no reason why we should
not consider them a perfect couple.
With a man who provided him with
a living and a woman who made that
living sweeter, Juan Gris felt strength-
ened. This was obviously going to be
noticed in his subsequent work.
From August to November of 1913
Juan and Josette stayed in Ceret,
where they coincided with Manolo and
with Picasso. The arguments about
painting between the three Spaniards
are known to us, indeed quite famous,
to but unfortunately we have no record of
them, when few documents would have
seemed so precious to us as a shorthand
transcription of those conversations.
We may suppose that Picasso expressed
his ideas in the form of hunches, Ma-
nolo with sullen flatness and Juan Gris
through his unshakable convictions of
rational investigation. On his return to
Paris, at all events, our hero could
101

boasl ol having worked much and well. III. THE GREAT YEARS
be objected, of course, thai his
I ( will
Landscape oj Ciret is a thousand leagues
OF JUAN GRIS
brlow i he le\ el ol his st ill lifes: the diae-
(1914-1918)
onal has returned or rather a cross
of arbitrar) diagonals, not supplied 1914, that year which began to change
l>\ the contexture oi the landscape so many things that had seemed un-
without adding any conviction to the changeable, was to be for Juan Gris
construction. Hut this -in my per- a year as much of testing as of glory,
sonal opinion was the final hesi- and it may represent the highest peak
tation, the last "awkwardness" of the in his evolution. (Nor is there anything
painter, who with every passing day false about analyzing his work year by
was demanding more of himself and year, since for an artist who demanded
was more aware of the wonderful so much of himself a year was an exact
significance oi what he was doing. And period, at the end of which he could
this at the close of the last year of the draw up his balance sheet of hits and
belle epoque. Although, to tell the truth, misses, achievements and omissions.)
this was the moment that announced This was the year in which he freed
the real belle epoque of the artist, which himself of the tyranny of both diagonal
is what concerns us here. and vertical composition, replacing
them with a scheme that was much
more central and more cohesive round
a centre not infrequently perceptible,
even prefering the oval to the rec-
tangular. Rather late, considering what
had already been done by Picasso and
Braque, we see the appearance in his
work of collage, not confined to labels,
4
headlines from Le Journal", 'Le
Matin" and "Excelsior", but admitting
 105

pages of books and even such question- enough to assure us that collage was
able elements for inclusion in a pic- not the most suitable of media for the
ture as a piece of looking glass. Speaking complicated reasoning mentality of
of the collages, however, we cannot Juan what was needed was to
Gris. If
forget a further proof of the honesty deceive the eye, he had other ways of
of Juan Gris. If his friends, the greater deceiving it at his disposal; if his
gods of Cubism, see nothing wrong in purpose was to assure the viewer of
cutting out a piece of the wickerwork a true and authentic element of refer-
of a chair, with its design of multiple ence, the truth and authenticity of
weaving, and then pasting it onto a which would be patent
sufficiently
picture, Juan Gris considers himself to take it without transition into the
obliged (in obedience, I feel sure, to invented and synthesized, it must be
his proud Castilian nature) to cry admitted that it would not be essential
"Harder still!", a phrase he must have to have recourse to the true material,
heard more than once from the per- but it would be indispensable to imitate
formers of the Cirque Medrano; and so that material. The logic is irrefutable,
he did not just cut out a piece of the astonishing in its elementarv, initial
wickerwork but, with the greatest skill reasoning. We can well believe the
and patience in the world, imitated it embarrassment that such ways of falsi-
in themost sensational trompe-Voeil fying collage would cause to those
recorded in history. Also the most who had invented it. Picasso and
legitimate because, quite frankly, imi- Braque must have felt confused, and
tating beauty is same as
just the it is certain that this confusion would

imitating the back or seat of an old hardly be likely to increase their af-
two-a-penny wicker chair. This is fection for Juan Gris. From this we are
I'll

I !l
 107 71
121. Harlequin. 1917. Pencil drawing, 50 51 cm.
122. Townscape of Paris. 1917. (HI on wood. 116 71 cm. Private collection.
123. Fruit-bowl with newspaper (vignette). L918. Pen-and-ink drawing,
8.5 12 cm.
121. Wine-glass (vignette). I°-I8. Pen-and-ink drawing, 8.5 12 cm.

122 125

121

led to the conclusion that the painting

of Juan had never been so
Gris free of
procedures; nor, however, had ever it

been so sub ect to such a difficult reason-

j

ing -one for each picture. If there

was anything in it that was formulated
or repetitive, it has disappeared. Each
painting was solved as a different
problem, because his predilection for
the oval or for what possessed a centre
was far from constituting a programme.
Fruit dish and bottle of water, in the
Otterloo Museum, does not tally with
this general premise, and the fruit dish,
 i iii , t

1917. '»il "ii .in* .1-. -'

.
'"> i in

I I,. ,.. di -i .1 i ibli 1918 ' >il "ii in\ - >5 (8 . in.

i i !,..,.i, I 1917. Oil on canvai 116 73 cm Nelson \. Rockefeller

I ..II. . I n .n \i M ^ nrk.

II ,,|. ,,,1,1, I'H l'>i:: ri.i.i iculptun height 55 cm. Philadelphia

Mi,-, mi, "I \, i \ I
i
. dial in '
ollei tion.
12:. 126
128

^^^^

m
m
$
 I I HI! I M

r,.,ni. bowl and wine-guut 1918 Pencil drawing, li."> U.S cm.
r'ruit-bowl with newepapei 1918 Oil on canvas 92 65 cm.
131 Mug knife and plat< of fruil 1918 Pencil drawing, 26 13.5 cm.
It. hi with knife I'll? Pencil drawing

•>
I
 U3 1
133. Townscape. 1918. Charcoal drawing, 18 31.5 cm.

131. Girl with guitar. 1918. Pencil drawing, 18 31 cm.

131
 '
- '"^^
1

I
;
', II til. .|. in, with bat. 1919 Pencil drawing. 16 24.5 cm. Davis Wayzata
I '•!!• • i inn Vliiini i
f .. . 1

I 16 Fruit-bowl with two apples. 1919 Pencil drawing, 20.5 27 cm.

I I 136
 11.")
PI

X
I
 —
'
117

137. I'll.- village. 1918.

WH

137

M
mt
which
of a flower;
is off centre, has the proportions
The
of wine from bottle
Banyuls (Riibel Collection, Cos Cob,
Connecticut) is most correctly syn-
thesized in form, while Roses (Private
collection, Paris) enchants us with the
very opposite, with its cajolery of
an improbable — and not repeated
Rococo.

Surprise follows hard on surprise. If in

the pictures we have mentioned, as
also in the Still life with glass of beer
(Marx Collection, Chicago), or in the
Breakfast, in the Museum of Modern
Art, New
York, he used collage with
his customary discretion, almost always
with fragments of newspaper headlines,
there is another painting, in brown
and ochre tones, which is extremely
beautiful in its simplicity The lamp, in —
a private collection in Paris— and which,
in its glaze of sapient whites against
a larger newspaper cutting brings us
an intersection of material authenticity
and a desire to reform his immediate
material which must convince even the
most obstinate. It is something like the
white froth on the beer in that picture
in Chicago we have spoken about, a
 i i I i i I i 1 ^^mm*
I i;:

I \H Coil ii in. I fruit-bowl mi .1 table. I'HH. Oil on canvas, '»'( 73 m. kiin-i-

muaeum Basic
139 Harlequin with guitai 1919 Oil on canvas, 116 89 cm. Private collec-
tion Paris
! M »-U

119

140. Clown. 1919. Oil on canvas, 1(10 65 cm. Musee National d'Art Moderne,
Paris.

141. Clown. 1919. Oil on canvas. 90 70 cm. Musee National d'Art Moderne.
Paris.

139
 12)1

I i"
 I

1
 L23

142. Still life \>itli lamp. 1^19. Kroller-Miiller Rijksmuseum, Otterloo.

I l.\. Guitar with clarinet. L920. Kunstmuseum, Basle.

143
 ,.,=,. .... . - -

ill! .,i , .,i!,. 19 !0 K.iii-iiiiii-. -11111. Basil

I 11

froth rising jusl besidepage a title

which read- "LK... (most probabl)

"LE JOI UN \L"). which accompanies
the refreshing coolness <>l the drink.

\ im I everywhere we can see the tremen-

dous sureness of Gris, which by
now was no longer confined to the
difficult crafl of organizing a picture.
for ambitions as a creative artist
his
had gone much further. That difficult
crafl demanded that the balance the
artist Longed for, while remaining one
and he same, should present a thousand
t

different variations on a single theme

of beauty. We can see this in every
slight detail, in ever} crossing of objects,
masses, colours and guiding lines. And
the fortunate possesor of a 1914 paint-
ing by Juan
can allow himself the
(iris
pleasure of doubling it at least, since
l>\ simpl\ hanging it upside down he
finds himself with another painting,
and not simply a different version of
the one he possessed and enjoyed when
it was hanging the right way up. The
sorcery of the artist may not have
foreseen this, but that is how it is, for
his system of composition did uncon-
sciously foresee such exchanges.
 U<M
^ es, L914, the year thai Europe was
never to forgel even after L939, the
year in which the nineteenth-century
order ol things began to break up and
give
D
posthumous, of course
DO©.
wa\ toothers, brought ureal glor\
to our good
Juan Cris, but il also brought an in-
finite number ol annoyances. Every-
thing had been |>lain sailing until the
declaration of war. which not unnat-
urally caused a certain nervousness
among the rulers of France, for they
were from pleased to see the enor-
far
mous floating population ol foreigners
who might interfere with the war
effort. For a short time Gris was afraid
that he might be returned to Spain.
where, as long as he was still of mili-
tary age, the least that might happen
to him would he to he drafted for an
extended period of service or sent to
serve in an African unit, neither of
which prospects seemed at all inviting.
Meanwhile, his treasurer in practice,
Kahnweiler, had been surprised by the
war in Rome, from which city he moved
to Berne. He could not return to France,
on account of his German nationality,
and communication between them was
temporarily interrupted. Juan and Jo-
I
sette took refuge in Collioure, near
Ceret and near the Spanish frontier,
where thev found the high priest of
the Fames* Matisse, and one of his
acolytes, Marquet. It was a happy
chance that Gris and Matisse should
have become friends, but not for a
moment can I admit the opinion that
either of them exerted the slightest
influence on the other — Gris
on Ma-
tisse, as has been said- for both were
absolutely sure and convinced of their
respective truths. Matisse, who was
older than Gris by a generation, would
hardly have been likely to admit any
other suggestions than his own at that
stage in his career. Besides, he always
kept rather aloof from Cubism.
In October Juan and Josette returned
to Paris, where they found the city in
a more anxious mood with every passing
day, and they themselves soon had to
worry about their almost total lack of
money. The enforced absence of his
dealer drove Gris back to his almost
normal state of pennilessness. He did
not need very many francs for the
Franciscan life he led with Josette, but
even those were scarce. It would appear
 12:

145. Self-portrait. 1921. Pencil drawing. 33.5 25 cm. Private collection.

Paris.

I 16. Still life with guitar. 1920. Gouache, 33.5 28 cm.

that it was then that the rather

eccentric, but kind-hearted, Gertrude
Stein came into his life. She, at least,
affirms that she first met the Spaniard
during the first winter of the war; she
i4
recalls him as a tormented and not
very pleasant man. Melancholy and
effusive, he never lost his clearsighted-
ness or his intellectualisiTr\ It was onlv
natural that Gris should be melancholy
when he realized that he was painting
marvels without a possible purchaser.
Then Matisse intervened -an inter-
vention as providential as it was mys-
terious —
and arranged for Gertrude
Stein and Michel Brenner to let Juan
Gris have the sum of 125 francs a U6
month, but this patched-up arrange-
ment —though not so niggardly for
that period as the sum might make us
suspect — did not last very long. It
certainly no longer existed in the
spring of 1915, when the artist, who
had interrupted his correspondence
with Kahnweiler, had to sellsome
paintings to the latter's colleague, and
doubtless rival, Leonce Rosenberg. In
the course of this correspondence Gris
complains about how disagreeable life

is becoming in Paris and about his

 . . i—
T

eternal problems and his sadness, while each one being the larva or embryo of
ai the same time he gives news aboul its true, primitive self, and when they

the health of Braque, who had been are polished and lose volume they
graveh wounded a1 the front hut later communicate a new dynamism to the
recovered. I > 1 1 1 all this evident abnor- whole which enfolds them. At times
mality is not enough to impair the the viewer would think he was standing
qualil \ ol (,v\> s w ork. in front of a surgeon's instrument
cabinet or the shelves of the most
His work now became chiefly Lyrical, in luxurious of scent shops, because, what-
spite of the fad was growing thai it ever the colour, the entity or the
more geometrical. Rcnlh 1915 was the volume of the things depicted, every-
year ol trul\ synthetic Cubism; hut it thing communicates a sensational
was an enchanting synthesis, which brightness in the best works of this
continued to embrace many objects prolific year. A new painting device
more e\er\ da\. one miffhl say- appears, that of filling certain surfaces
and carh one with a specific treatment. with dotted lines, dapplings, little spots,
\ tendency of the previous year (and which slightly diminish the overall
one which can really be observed in rigorousness. A wonderful picture,
almost all his work), that of graduating painted in June, at a moment when he
the possibilities of reality and identifi- must have been exceptionally happy,
cation in what is represented, now is that of the Place Ravignan (Museum

became sharper, while in the same way of Philadelphia), bringing a new and
the colouring, which he always tried fertile formula which Gris was not to
to make solemn, was treated in accord- forget : the still life of fruit dish,
ance with the essence of what was newspaper, bottles and glasses is
depicted. We still see the tables of counterpointed by the very beautiful
grained wood, the brown planes, the background of the open window, with
serene and sumptuous greens, the op- a blue landscape of trees and houses
portune, defining blacks. The objects which gives the whole an indefinable
tend to be summed up in themselves, light and another sensation, no less

enchanted truth.
difficult to express, of
This masterpiece alone would suffice to
confirm what we have said about
lyricism. But this lyricism has other
reasons for manifesting itself.
Gris, who was a great friend of Reverdy,
had illustrated the poet's Poemes en
Prose this year and now, in November,
he reproduced one of them in a still
life with a pipe, playing cards and
angular structures. These structures,
moreover, rectangular and trapezoidal,
with the intersections always fitted
together according to the most con-
vincing visual and geometric calcu-
lations, tend more and more to be
accompanied by the network of squares
of alternating colours of a tablecloth
or a chessboard. This procedure, so
eminently and eternally Cubist,
fully integrated in this aesthetic,
a good accompaniment to any geo-
metrical formulation, had already been
used by Gris in paintings done in
1913 and 1914, but it was only now
that the checkerwork acquired greater
prestige and more direct visibility. Juan
Gris knew, however, that a chess-
board, for the simple reason that it
solves a problem of Cubist composition
129
better than any other object, is too
facile a device, and so he did not
multiply it or use it too much. And
this is a pity, for thereno painting
is
Juan of his involving this chessboard pattern
that is not a prodigy of sensibility, a
lesson of geometry, a clear mirror of
simplicity —
in a word, a work well
done. It was an easy problem for
others, but not for him. When this
facility offered itself to him, came
right into his hands and meekly let
itself be caught, Gris rejected these
natural aids, his immense honesty seem-
ing to advise him to complicate them,
always from the standpoint of another
naturalness, his own. That is why the
elementary solution of a problem of-
fered by the checked tablecloth and
so the chessboard was -and we cannot
such help regretting it- avoided in a hun-
dred cases. It must be believed that
checkered planes did not exist before
Juan Gris, and it might even be supposed
that he invented them. Remember
that Picasso preferred to checker the
suits of his harlequins; a mistake, for
neither Cubism nor any other plastic
style is capable of surpassing the con-
cise, sumptuous magnificence of a simple
 I I 1 1 ll il —— ^w.

I 111

pattern of checkerwork,
squares or however came about, it was also
this
always provided that one of the two the year in which Juan Gris retreated
alternating colours is black. And no- more and more into himself, dispensing
body bestowed so
has much severe with a great number of the accessories
sensibility on an absolutely simple that he had always taken delight in
little black square on a chessboard a> scattering through his pictures. Every-
Juan Gris. The) are little black squares thing became more measured, more
thai glisten, thai gleam and shim- moderate, even more opaque. That
mer like jewels, and then it must be fleeting, though sumptuous, sense of
understood that even these are hardl\ the Rococo that had provisionally
the most suitable words. The beauty brightened the Spaniard's work now
of one of these chessboards as they disappeared for good. Perhaps it was
were presented by Juan Gris lias a the hardship of the war which, —
kind of magic that cannot be defined, however far away, was no less present
ami this mute, unaccustomed, fasci- in the air of Paris — that induced
nating fervour has found no heirs, Juan Gris to go through his spiritual
unless it be in some of lie very best t coffers and bring forth these reserves
examples of contemporary non-figu- of Spanish with which to austerity
rative painting. have to make an
1 face the infectious mood of his chosen
effort to drag myself away from the country. I think so, for I suppose
interpretation of such very elementary that by now we may speak of Cubist
beaut \ tenebrism, since black, a solemnly im-
posing and liturgical black, that black
And now he had to face another year the Spanish museums and cathedrals
of war, the year 1916. Would we be are so full of, now definitively regained
right supposing that the aspect of
in its rights. We are not dealing with the

general austerity of France in arms first blacks of the solemnity of Juan

affected all her inhabitants? Let us Gris, but I do think that these are the
not forget that this was the year of severest and most defining. This is
Picasso's soberest paintings. And, Cubist tenebrism, which is as much

as to say Cubism of the best possible
compounding, with mixtures of the
seventeenth and twentieth centuries
and of the timeless art of the land of
Spain. It is Cubism, millions
tenebrist
of light-years removed from the friv-
olity with which so many millions of
Frenchmen of 1916 viewed Cubism,
not knowing that this was a Spanish
movement, centuries old and eternal.
A Spaniard was painting for the world,
appalled by the enormity and gravity
of war, and the result could only be
masterpieces for which,
this selection of
though tardily, that same world has
shown its reverence. It is incumbent
on us, therefore, to mention some of
them. Perhaps the Still life with playing
cards, Washington University, St.
in
Louis. With no perhaps about it, the
magnificent Still life with newspaper
(Phillips Collection, Washington) is a
work with a firm presence, in which
nothing is projected in any direction,
in which everything reposes and is
re-created for itself. The violin in the
Museum of Basle, in grey, black and
brown, impresses us once more -the
least important part is its content,
i.e., the bow, the instrument, the score
13]
and the table- with a kind of monkish
quality, which would lead us to think
either of Zurbaran or of Sanchez Cotan.
Undoubtedly, other pictures painted
in the same year were treated with
vivid and even strident colours, which
may be put down to the fluctuating
moods of the artist, but what appears
over and over again is this grave modu-
lation which transforms the object
into a living and thinking entity, pal-
pitating with its own light and no
other, with itsdissimulated capacity
of spiritualized mass. Juan Gris con-
stantly certifies his Spanish gravity.
It is of no importance that on certain
occasions he attempts to overcome it.
From September to November of 1916
Juan and Josette stayed at Beaulieu,
in Josette's native region of Touraine.
It was there that Gris, by way of
exception, did some work with fig-
ures and landscapes. The results of
this work in the former are the free ver-
sion of Corot's Woman with a mando-
line (Kunstmuseum, Basle) and two
portraits of Josette, one a head and
shoulders and the other half-length,
which are in the Rupf Foundation in
 I I I I » III III

II. I he loal 1920 Pem il drawing 25 7 13.5 < ...

p and bowl 1920 Pencil drawing, '» I 25 cm.

1 1: I IH 149

Berne and the Douglas Cooper Collection

in London respectively. It would be
impossible to find greater asceticism of
colouring than that used in these
pictures, with a predominance of black,
D re\ and light ochre, somewhat like
a precedent of Picasso's self-punished
Guernica. Hut there can be no doubt
that we would recognize the subject
of the portrait, with all her acuteness
and feminity, for in these flat and
inflexible images Oris has put all the
virtues that could possibly be attained
in synthetic Cubism. As for the Land-

s<(if)<> of Beaulieu (Otterloo Museum),

Juan Gris, without ceasing to bear

 I 33

149. Still life. 1920. Pencil drawing. 25 32.5 cm. Private collection, Paris.
 lllliUMll

II

in mind the scheme of \\\> landscape of bending a violin, something he would

ol Ceret, does not here fall into the never have dared to do even a year
same error; thi> is a relatively Cubist earlier. And yet, in this very year of
landscape, bul In* masonry oi the
t 1917, he presented the world with two
walls is very fortunately there to take of the most prodigious masterpieces
the place of the checkered cloths and in the whole history of painting. In
the chessboards. Not even Juan Gris, August, The sideboard; in November,
however, with all his mental lucidity, The fruit dish. The sideboard (Nel-
understood that landscape is not a son A. Rockefeller Collection, New
suitable genre, in principle, for Cubist York) is a marvel of construction, in
painting. The domain of the cube and which the very circumstance of leaving
its exploit at ion is about si\t \ percent in almost the whole lower half of the
still about thirl\ per cent in the
life, picture occupied by a piece of furniture
figure and only about ten per cent in in dry, sturdy wood, in flat colours,
landscape. with the dark painting of utilitarian
furniture, enhances the marbling of
Nevertheless, he was to persist in his the trav and the importance of the
attempts, and it is true that he suc- bottles and other vessels on it. And
ceeded in producing a beautiful land- what care has been taken with the
scape in greens and blacks in July of details! For detail it is, this eagerness
l )17. This year, in the course of which
(
to reproduce the keyhole of the side-
Gris experienced severe phases of de- board drawer, whereby the reality of
pression, was not, naturally enough. this keyhole, at first glance insignifi-
one of his most fruitful, and it may even cant, is communicated to the whole
be affirmed that most of the works of this bare, magnificent, unforgettable
are characterized by a kind of compo- composition. It is wonderful to see
sitionwhich -in contrast to Gris's pro-
- how important those bottles are, how
grammatic clarity- almost approaches they affirm their personality, what
the chaotic, to such an extent that perfection there is in the grave colours.
he goes to the unheard-of lengths Once again black is given a stabilizing

and hierarchic function such as it
had never possessed since Naturalism,
and such as would be very difficult
to find in the work of any other Cubist.
This picture is so beautiful
Gris had treated it with the procedures
of the most absolute realism, preserving
the scheme and the colouring, it would
still be as wonderful as it is.
No less beautiful and no less
is The fruit dish, in the Guggenheim
Museum, New York; looking
photograph of this painting, the viewer
would justifiably refuse to believe that
it only 81 centimetres high, for the
is
magnificence displayed seems to call
for monumental dimensions. And in
reality they are monumental, one might
almost say gigantic. The content corre-
sponds properly to the title; in it we
can indeed see a fruit dish, it is true,
but it is so architecturalized, so
powerfully assembled, so organized and
so constructed that all reference to
that object is soon forgotten, while
we are subjugated by its sumptuous
metamorphosis into a supertropical
flower, immense, impossible and un-
created. Surprisingly, the composition
—
135
becomes very baroque once more, with
faint diagonal flights, none of which
affects the guiding tangibility of the
principal object. And one case or
in
that if the other Juan Gris reveals himself to
be the orderer of things by very defi-
nition. He is the lord and master,
judge and pontiff, of Cubist order. Or
simply of order, without anv adjectives.
Yet another beautiful picture was
sensational painted in December of this year: the
Harlequin with a guitar, now in a
at a private collection in Paris. Though
it does not face the problems of the
composition we have just been prais-
ing, it still brings a note of optimism
into that anguished year.
Juan Gris, who in this year of 1917
had perhaps reached the highest peaks
of his whole career as a painter, then
also experimented —
but only once
with sculpture. In the earlv months
of the year, when he was alreadv on
very friendly terms with Jacques Lip-
chitz, he set to work, with all his
usual vehemence, on a little statuette
no more than 55 centimetres high, in
the technical preparation of which he
was almost certainly advised by the
 """" 1
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Still hi. vmi), pitchei 1920, Pencil .If.ivmu-. 18.5 H.i

51 i III.

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151. View of the bay. 1921. Oil on canvas, 65 LOO cm. Gustav Kahnweiler
Collection, Cambridge.
 1
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P rtrail "i Mmi Louiiu Leiria. 1921. Pencil drawing, W 26 cm. Pri
- 1 1 < . tion Pari

Poi 'Hi •! Mm. II.. Laacaua 1921. Pencil drawing, 34 26 cm.

1 1,, kid 1921 I ithograph, K) 12.5 i m

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sculptor. He
constructed a metal
framework of very carefully calculated
proportions and on it he modelled in
plaster a curious Harlequin, which
was then painted in various colours
and is now housed in the Museum of
Philadelphia. In spite of its minimal
size, the little figure stands erect with
assurance and majesty, and it is sur-
prising that it should have been left
without companions. We must suppose
that it was the result of a momentary
caprice which nobody, unfortunately,
bothered to encourage. The little sculp-
 i:w

155. Portrait of Mme. Lucie Kahnweiler. 1421. Pencil drawing. 36.5 2(> cm. 157. Boris (portrail of Boris Kochno). 1921. Lithograph. 10 32.5 cm.
Private collection, Paris. 158. "Marcelle la Blonde". 1<)21. Lithograph. 10 32.5 cm.
156. Portrait of D.-H. Kahnweiler. 1921. Pencil drawing, 32.5 2<> cm. 159. '"Jean le Musicien". 1421. Lithograph. Ill 32.5 cm.
Private collection, Paris.
160. "Marcelle la Brune". 1921. Lithograph, HI 32.5 cm.

155 1 56

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163 !• 1921 Oil invae '."• 100 .in Ubrighl Knox \n
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166. Pierrot with guitar. l°-22. Charcoal drawing, 31.2 2 1 cm. Private
collection.

166

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169. The dice. 1922. Oil on canvas. 39 M) cm. Musee National d 1

\ri Moderne,
Paris.

170. The two pierrots. 1922. Oil on canvas. 100 <>."> cm. Harold Hecht Collec-
tion. Beverly Hills. California.

168
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tures of L923, which
himself cutting oul of metal
and afterwards polychroming, were of
no greater importance than as a simple
pastime, and the artist used to <xi x
I hem lo his friends. It is sad. in short,
lo have conclude our commentaries
to
on thai (jiiHiK triumphant year of
1917. possibh the most glorious of all
for our man from Castile.
And then came L918, the last year of
the war. which Juan and Josette spent,
from April to [November, in Beaulieu.
Not a ver\ fruitful year, in the course
of which, together with still lifes which
continue to vibrate and intrigue with
their steely solemnities, their resolute
and commanding curves, their ultra-
Cartesian logic and their withdrawn
concision, we also find a specimen of
the genre Gris had not mastered land-
scape- in the form of an excellent
Landscape with houses (Otterloo Mu-
seum), which is rather like a fascinating
scenario for a German expressionist
film -a prediction indeed and some
very notable figure paintings, which
mark a guiding line that would tend
to predominate in Juan
(iris amused future. These are the Portrait
of the
sheets wife of Cezanne, a free version of the
latter's painting, and The man of
Touraine, a captivating and mysteri-
«
ous personage. Particularly interest-
ing the version of the Cezanne, which
is
shows us how great an interest Gris
had always taken in the master of
Aix. In 1916 he had already carried
out a whole series of versions of Ce-
zanne's work, reproducing his Baig-
neuses and some of the portraits,
though without going beyond the stage
of pencil drawings, and showing signs
of a spirit remarkably akin to that of
the great pre-Cubist and the way in
which the latter and his mastery ob-
sessed him. That this should have
occurred at the beginning of his career
was no more than normal; that the
same healthy obsession should continue
— in 1916 and 1918 showed it to be
much deeper and more programmatic.
At any rate, the fact that Juan Gris
most probably noted was not this,
but rather that the war had ended and
— that everything was going to quieten
down and return to normality. Little
did he imagine that for him the normal
Gris in the years were the years of war.
 153

176. The pierrot. 1922. Oil on canvas, 100 65 cm.

176

IV. TOWARDS THE END

(1919-1927)

No, the readjustment of French life

was not so simple as it seemed, and
the consequences reached everybody.
The impact of the general nervousness
and the longing for a new period of
happiness to begin had their effect
on our artist in the form of a total
and unequivocal inner crisis. The fact
that the most interesting part of his
production in 1919 should consist of
harlequins and pierrots, while the still
lifes become fewer and farther between,

seems to be a premonitory signal of

the need to finish with Cubism, or at
least to get rid of the greater part of
its secretiveness, a hard decision for
Gris. Onthe other hand, however, he
must have been glad of the re-establish-
ment of the smooth machinery of
exhibitions, those indispensable inter-
mediaries between creation and sale.
In April he held a one-man show,
with about fifty pictures, in the Ga-
lerieRosenberg, and in July-August
he contributed one work to the collec-
.1

\| 111 with .nil ii 192 '•

Hi. i i metal i ul oul and painted, Height 10 i m.
Private i ollei i ion Pari*

tive exhibition at theFlechtheim Gal-

lery in Diisseldorf. In 1920 he took
part in no fewer than nine exhibitions,
among them the Salon des Indepen-
dants. Kahnweiler had reappeared, and
it might be supposed that everything
would go back to normal. It seemed as
if things were going splendidly and in

the most propitious way possible for

the artist's circumstances. But it was
to be just the contrary. An illness
contracted in May developed into a
pleurisy which obligedhim to enter
the Hopital Tenon; he came out in
August, but I suspect that he was
insufficiently and mistakenly treated,
and the result was to last for the rest of
his days.The stay he made in Beaulieu
until October, and the time he spent
in Bandol in November, may possibly
have relieved him, but it is only
natural that his powers of creation
should be affected by this setback and
that the pictures painted in 1920,
though very beautiful, should have
something of the air of a formula,
certainly a very long way from the
work done during the war years, which,
paradoxically, with all their annoy-
ances, scarcities and worries, had been
 .-,.->
I

178. The pierrot. 1923. Sheet metal cut out. folded and painted. Height 30 cm.
Private collection.
179. Man in evening-dress. 1923. Painted metal. Height 30 cm.

180. Harlequin. l°l!3. Fainted metal. Height 30 cm.

181. The blaek boxer. 1923. Painted metal. Height 30 cm.

178
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i

Decoi foi Lei fenti at <\< la Bergere". Ballets russes, 1923.

 157

186. Man with stick. 1923. Oil on canvas, 92x73 cm.

187. Man with glass. 1923. Pencil drawing, 29 x 39 cm.

186

those of the most glorious period of

Juan Gris. What was to happen in the
future would be another story. It
would be the work of a sick man who
had to fight for his health and that of
an artist in conflict with his dearest
convictions. Things were not destined
to go any better in 1921. It is sympto-
matic that this was the year of his
self-portrait, drawn with as irreproach-
able a line as if it were by Ingres,
together with other very well-finished
portraits, those of Daniel-Henry and
Lucie Kahnweiler. This self-portrait
is of the greatest importance to us
because, apart from its values of linear
purity, it was a long time since the
artist had looked at himself in the
glass, and curious to compare this
it is
187
portrait with others done in his early
days in Paris, with that rather aca-
demic charcoal sketch, done in 1909 or
1910 and signed "Victoriano Gonzalez",
and with another done in 1911, in
which he is shown still wearing his '
.

moustache, though with a different

air. And now, ten years later, he turns

his attention to himself once more

and gives us a new version, more in
^*4*v^.
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accordance with the idea of Juan

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I ruit-bowl wiili mandolin. 1923. Drawing in ink. _' I (2 cm.
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 1 1 1 ii am
If, II

Harlequin with guitar 1923, t'll i>n canvas, II

Gris's appearance that has passed into

the general consciousness. Of the same
scar, 1921, are those lithographs of
Marcelle la Blonde, Marcelle la Brune,
Jean le musicien, etc., done in the
all
same spirit in which he had portrayed
Mine. Leiris the previous year.

In Bandol, from the previous Novem-

ber onwards, he had devoted himself
to painting the beautiful series of the
open windows, i.e., still lifes presented
before such windows, letting us see a
landscape beyond. Le Canigou (Al-
bright Gallery, Buffalo) and The bay
(Gustav Kahnweiler Collection, Cam-
bridge) are the most beautiful in this
series, which virtually continued the
felicitous and successful scheme of the
1915 Place Ravignan. It might even
be affirmed that these new pictures are
more unmistakably the work of Juan
Gris, that there is a closer collaboration
between exterior and interior, that the
greater flatness of the masses of colour
makes them more convincing. In these
windows there is a rather melancholy
clarity made of light tones — with the
alwavs efficacious contrast of some
opportunely placed black notes-
 161

193. Harlequin .standing before a table. 1924. Oil Oil canvas, 61 t(> cm.

which astounds us with its simple and

beneficent tranquillity. Le Canigou is
the title bestowed by Gris, rather from
pride in the mountain than in himself,
on the painting now in Buffalo, and
the little label adds a charmingly in-
genuous note to the picture.

Unfortunately, everything now seemed

to be conspiring to rob Gris of this
very ingenuousness, which, though nor-
mally a defect, was in him a virtue.
In the month of April he went to Monte
Carlo, summoned by Diaghilev to
design the settings and costumes for
the ballet Cuadro Flamenco. He arrived
in the Mediterranean city, soon grew
bored, cursed the theatrical world and
the Russian dancers — and found that
the commission, for some reason or
other, had been transferred to Picasso.
All that Gris did in Monte Carlo were that requires a very different training)
the portrait, for the programmes, of and the whole thing was the result of
Larionov and those of Maria del Al- Diaghilev's mistake in believing that
baicin and Slavinsky, two of the stars the conquerors of Cubism could revol-
of the company. The truth of the utionize the ballet stage as thev had
matter is that Gris was not really done with easel painting. Juan Gris,
interested in the theatre (nor is it to on the contrary, only hoped to gain
be supposed that he possessed any from this unfortunate adventure money
special aptitude for a kind of work and fame, both of which things he
 I'M Mm mill . i _- • r . 1 1
. 1924, "Ml mi canvas, II !' cm. Curl Valenl
I
olln I ion \m ^ i irk

I'M

was legitimately anxious to possess.

We may well suppose that this contre-
temps merely served to increase the
coolness between him and Picasso.

The second disagreeable incident of

the year: in Bandol in May, after
returning from the frustrating trip to
Monte Carlo, Josette pricked her finger
on a sharp leaf, the wound became in-
fected and she had to have the finger
amputated. True, this was not a ca-
tastrophe, but Josette was his wife
and it was an unfortunate mutilation,
which coincided, moreover, with the
worsening of the asthmatic attacks
from which the painter suffered. It
had been a very disappointing spring.

The third disagreeable incident, this

one extremely so: on June 13th and
14th the public sale of the Kahnweiler
collection was held in the Hotel Drouot,
in Paris, and the paintings of Juan
Gris were sold for prices lower than
-apart from Picasso —
those of Van
Dongen or Derain. This trend in the
prices of his pictures had already been
set, in the previous month, by the sale
of the Uhde collection, at which one
 195. Violin with fruit. L924. Oil on canvas, Id 33 cm. Private collection,
Barcelona.

L9S
_ I T I I i 1 1 1 li« li —;. i li l 9 .

It. I

rii. Seated harlequin. 1923. Oil on canvas, 73 92 cm. Care) Walter Foun-
dation Vk ^ i>rk.

196

of Gris's paintings made no more than

the miserable price of 528 francs,
'much less than thai paid for another
hv a minor Cubist, Herbin", as Soby
juslh points out. This was what we
may double slap in the face,
call a e?**«r*s*

and one not to he overlooked by the

hypersensitive spirit of Juan Gris. It
wa> at this time that he painted the
portraits we have mentioned of his
good friends the Kahnvveilers. The fact Sw
that during this same year, 192 1, he 1
had held an exhibition in the Galerie
Rosenberg and another in Lyons, and
had participated in a collective exhi-
bition in the Sala Dalmau of Barcelona,
did not make up for all these misfor-
tunes, ^reat or small. At the end of
October Juan and Josette left for
Ceret. There they were to meet the
great Manolo every day.

It was in this village that they wel-

comed the new year of 1922, which
was not to be much better. Having by
now definitely finished with Cubism,
Gris painted some pictures which were
an attempt to be faithful to his great
inspiration of the past, but an unsuc- \
cessful one. The Two Pierrots, the

l /
 _».
7
I.,..

1 • 1 • Ill ll IMfl" l| • |,i 1;. i

Shepherd - il-l llllir. 1924. Pastel,
18 Ml

1 98 1 • 1 . iii it i d< 1 i Bergen Peasant u i rl - I ll-l llllir 1924 Pastel,

18 • Ml

191 198
 1(>7

L99. "Les Tentations de la Bergere". The Negro's costume. 1924. Pastel, 201. "Les Tentations de la Bergere". Costume for the lady-in-waiting. 1^2:5.

27 18 cm. Pastel, 27 18 cm. Private collection, Paris.

200. "Les Tentations de la Bergere". Oriental costume. 1924. Pastel, 27 2(12. "l,o Tent at ion- de la Bergere". The gentleman's costume. 1923. Pastel,
18 cm. 27 18 cm. Private collection, Paris.

!*)<) 20(1

xf i

<

fH

E
WUr jT

l2^
I Mi

versions of Pierrot with guitarand impossible for Gris's asthma. And so,
thai very strange picture The nun whether they liked it had
or not, they
presenl corpulenl figures dressed in to settle into their new abode in Bou-
undulating garments, not all of them logne-sur-Seine, the flat Kahnweiler
felicitous, very obviously the
not all had found them at 8, Rue de la Mairie.
work of Juan (iris. One can guess at Their new home, the successor of the
the inner drama ol man. attempting
the scene of fame and success in the Rue
a I all costs to recover what he had lost Ravignan, does not seem to have
in lame and timeliness. Fortunately, welcomed its tenants in very promising
neither he nor his wife had lost their fashion. Josette suffered an abscess
zesl lor life. Ceret was to he the scene in the mouth and Gris himself had to
of a whole strange period of "hops" be operated on, in October, for an
at the local casino, at which they en- anal fistula. But in November, at
joyed themselves like mad things. Not least, he received the longed-for com-
only did they win prizes in dancing mission to do the designs for a ballet
competitions, they even introduced by Diaghilev, Les Tentations de la
new rhythms and dance steps. Gris Bergere, by the seventeenth-century
himself, moreover, always demanding composer Monteclair, arranged by
where technique was concerned, did Henri Casadesus. I think this was the
not tail to use methods -and the most - ballet on which Juan Gris worked with
scientific methods to give the greatest the greatest enthusiasm, and his pretty
correctness to his waltzes and tangos, costumes of the time of Louis XIV were
these being the latest whims of Terpsi- still to be made use of in 1929 for Les

Lent soon arrived,

chore. Unfortunately, dieux mendiants, with music by
which put an end to dances in sleepy Beecham, choreography by Balanchine
little Ceret. and so they left the and settings by Leon Bakst. This was
village in April and returned to Paris. Gris's last work in 1922; but I do not
want to leave this year without men-
They came back, of course, to a new tioning a drawing, as beautiful as it
house, since their previous lair was is mysterious, exhibited in 1965 in the

Galerie Louise Leiris: that of A man
reading the newspaper. While in 1922
he had participated in five exhibitions,
in 1923 he contributed to three more,
apart from holding two one-man shows,
the important March-April one in the
Galerie Simon of Paris and that of
October in the Flechtheim Gallery of
Berlin. Nothing could have been time-
lier; nor, however, could it have been
more retrospective, since his production
of pictures this year was almost nil,
and made up almost exclusively of
figures: The man with the club, The
three figures in disguise, The seated
Harlequin... This last, with its elephan-
tine and, one might say, insincere
forms, where Cubist construction is not
much more than mere memory, was
at all events the most important of his
pictures in a year spent feverishly
trying to commitments with
fulfil his
Diaghilev. In this respect, we need
hardly say with what total enthusiasm
the artist threw himself into the pre-
paration of maquettes, costume designs,
sketches and everything else that could
possibly contribute to the success of
this commission, which absorbed his
attention the whole of this year. This,
Il,<>
moreover, was not his only commission,
for he also had to plan the Fete Mer-
veilleuse, presented on June 30th in the
Hall of Mirrors in Versailles, which
Kahnweiler tells us was magnificent.
Apart from this, Diaghilev commissioned
him during the summer to do the mise
en scene of the opera La Colombe, by
Gounod, and in December that of
UEducation manquee, by Chabrier. All
of this kept Gris in constant activity,
which was by no means the most
suitable way of restoring his health.
The graphic documents of this theatri-
cal chapter are undoubtedly attractive,
but it would be difficult to attribute
them to Gris were it not for the fact
that we have more than sufficient docu-
mentary evidence.
1924 began with the first performances,
in January, of the ballets we have
mentioned. On January 6th Gris wrote
to Kahnweiler that he had been called
on stage after the first night of La
Colombe —
a flash of innocent pride-
and on the 26th he wrote to him again,
telling him how tired he was of Monte
Carlo. In reality, we need not imagine
that, apart from some money, Juan
 3 miiiniiiii

IK. |.i|m ..I. ill. I k [925 Oil on canvas, '• '

II cm.
•hi Siphon »iili I. i i
'
Oil on canvas, " I 73 cm. Muxee National
,1 \i i \l...|. rni Pari*

li,,., I,, , k 1925 ' til .hi .m\ .i- 65 hut . in. •.. 1 1
•! ii- I mi i
-I- l.i in-.

P ii

Jill

Gris had obtained a lot from so much

work: not, in any case, the fame for
which he longed, and which he did not
know he already possessed lor all eter-
nity. should be understood that all
It

of this was a huge mistake. When we

:

attempt later on to diagnose the man

called Juan Gris, it will he clearly seen
that he was very far from being the
worldly, witty, frivolous artist, prodigal
in and antics, that a ballet dec-
tricks
orator is expected to be. And if this
job, so far removed from his real work
and so very relatively profitable, was
one of the contributory factors in
leading him away from Cubism, we
cannot help regretting it.
 w

x
 m
A ^^^^^r j^^
fc m
i
1:1

19 '
. I ii i%> ing in ink. 20 I i i m
\\ .,mi in uiil, 1. 111 1925 Drawing in ink, 20 13 cm

/ u

And we are absolutely sure that he, success". A pity indeed.

too, regretted His letters do not
show the slightest enthusiasm for the
task, while as for outside proof, Ger-
trude Stein -who was perhaps Gris's
best woman and who was
nothing if not outspoken- clearly gives
us her adverse opinion:
some theatre decor (which) was not
But the mutual
it. error still persisted between the artist
and Diaghilev when the latter com-
missioned, and Gris carried out, another
work (the last) consisting of the decor
friend, for a Red Cross party which took place
on May 28th in the Grands Magasins
"He tried doing du Printemps. With this concludes the
a short story of a mistake.
 it;

208. Tin- blue cloth. L925. Oil on canvas. Musee National d'Art Moderne
Pari*.
Thirteen days before this social evenl painting is the expression of certain
there had been another one of much with the outside
affinities of the painter
greater importance in the life ofJuan world, and the picture is the intimate
(»ri>: the lecture he gave in the Group association of these analogies among
oi Philosophic and Scientific Studies of themselves and between them and the
4
the Sorbonne, on the subject Des limited surface that contains them".
possibilites de la peinture". Ihis was
not his lirst on theory, lor it
text had It may well be thought paradoxical
been preceded by other, shorter ones that Juan should make these
Gris
(in "\ alori Plastici" of Rome, 1919; in declarations, so much resembling an
"\ctio.r of Paris. L920; ti "L'Espril i apologia for his old way of thinking, at
Nouveau" of Paris. 1921; and in *l)er the very moment when his professional
Querschnitt" of Frankfurt, 1923). all activitieshad led him so far away
coinciding substantially in the general from the most substantial part of his
line of aesthetics which moved him great and noble work; that may be
and in which he believed. But it is why they sound rather like a testament.
the content of this university lecture And even more testamentary in their
that provides the work of Juan Gris substance are two later texts, of 1925,
with a doctrinal support that is in- in response to inquiries regarding Cu-
superable in its clarity of exposition, bism made by the 'Bulletin de la Vie
an extremely rare ease in any previous Artistique" of Paris and "Europa-
painter, unless he happened to be Almanach" of Potsdam, in which Juan
called Leonardo da Vinci. The Castilian Gris repeated that "never, consciously
artist's reasoning on the nature of and after mature reflection, had he
objects and of their representation, on become a Cubist" —
which is inad-
colours and composition, on painting missible — ,4
and that Cubism is not a
as synthesis and as architecture, is style but an aesthetic, and even a
fully and at times implacably lucid, mental state", which is true; at all
right down to the crystal-clear final events, however, it is a fact that all
definition: The only possibility for of these texts spoke of Cubism as
 177 HI
20*'. Table overlooking the sea. I
l
li2">. (Ml on canvas, T.i.."> 92 cm. (gnacio
Coca Collection, Madrid.
something already as historical as Neo- intellectual reasons. The fact is that
Classicism. \n<l this is our great sorrow Gris was a sick man, that his asthma
and the saddesl pity; that Cubism had was smothering him. This year, more-
become mere history, dying apparently over, brought the death of his mother,
unmourned h\ anybody. But perhaps Dona Isabel. It was only natural that
it was better so. that it might cease to he should not paint so much, that he
he blemished l>\ talentless daubers. should prefer to illustrate a book by
\\ hat we shall never know lor certain Tristan Tzara and another by Gertrude
is whether its maximum representative, Stein, the latter one in Toulon, where
Juan Gris, abandoned it with or without he had gone in November with Josette.
conviction, willingly or reluctantly. There he saw the old year out, fortu-
nately with great gaiety, for the
\part from L925 shows a con-
this, Ravnals and the Simons turned up and
siderable falling- off in his painting pro- they all celebrated the feast in the best
duction, being perhaps the weakest of good spirits.
year since 191 I. His paintings included
large, romantic, melancholy female fig- 1926 began by bringing him yet another
ures; his Pierrot with a guitar, now in preoccupation. The painter had quar-
a Swiss collection, is also melancholy, relled with his family in Madrid and
besides a few figures with an ill-digested had regained custody of his son Jorge,
Pompeian air; and which,
still lifes in which meant another problem to worry
in spite of his deliberate determination him, and it was then that he felt
not to practise Cubism, beautiful works tempted to acquire French citizenship.
continue to appear, not so much those In February he had an attack of
of a lyrical, rounded character, but some bronchitis. He had to lie down after
multipointed compositions, such as the lunch and his temperature, which was
magnificent Still life with a book, in taken regularly with justified anxiety,
the Rupf Collection in Berne. But it went up to 38° every afternoon. He
would be unjust to attribute the decline amused himself painting gouaches and
clearly noticeable in this year to purely water colours, and illustrating Denise,
 —
by Raymond Radiguet. In April he
and Josette left for Boulogne-sur-Seine,
but in November they moved to Hyeres,
where the asthma was complicated by
hypertension, which requires a very
strict regime. It is useless to continue
giving details of the death struggle,
practically speaking, which was now
the daily lot of the unfortunate Juan
Gris. But, almost incredibly, he con-
tinued painting, and by no means only
small pictures, for that curious Drum-
playing flautist, now in the Bernoudy
Collection in St. Louis, measures no less
than one metre in height. New figures
of the acromegalic type already known,
such as The singer, and, above all, quite
a few very synthetic and rich
still lifes,
in colour, abounding in broken arrange-
ments, with great rhythmic charm
and exemplarily geometrical in concept.
Other, quieter paintings, such as The
scissors (Sam Jaffe Collection, Beverly
Hills, California), are easier to classify
within a romanticized post-Cubism. In
a word, his production was of much
greater quality than in the previous
year and deserves all the more respect
inasmuch as it is equivalent to the
testamentary —
and yet masterly
179
work of a man already condemned to
death.
And so we come to 1927, the artist's
last year — than half
really his last less
a year. The month of January was so
hard on Gris that it is a wonder that
he survived four more. On the 18th he
writes that ''it is impossible to go on
like this. Last night I had a series of
attacks which came one after another.
I slept a little after taking some mor-
phine". On the 19th he decided to
leave "this horrible Cote d'Azur, which
is so bad for me". On the 22nd the
couple went to Puget-Theniers, in the
Alpes Maritimes, where Gris grew worse,
for the place was too high for his
hypertension. It was there that a
young doctor diagnosed an attack of
uremia. On the 24th, a new and hurried
journey, this time back to Boulogne.
It is hardly possible to believe that in
such conditions he should remember
to paint or to write, but he did, and
with all his old love for painting.
Works still beautiful, even very Beauti-
ful, reduced and synthetic in the
extreme, in accordance with the idea,
developed with mad optimism, which
he confided to Raynal: 'Today, at man is called Juan Gris. I have not
fori \ \ ears old, I believe 1 am approach- seen, nor do I know anybody who has
ing a new period of self-expression, of seen, the medical certificate of his
pictorial painting as
expression, of death, but I have told a doctor friend
language; a unit) well expressed and all that is known of the clinical history
well carried out. The synthetic period, of the artist, and his retrospective
in short, has succeeded the analytical". diagnosis was that of tuberculosis - -or
^o. such was ili«- painting of Juan cancer- of the kidneys. In the first of
Gris during those horrible months, so these cases, would appear that mod-
it

horrible that inerek to record them in ern treatment would easily have been
detail is distressing. A first attack was capable of prolonging Gris's life. In the
neutralized with oxygen. Another, second, no end but the one I have
rather slighter, was also overcome. He recounted would be possible.
sometimes left the house, but he always
had to return soon, tired out. During It was half-past eight in the evening
the third crisis the doctors did not of Wednesday, May 11th 1927. The
agree, some of t hem nursing
still a Sense- burial, without any religious ceremony,
is r*

le>> optimism. It no longer mattered. took place in the cemetery of Boulogne

on the morning of Friday the 13th,
Juan (iris suffered, screamed, grew attended by many of Gris's intellectual
desperate. Then he began to grow quiet, friends. The mourners were his son
dramatically accord with his desire
in Jorge (9), Lipchitz, Picasso, Raynal
for that supreme synthesis he vearned and Kahnweiler, and this last had a
after. And soon he was absolutely, phrase for Juan Gris which deserves
definitively quiet. For he had died. to be transcribed: "Thus died the
Now he was far from everything: from purest of men, the tenderest and most
Spain, from France, from Cubism, from faithful friend I have ever known, and
analysis and from synthesis. If the one of the noblest artists ever born".
death of a man of forty is always It is asplendid epitaph, and one which
painful, it is much more so when that does as much honour to the man who
 I ill

210. Pierrot with guitar. 1925. Oil on canvas, L30 89 cm. Private collection.
Switzerland.
211. Harlequin. 1925. Oil on canvas, '>2 Ml cm. John Huston Collection.
I lolh wood.

delivered it as to the man for whom of his death, and not long afterwards
it was intended. noteworthy articles were published in
"La Gaceta Literaria", "Revista de
It was about that time that an
at Occidente" and "La Esfera", of Ma-
anxious search was being made for the drid, "Alfar", of La Coruria and
French aviators Nungesser and Coli, "L'Amic de Arts", of Sitges. Any
les

lost on their flight to America, and real mourning, of course, was confined
shortly afterwards Lindbergh was to to a minority. And yet, with or without
land near Paris after his flight in the this evidence, the fact is that the world
opposite direction. I add this to make had just lost, at the age of forty years,
it understand why the space
easier to one month and nineteen days (much of
devoted to the death of Juan Gris in which time was consumed in suffering),
the international press was rather the most faithful, to himself and his
scanty, taken up as the papers were work, of all the Spanish painters re-
by such events. The Spanish news- corded in the history of art.
papers were not only participants in
the same anxieties and other similar Right to the end he continued to be-
delights, but were also occupied with lieve in the truth of what he was doing,
military operations in Morocco and the though mistrusting -and he had inti-
imminent celebrations of the twenty- mate reasons for this- the success
fifth anniversary of Alfonso XIITs that might be in store for his work.
coronation. A curious destiny, that of I do not know whether he would be
the republican Juan Gris! He went into pleased today. That work, which is
exile in 1906. the year of the Spanish silent,the reverse of spectacular, not
king'swedding and attempted assassin- noisy or popular, not strident or
ation at the hands of Mateo Morral, famous, or at any rate a thousand times
and he died just as Don Alfonso was less so than what is frequently called
celebrating his twenty-fifth year on the -so often without any sense at all-
throne. The more important Spanish genius: that work, I repeat, consists of
papers, at all events, gave an account masterly demonstrations of the activity
 V
S

-i"
IB1

we know h\ the name of painting. No, heim Gallery of Berlin, ninety works
genius is not the word. For genius, ver\ being shown. These were followed by
often, is the enem\ ol good painting. that in the Kunsthaus of Zurich, in
\pril of 1933, and in 1938 those in the
*
Galerie Balay & Carre of Paris and the
Seligmann Gallery of New York. Others,
We D if we said
should he exaggerating
Do in the Buchholz Gallery of New York
thai hr death of Jose V ictoriano Gon-
i
(1944), in the Museums of Art of Cin-
zalez was followed as tti <jrli have i t cinnati and San Francisco and, most
seemea proper, normal
a and even I I 111- notably, in the Museum ofModern Art
evitable l)\ his glorification. On the of New York (1958), show us the
contrary, recognition was slow in growing American interest in the
coming, and when it did conic il was master, which has led to the acquisition
grudgingly given indeed. We are told of some of his most splendid paintings-
b\ Joaquin Forres Garcia, in one of the majority, in fact, of those we have
the most understanding studies of the mentioned in this book. But Europe,
artist (see bibliography), that in 1934- too, was growing ever more actively
35 he tried to organize a homage to proud of our Juan Gris; the exhibition
Juan (iris in Spain and had to desist in the Kunstmuseum of Berne in 1955,
from his at tempi on seeing how little the place of honour at the 28th Biennal
interest was aroused by the name of of Venice in 1956 and the exhibitions
the greatest of the Cubists in his own organized by the Galerie Louise Leiris
uative land -a land, too, which was in 1957 (L 'atelier de Juan Gris) and in
just then beginning to awaken. As far 1965 (Dessins et gouaches) are land-
as exhibitions are concerned, the first marks in this ascending progress. The
important posthumous one took place general result, which would so much
in June of 1928 in the Galerie Simon of have flattered Juan Gris in his lifetime,
Paris, where about seventy of the dead is that his pictures are quoted at maxi-

artists works were shown. Another was mum prices, with very little difference
held in February of 1930 in the Flecht- between them and those of Picasso.
As so often happens, awareness has
come late and imperfectly to the col-
lectors, who prefer to pay the dealers
much higher prices than those which
would have made the living artist
happy.
In any case, the slow ascent of the
great Spanish painter to his present
high position has by no means been
made anv easier by such a wave of
glorifying publications as has been,
still is and probably will continue to
be enjoyed by so many of his fellow-
painters, always more fortunate than
Jose Victoriano. In the bibliography
to be found at the end of this book we
shall be better able to observe this
unpleasant phenomenon, the best proof
of which is that the first important
volume on his life and work did not
appear until no less than twenty years
after his death. An injustice this,
a great one, which could not later be
remedied by the appearance of other
works. But it is one of the justifications
for the one the reader has before him.
There is an old Spanish proverb which
says, more or less, that it is
please than to be pleasing, and since
the results in this case seem to prove its
truth, we must conclude that Juan
Gris, in spite of his thousand and one
attractive qualities, did not please; to
which our immediate reaction is to ask
why. Why, then? Was there something
about him, or various things, that
might repel people or put them off?
But even if this were true, it could
only have harmed him in life, not after
death. It by way of response to this
is
question that we have tried to make in
the following chapter what we might
describe as a radiography of the artist.
But let it be clearly understood that
there will be no clear answer, for there
cannot be. The adage we have mentioned
has no need for enlargement upon its
cruel sentence.
and
better to
 ...

\\ .in in 111 i I . ii 1 1 1 1 1 in 1926 i ill mi canvas, 73 <>>> cm.

 i a:
l
213. Flute-player. l >2<>. Oil on canvas, LOO HI cm. Bernoudj Collection,
St. Louis.
p
 189

214. Guitar, apples and bottle. L926. Sonia Henie & Mel;- Onstad Museum,
Oslo.
2I.">. The bust. 1925. Oil ( Ml . ,|!l\ as, 73 92 cm.

:i I

V. IMAGE AND
RADIOGRAPHY
OF JUAN GRIS
The moment has now come for us to
attempt to draw the portrait of Juan
Gris, an endeavour to complete
in
those by Vazquez Diaz and Modigliani,
his four self-portraits and the faithful
likeness in the photograph, so often
reproduced, which was taken of him
in Toulon by Matisse's natural daughter.
We shall be using many facts supplied
by those who knew him, delving into his
correspondence, exhausting his possi-
bilities, both full-face and in profile.
And those of his inner life.
|<HI

I i mi with bowl 1926 ' >il mi i .in \ ,i- in Private collection

i
Oil on canvas 73 60 cm. Private collection, Paris
!16 21'

^=f#
r<

porli ..I 1926 I', in .I drawing, (1 23.5 i m

delighted in telling stories and jokes.

It would appear, too, that he was fond
-whenever possible —
of good food
and good wine, both of which treats
were almost altogether forbidden in his
periods of great poverty and when he
had to follow the strict diet prescribed
by his doctors. But it is true that
nobody is so unpleasant as to leave
absolutely no good impression on those
around him. Neither this gift of charm
nor his furious reactions — such as that
which made him pour a cup of hot
coffee over Josette's head because she
refused to drink it —
are a true ex-
pression of what he was really like.
We have to dig deeper than that,
shall
for the truth is that Juan Gris was
an extremely complicated man.

Everybody knows about his political

lie was \rr\ handsome, and in this all convictions, which were totally repub-
those who knew him are in agreement. lican, and his religious —
or rather
What is least important, however, anti-religious- ideas, which by no
is the undeniable physical beautv of means excluded a profound mysticism.
this Spanish painter, who died before This was understood by Gertrude Stein
that beauty could deteriorate. And his when she declared that he had a clear
handsomeness was accompanied by an concept of exactitude, but on a basis
enormous amount of charm, that of a of mysticism, and that, as he was a
^reat and witty conversationalist, who mystic, he had to be exact. This mysti-
 I«M

Port (it Toulon (Prance), where Juan Gris was staying earls in l')26.

219. Still life with fruit-bowl and mandolin. L926-1927. Gouache and coloured
pencil. 22.5 18.5 cm.
220. Grapes. 1927. Oil on canvas, 41 33 cm.

Let us begin with his reserve. Juan Gris

cism, in connection with painting, be-
comes completely diaphanous. As
as his inner life is
less so, for if he had abandoned
forms of religion, is it not strange that
towards the end of his life he should
show such a great leaning towards
took the greatest care to conceal his
whole Spanish past from his friends in
Paris. It is almost incredible that, in
spite of the very close friendship be-
tween him and Kahnweiler, the latter
knew nothing of the existence of the
drawings for Alma America until he
was given a copy by Don Pedro Penzol,
long after he had published his mono-
graph. Nor did Gris supply his biogra-
pher with the slightest detail concern-
ing his birth or hisfamily; not, at
any rate, details of any biographical
validity. And if he supplied them, they
were never used; in this lies the novelty
of the present work. He must have
wanted to forget this past at all costs.
far Next his ingenuousness, a quality which
concerned, it is much nobody could possibly guess at from his
all dashing physical presence. Lipchitz af-
firmed that Juan Gris was astonishingly
ingenuous, and as a proof of this he
tells us that one day, when they were

astrology and the occult ? Perhaps this having lunch with some friends at a
may be an external clue to his many restaurant which was not precisely ol
complications, his shyness, his ingenu- the humbler sort, Gris, who had finished
ousness, his reserve, all of which he his roll, went up to the counter and
possessed in immense quantities. asked them to sell him a pennyworth
'I')
 I')"

m :«ig]

^Af^

#©^
\

MM
^^H
££1-?

SMI

wgSvS?

IBP
I'll,

ol bread. Ii musl be true ii Lipchitz regard to Gris's lack of ease. If he did

tells us so. \ imo> t certainly his ingenu-
ousness and shyness
willi a certain withdrawal,
personal
thai oi the man who knows he is not
completely admitted, that some kind
of distance separates him even from
those who admire him. Phis would
obviousK lead to a certain awkwardness
in personal relationships,
acquaintances and friends.
lithic Castilian integrity cannot have
been ol the greatesl service to him
among the time-servers of Paris.
upright, far too dogmatic, as
of fighting his way on loan so
in Paris,
to speak, he were the headmaster of
some imaginary academy in his own
country. He was not flexible, and he
was still less willing to let himself be
bent. "I'll break, but won't bend 1 Bruguiere referred to the definitive
is an old Castilian motto, the war cry
of some Toledo blade. And he broke.
'He wasn't he wasn't easy, either
slick,
as a man or as an artist", according to
Gerardo Diego, who recalls 'together
with (his) sincerity, a sweet but in-
tractable obstinacy". Let us not
misunderstand the poet's assertion with
not possess it as a man, impaired as it
were mixed was by a thousand and one complexes,
he could have had it as an artist, but
he did not wish to. First of all because
of his shyness and modesty. We know
how much he disliked undressing on
the beach in front of his friends, which
in itself is a clear sign of modesty and
in making reserve. It is a pity that it did not stop
His mono- there, because other extraordinary re-
serves of modesty would appear to
have prevented him from showing
Too anybody a formless sketch, an incorrect
if instead drawing or a spontaneous doodle, those
little liberties that all great artists have
indulged in. It is very much the con-
trary, for all his drawings are as
finished and as perfect as the best of
his oil-paintings. As early as 1951
7
character of everything he did. This
statement, however, does not suggest
any kind of praise, but rather discovers
in Juan Gris the wide-awake lad just
arrived from his village. The truth is
that even after twenty years in Paris
he continued to be the boy who has
just come up from the country, with
all his distrust, constantly afraid of
r..-
197

221. Cup. 1926. Oil cm canvas, 33 15 cm. Jose Sahgun Collection, Caracas
^ enezuela.
 199

223. Fruit-bowl with book. 1^27. Oil on canvas, 33 IT cm.

223
 .ill fruit-bowl. I'i.'T Oil on canvas, K< 55 cm. Galerie Louise

\\ ..in. in with basket. 1927 Oil on ..un.i-. '>^ 73 cm Galerie Louise

l.ii. Pa

carefulness to destroy all the bridges

behind him, which certainly provides
us with an additional proof of his
ingenuousness, an ingenuousness that
at times one might call childish.

And thus was that he made such a

it

great mistake in this game, I think

because he was always obsessed by
the justifiable guiding idea of his life,

his legitimate ambition and yearning

to triumph in France — which meant
a universal triumph — for he could not
know that such a triumph was to be
being caught out in the smallest mis- denied him in his lifetime. There are
take, the least little weakness. Nor did certain tiny, minute, microscopic things
he himself fail to realize this imperfect which others never forgive if the one
perfection, and that as early as De- who does them is different from them-
cember 11th of 1915, when he wrote to selves. Because he was not like those
Kahnweiler: "How 1 wish I had the others. In spite of certain concessions
facile coquetry of the unfinished! But made in the name of the purpose he
unfortunately painting must be done pursued blindly, disinterestedly and
as it is. I have a spirit that is too pre- uprightly, concessions such as his collab-
cise to let me stain a blue or twist a oration in the ballets of Diaghilev,
straight line". was that this The result which were not a suitable field for him,
complex prevented him from under- which were not in consonance with his
standing that a great artist has to let transcendental sense of what painting
everything in him be discovered, even was, but which appeared to promise him
the weaknesses. It is now that we under- fame, popularity and fortune, none of
stand better the artist's premeditated these three gifts could come to the hands
2()1
 111 Mont mart re (Paris) where Imtli Juan Gris and Picasso
li ul

Of the attempted to achieve

of an individual who was so Spanish,
so reserved, so complicated, so obsti-
nate. Another, very different, question
is whether he himself did not know
just how deeply rooted his Spanishness
was. Which leads us to present the
facet of another unavoidable consider-
ation, that of what
"Gallicization".
fact that he
this state I have no doubt at all.
Even a detail confided to me, with a
certain emphasis, by Daniel Vazquez
Diaz was very cultured", he
''he
assures me, and I believe him im-—
pinges on this problem of Gallicization,
as complex as Juan Gris himself. This
went hand in hand with his determi-
nation not to appear in France as just
another example of the intuitive, primi-
tive, vehement and prolific Spanish
artist, i.e., more or less like Picasso
himself. Juan Gris knew that French
artists, more methodical, more cultured
and more reasoning in what they do,
are prototvpal in this matter of culture,
and to it he applied himself with all his
powers, but using means which were
mistaken for practical purposes. One
of them was the assimilation of the
language. Heaven only knows the effort
this means for a Castilian, an inlander,
who from the start lacks that innate
facility of the Catalan or Valencian,
even of the Galician or Basque, for
replacing his native tongue with
another, and that other a language
we may call his of which I do not think he knew a
word before his arrival in Paris in
 203

Juan Gris's studio at 8, Rue de la Mairie, Boulogne-sur-Seine, as it was left

at his death.
I
(
)0(>. Dim he succeeded, and Guillermo Gris, Gerardo Diego does not fail to
de Torre recalls thaihad li«' a thorough refer to the way in which he had
knowledge of French and expressed forgotten his Spanish or, to use the
himself in that language with the poet's exact words, the 'incredible
greatesl precision, lie is referring, of efforts and amnesic awkwardness" that
course, to spoken French. His
(iris's this meant for the artist. It is not
letters and we have plent\ of them. surprising, therefore, that in January
above all those written to Kahnweiler of 1926, after quarrelling with his
are lull of spelling mistakes when they family in Madrid and regaining custody
are written exclusively in French. Those of his son, he should have thought very
written in Spanish pass eaprieiousK seriously of taking French nationality,
from one language to the other, a an intention which fortunately was
natural fault in a man who did not never carried out, but which is very
know either perfectly. We need only understandable if we consider it in
consider paragraph a from a letter conjunction with his natural desire to
dated in Bandol on January 19th of obtain a passport and to be able to
)l!l and addressed to Maria Blanehard: leave France whenever he wished.
(
l

Trabajo bastante \ no estoy descon-

'

tento aunque tengo en train unas ma- We should say that this purpose did
rinas cpie no llego a reussir". In the not exactly delight his French friends
original letter there is neither under- either. There was a special category,
lining nor quotation marks. This sort that of the tame pets as it were, and
ol pidgin language reminds one of that it was not considered very good form

used by some of the Spaniards exiled for these to stray beyond the bound-
in France since the Civil War, who have aries laid down for them. And thus we
never succeeded in mastering their new find that, together with Picasso, Fou-
language and use it simultaneously with jita, Marc Chagall, Soutine and- -while
their original one, according to which he lived- Modigliani, our excellent
of the two provides the phrase they Juan Gris was condemned to live in
want more easily. In recalling Juan Paris as a Parisian by adoption, and

of the lowest order. Yes, because all
those we have mentioned — and many
others — were the components of the
so-called Ecole de Paris, wherever they
might originally have come from. Just
as in the case of Picasso — in which
case there were good reasons- they
were permitted to be Spaniards, Rus-
sians, Balkans or whatever they liked,
always on the condition that, drawn
up in their phalanx, they should shed
more lustre, even though only tangen-
tially, on that great school of cosmo-
politan artificers. Thus far went the
generosity of the French intellectual
nationalism, which not all its intellec-
tualism could prevent from being
nationalistic. But in the case of this
reserved and difficult Juan Gris, this
man who could never, no matter what
the seduction from without, hide his
absolute Castilianism, could he reallv
be considered a paid-up member of the
School of Paris ? Those who asked
themselves this question were right to
answer it, and themselves, in the
negative. Despite all the efforts -and
desperate they were- that Juan Gris
made to identify himself with France,
neither did he achieve his aim nor did
205
others fail to observe this. And today,
especially, we can see this very clearly,
since nowthe emigration of Spanish
artists to Paris is greater than ever,
but it is an emigration of artists who
go and return, in despair because they
have not succeeded in becoming inte-
grated, or because they have been
gently rejected. Juan Gris, too, was
gently put aside, though not perhaps
quite rejected. Another question is
whether, with his rather childish and
manifestly ingenuous spirit, he refused
to understand this.
We have some justification for sup-
posing that his relations with other
artists were difficult. Some of them
feared him, well aware of his great
gifts; others were careful to avoid him,
as a dangerous rival. We may be sure
that, by reason of his complicated
character, he was not very popular
with the critics either, except for Mau-
rice Raynal, who always showed his
true admiration for him, and Waldemar
George, who seems really to have loved
him. The worst of all was that, though
totally absorbed in Cubism, it was
useless for him to seek any friends
among the theorists who were noi
unconditional supporters of Picasso and
Braque. If he did noi count with these.
he counted with nobody. And the\
grudged him their praises, they be-
littled him, the) could noi sec the
marvellous lucidit) of his work. Never-
theless, think that this too deserves
I born work in the light of the aesthetic
to be e\eu>ed. sincerely believe that
I defended or rejected. What matters
the noblest and most beautiful work
of Juan Gris, that done between 1913
and I )I7. was necessarily less popular
(
at the time, and in the following years,
than it is today. Kv this do not mean
I period, caring little or nothing for this
that the work he did in that period
was avant-garde painting, but, quite
on the contrary, that contemporary
painting has suffered a regression in
interest and beauty, so that we look
on these outstanding -and really
living still lifes as a splendid gift
from the past, from a past age that is
already as venerably classical as that
of Piero della Francesca, that of Ve-
lazquez or that of Fragonard. But at the
time? Did his contemporaries not see
the same classic, solemn quality, that
something in his work that cries out
for a museum to house it, not a museum
of modern art, but a Prado or an Uffizi ?
Evidently not, for what mattered most
to them was to check the cohesion and
parity between the work and its time,
a totally different point of view from
ours. A defect of observation that has
been repeated down through the cen-
turies consists in examining the new-
above all else is that it should accord
with the age which has produced it.
But it be another, and much later,
will
prescription, for a task no longer im-
portant, that attends to other values,
until then left in semi-obscurity. There
is no reason to go into great detail
about such axiomatic reasoning as this,
but I do not want to leave the question
without pointing out that the painting
of Juan Gris is surely better understood
today than half a century ago. Not only
because it is more classical, however,
but, whicheven more glorious,
is
because it is more contemporary, more
purely contemporary.
As long as Juan Gris confined himself
to earning his living, he was no enemy

to anyone. But when he was left gal-
lantly alone, holding up the banner of
Cubism, he began to be one. It was
hardly likely that he would be forgiven,
either by those who were opposed to
this movement or by those who admired
or tolerated it because it had been the
movement of Picasso or Braque. In
short, we have already made some
mention of the relationship between
Picasso and Juan Gris, though we must
also include the formal statement of
Picasso — posthumous, anyway, as far
was concerned-
as his faithful friend
that he had always defended him. But
what matters to us now, in this concise
chapter of portrayal, is not the attitude
of Picasso, but the subterranean,
hidden, buried preoccupation of Juan
Gris in his capacity as a Cubist, in his
stylistic relationship with Picasso. The
question seems interesting enough to
devote some lines to it. In reality, they
can only teach us a little more about
another of the most sensitive and most
sensitized twists in the embittered
existence of Juan Gris, and the same
lines will also be useful in forming a
judgment of Picasso. And so, mutatis
mutandis, we will now link this question
Tp
with the first allusions in the prologue
to this book.
Certain seventeenth-century canvases,
examined and re-examined by savants
and experts, were attributed now to
Velazquez, now to Zurbaran, and this
doubt can imply nothing but praise for
both, not merely for the second alone.
But if this has been possible, and with
good reasons for both attributions, the
same could not happen — even sup-
posing the signatures were lacking
— in the case of Picasso and Juan Gris.
Picasso himself has declared that, at
a certain period, his pictures and those
of Braque came to be so identical that
not even they themselves could tell
them apart without fear of being
mistaken. But what we cannot for a
moment imagine is that, concealing the
signatures, a picture by Gris could be
mistaken for one by Picasso. And it is
not a question of whether one is better
or worse than the other, for the quality
can be taken for granted; no, it is
simply that their values, concepts and
attitudes, and the workings of their
minds, are totally different. Juan Gris
is not superior to Picasso. He is dif-
ferent, thai is all. lie differs even in the What had caused, from the very first
taint sign of modest) to be discovered moment, an important difference be-
in the facl thai he never painted a tween Picasso and Braque on the one
mantilla or a flashing-eyed senorita, hand and Juan Gris on the other was
a bull-fighter or a hull, or anything, their attitude to the past and their hope
Indeed, thai smell even laintk of Spain for the future. Picasso had been blue,
or stage-Spanish, whether because such pink, negroid. Braque could not over-
subjects had no place in his sentiments look his important years as a Fauve.
or because he doubted and rightly Whatever might happen in the future
so his chances of carrying them oil would matter The two of them
little.

with success. His lispanieism. quite I were to exploit Cubism as a kind of

unlike that of Picasso, had to
concent rated, bristling with overwhelm-
ingly logical defences and solitudes.
Bui should be remembered that Juan
it
(iris was constantly hurt by being
compared with the minor Cubists and
not with Picasso, whose perpetually
ascending star possibly seemed to him
somewhat unjust and wounding. You
may say that the proper name for such
a feeling is that of envy, but it is not
that ; something more complex. He
it is
had no intention of undervaluing his
compatriot, but he did ask for some-
thing more of consideration for himself
and for his work. And since Picasso
was of great importance to him, let us
continue with this reasoning.
become scherzo, in which they did not see any
more important consequences for the
moment, just as they were not decided
to make it last either. Even their
hurry to pass from the analytical stage
to the synthetic, almost without
reasonable or justifiable cause, seems to
contain the seeds of the deviation from
Cubism of which both were to be
guilty. But the fidelity of Juan Gris,
like his honesty, was a very different
thing. He thought, not with exactness
but certainly with logic, that he could
not be a painter if he was not a Cubist.
Was this a sensation of inferiority ? Not
really, remembering that to Cubism he
owed everything he was. "And that is
not being too much", he must have
concluded, embitteredly considering

the success begrudged to him, in draw-
ing up his balance sheet. Because
undoubtedly he reached the same con-
clusion as we, the conclusion that he
had been the greatest of the Cubists, the
Cubist par excellence. Why, then, was
he so much kept down? Because he was
not French, unlike Villon, Herbin and
other third-rate painters ? Nor was
Picasso French; but Picasso was fickle
and Gris was not. Juan Gris believed in
Cubism as in a revealed religion, and
that, which might lead us to think of
creative limitations a — supposition
that cannot be totally disregarded
either —meant nothing less than being
called Gonzalez Perez, transforming
himself into something else and trans-
forming himself heart and soul. It
meant transforming himself very
seriously, in the same way as his Moorish
and Jewish ancestors had become
Christians, adopted a new creed and
let themselves be killed for it. Juan
Gris was not to let himself be killed
for Cubism, at least not voluntarily,
but he knew that he would have to
abandon it, and he also knew that the
day he did so his work would be much
less his own. His death, indeed, in all
209
the fullness and magnificence of his
forty years, may not perhaps have
meant anything but the brutal and
drastic final solution to what might
have become a grave problem of artistic
conscience. Avery sad event indeed is
the early death of a Raphael, a Fortuny,
a Rosales, a Seurat, a La Fresnave, a
Juan Gris; but we do not know whether
the working of events which appear to
be blindly fortuitous does not conceal
a contrivance that wisely anticipates
what these six artists would have con-
tinued to produce or ceased to produce.
I mean that we do not know whether
in such cases the accident of death has
been impiously just or not.
Evolution? Yes, but suppose one does
not wish to evolve, suppose one feels
greater fulfilment in what one is doing,
whether others like it or not ? This is
the drama of the artist if he is faithful
:
to himself, he falls out of step with
others, with the critics and the public;
if he is not, he has to form a new atti-
tude for himself, one that will echo
within him the sad music of betrayal.
And even in betrayal one has to be
lucky. Picasso could betray himself a
thousand times, always triumphing over the work of Juan Gris, with all
over these sales of himself to himself. the good fortune of forty-seven years
Juan Gris, who was shyer and not such more -the mere trifle of half a cen-
a genius, fell thai he could not do it. tury- of life, success and popularity.

\nd thus the imminence of this contra- But one is born, Juan Gris, with a
diction distressed this honest, pure, lucky or unlucky star. Yours was an
complicated man. as chaste in intellect unlucky one, but your painting, that
a- he w as prisoner ol his own conclusions. of the most glorious and convinced of
We have alread\ seen how Juan Gris all the Cubists, we can now see to be
attempted to solve this conflict, and one of the greatest contributions of the
how death solved it tor him, violently twentieth century to the hoard be-
and irrevocably. A death that may have queathed by previous ages, which will
been opportune, hut one that was continue to be enjoyed by those to
singularly cruel. Juan Gris has not come.
been able to see his posthumous vindi-
cation. He has not been able to watch
the art dealers madly racing one another
all over Europe -and even more im-
probably, and less profitably, all over
Spain- frenziedly searching for his
works and paying exorbitant prices, no
longer lor unfindahle oil paintings but
lor the originals of his old drawings in
Parisian reviews. And yet he would be
hurt to see that his name has not yet
icached its proper place in the hier-
archy. Though passively, and unin-
tentionally, Pablo Picasso still casts his
shadow, that immensely lucky shadow,
 211

NOTES

(1) See the monograph "Amadeo de Souza Cardoso", by Jose Augusto the father's side, ofDon Miguel Gonzalez Poblacion and Dona Francisca
Franca (Lisbon. Editorial Sul Limitada. 1957) and the catalogue of the exhi- Rodriguez Garcia, natives of the aforesaid V illalon and both deceased; and.
bition held in May of 1959 in the Secretariado National de Informacao in on the mother's side, of Don Jose Perez, deceased, and Dona Concepcion
Lisbon, with texts bv Cassou and Almada Negreiros. both publications rich Brasategui. widow, both natives of Malaga and the latter now residing at the
in illustrations, data and bibliography. The coincidences between Souza aforementioned place of birth. And that the said child has been given the
Cardoso and Juan Gris are remarkable: Amadeo was born on November 1 It li names of Jose Victoriano Carmelo Carlos. — The witnesses, both of age. were
1887. in iManhufe. parish of Mancelos and borough of Amarante. In 1905. Don Francisco Argiielles Ramirez, a native of Madrid, married and employed
in Lisbon, he began to study architecture but gave it up. In November of as a clerk, at present residing at No. 28. Calle de Silva. and Don Pascual Barrio
1906 he went to Paris and collaborated in "L'Assiette au Beurre". In 1908 Lezaiin. a native of Allende la Encina in the province of Guadalajara, single
he took a studio next door to that of Gertrude Stein. From 1910 on he as- and engaged in trade, at present residing at No. 3, Calle de Carretas. This
sociated with Gris. Max Jacob. Delaunay, etc. and. above all. with Modi- document having been read to the persons designated to sign it. they declared
gliani. His most important work, from 1913 on. is really closer to abstraction their conformity, with the which it is hereby sealed and signed with the
than to orthodox Cubism. In 191 I he returned to his native country. He died Rt. Hon. Judge, for whom I certify. Julio del A illar y Romero. Gregorio
in an epidemic of influenza, in Espinho. on October 25th. 1918. which brought Gonzalez Rodriguez. Francisco Argiielles. — Pascual Barrio. Antonio Cor-
to a close the career of the most thought-provoking and innovatory personality zer. Attested and signed with the Rt. Hon. Judge, for whom I certify.
in all Portuguese art of the late nineteenth century. It is unfortunate that Julio del = VALID." (It will be noticed that the age declared by Don Gre-
we know absolutely nothing about his associations with Juan Gris. though gorio differs from that given in our text, which was taken from the municipal
they undoubtedly existed. census of 1890).

(2) ^e transcribe here, for the time, the birth certificate of Juan Oris,
first (3) By a remarkable coincidence, the present writer also stayed some days
whom we could not leave less well endowed with documentation than an artist in this house — perhaps in the same room as Juan Gris — in the year 1928.
ot the 10th or 18th century. It reads as follows:
(I) Corpus Barga. "Las Delicias", Madrid. 1967. Pages 41-12.

•CIVIL REGISTER OF THE CENTRAL DISTRICT. MADRID (5) Rafael Alberti. "La Arboleda Perdida". Buenos Aires. 1959. Page 131.

Section 1. JOSE GONZALEZ PEREZ. In the Town of Madrid, at ten (6) Kees Van Dongen, ten years older than Juan Gris. was born on January
Volume 22. morning of March 25th. eighteen hundred and
o'clock in the 26th 1877. He survived Gri> bv forty-one years, dying on May 28th 1968.
Page 391. eighty-seven before Don Julio del Villar 5 Romero, deputy
;

Municipal Judge of the Central District, and Don Antonio (7) Fernande Olivier. "Picasso et ses amis". Pari?-. 1933, pp. 158-159.
Corzer. Secretary, appeared Don Gregorio Gonzalez \ Rodriguez, a native of
\ illalon in the province of Valladolid. aged forty-four, married and engaged (8) Gertrude Stein. "Autobiography of Alice B. Toklas". There arc several
in trade, at present residing on the third floor of No. I. Calle del Carmen, to passages in this celebrated book that speak of Juan Gri> with acuteness and

request the inscription in the Civil Register of a male child, and as father of affection.
the said child declared: — That the said child was born at the aforesaid place
of residence at seven o'clock in the evening of the twenty-third of the present (9) A few words here about his son. He adopted the name Jorge Gonzalez
month. — That he is the legitimate son of the declarant and of his wife, Dona Gris and now lives in Pari>. where he works as a chemical engineer, lie served
Isabel Perez Brasategui. a native of Malaga, aged thirty-six, bv occupation in the French army in the 19 10 campaign and was almost taken prisoner
housewife and residing with her husband. That the child is grandchild, on during the retreat from Dunkirk.
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i\di \ ni ii i i -I i; \ I io\-

llluKtn n in HI \ Negro (Madrid), September 22nd 1906 19. Portrait of Picasso. 1912. Oil on canvas, 92 7:5 cm. The Art Institute
lllu-iiii in "Blanco \ Negro September 22nd 1906. ..I Chicago. Leigh H. Block Donation.

rVpographical trade m.irk foi Editorial Pueyo, Madrid. 50. Bottle and pitcher. I'M:!. Oil on canvas, 35 27.5 cm. Kroller-Miiller
Rijksmuseum, < It terloo.
Illustrated pagi ol Blanco) Negro", May 26th 1906.
5 I . The Place Ravignan. 1912. Pencil drawing.
i
I llu-i r.ii n.M- hti lima tmSriea l>\ Santos < I mo.
52. The banjo. 1912. Oil on canvas, 11(1 68 cm. Museum of Modern Art.
Illustration in I Uaiette au Ileum'. October 24th 1908, page 191.
New 't oik.
Illustration in I \--i. n. au Beurre", August 20th 1908, page 155.
.">
3. The hand-basin. 1912. Oil and fragment of looking-glass stuck on can-
llluatration in I \--nn. au Beurre", August l-'ili 1908, page 338. 89 cm. Vicomtesse de Noailles Collection, Paris.
vas, 130
Illn-ii.il in I \--i.n. .in Beurre", March 20th 1909, page 823.
5 I . Class, pitcher and fruit-bowl. 1912. Pencil drawing. 34.5 28 cm.
Self-portrait No. 1909-1910. Charcoal drawing, in 31.5 cm. Galerie
Violin and 1913. Oil on canvas, 100x65.5 cm. Mr. and Mrs.
I

55. guitar.
OCII-i .11 I- I'll
I | I

Ralph I. Colin Collection, New \ork.

Woman reading. I'Mn i
harcoal drawing, IK !l cm. ~>ti Watch with -herrv bottle. 1912. Oil on canvas and collage. 65 92 cm.
III. beggai 1909 ' barcoal I -
1 ^^ 1
1 > l;
; i
"> 25 cm Il.ui- Grether Collection, Basle.
\\ .in - head. 1910. i h.ir. oal, 32 25 i m. 57. V iolin with wine-glass. 1913. Oil on canvas, 46 73 cm. Musee National
Milk-can I le and coffee-pot. 1910.1 harcoal and gouache, IK 31.5 cm. d' \ri Moderne, Pari-.
Pitchet in. I bottle. 1910, Pencil drawing, 17.5 31.5 cm. 58. The grapes. 1913. Oil on canvas, 92 60 cm. Museum of Modern Art,

Still life. 1910 < han oal and gouai he, IK 32 cm.
New ork. Mr-, \iina Erickson Levene Donation.
'l

^nll III,- 1910. Water-colour, 13.5 11.5 cm. Musee des Beaux-Arts, 59. The and collage on canvas. 52.5 X
beer-glass and the cards. 191.3. Oil

mi.
Wi ">
cm. Columbus Gallery of Fine Arts. Columbus (Ohio). Ferdinand
Saint-I 1 1.

Howard Collection.
lb. three lamps. 1910-1911. Water-colour, 62 IK cm. Kunstmuseum,
It, MM 6(1. The beer-glass. 191.3. Oil on canvas, 7.3 • 54 cm.
Ol. \ iolin hanging on wall. 1913. Collage. 92 60 cm.
lli. . offee-pot. 1910. • ban oal, IK 11.5 < m
I he bowler bat. 1910. i
harcoal, 11.5 18 cm.
62. The three playing-cards. 191.3. Oil on canvas, 65 46 cm.

cm. 63. The smoker. 1913. Oil on canvas, 73.5 54.5 em. Mr. and Mrs. Armand
Bowl and carafe. 1910. Pencil drawing, III II. .">

P. Bartos Collection, New N ork.

Siphon. 1910. i
harcoal, IK 31.5 cm.
61. The guitar. 191.3. Oil on canvas, 61 • 50 cm.
Still life. I'M I Pencil drawing, II IK cm.
65. Saint-Matorel. 191.3. Oil on canvas, 16 30 cm.
Portrait ol Legua. I'M I. Charcoal, IK 31 cm.
66. Houses in Ceret. 191.3. Oil on canvas. 100 65 cm.
Portrait ol Maurice Baynal. 1911. Charcoal, IK 31.5 cm.
67. Land-cape near Ceret. 191.3. Oil on canvas. 92 60 cm. Moderna Museet.
In-- with lamp. 1911. Pencil drawing, IK 32 cm.
Stockholm.
Pitcher with bottle ol milk. Pencil drawing, IK 31 cm.
68. Violin with draught-board. 191.3. Oil on canvas, 100 65 cm. Mr. and
i up uiili flasks. Charcoal drawing, IK 31.5 cm. Mrs. Leo Simon Collection. New York.
Port rail •! Legua. 1911. Oil on can\ as. 69. The mug of beer. 1914. Collage. 55 7.3 cm. Marx Collection. Chicago.
I'nrir.ni nl Maurice Raynal. I'M I. Oil on canvas, 55 16 cm. 70. The bottle of wine from Banyuls. 1914. Collage. 55 16 cm.
The guitar. I'M 1. Drawing. 71. The vase of flowers. 1914. Oil and collage. 55 16 cm.
Still life. I'M I. Charcoal drawing, 71 13 cm. 72. Bottle with glas-. 1914. Oil and pencil on cardboard. 3K 27 cm. Peter
Woman's head. I'M I. Charcoal drawing, IK 31.5 cm. \. Rube] Collection. Cos Cob. Connecticut.
Bottles with bowl. 1911. Charcoal drawing, IK 32 cm. 73. The Venetian blind. 1911. Oil and collage on canvas, 92 72.5 cm.

lli.- coffee-pot. I'M I. Pen-and-ink drawing, 17 II cm. Tate Gallery, London.

71. The breakfast. 1914. Collage, pencil and oil on canvas, Kl 60 cm.
The kettle. I'M I. Pencil drawing, IK 31 cm.
Museum of Modern Art. New York. Lillie P. Bliss Donation.
The coffee-pot. I'M I. Pencil drawing, IK 31.5 cm.
75. The bottle of "Anis del Mono". 1911. Collage. II 21 cm.
Portrait ol the painter's mother. 1912. Oil on canvas, 55 Hi cm.
76. Fruit-bowl, glass and basket. 1918. Oil on canvas. 51 65 cm.
The in. m in the top hat. 1912. Charcoal, IK 31.5 cm.
77. Guitar with glas,-. 1911. Collage. 55.5 49 cm.
Houses in Pan-. I'M I. < >il on canvas, III 35 cm. Sprengel Collection,
I lanover. 78. The guitar. 1914. Glued paper. 65 16 cm.

Still life: Bottles and knife. 1912. Oil on canvas, 54.5 16 cm. Kroller- 79. The (hair. 191 1. ( til and collage on canvas. 61 16 cm.
M ii ll< -r Rijksmuseum, Otterloo. 80. The guitar on the table. 1915. Oil on canvas, 7.3 92 cm. Kroller-Miiller
Portrait Mme. Germaine Raynal. of 1912. Oil on canvas, 55 3K cm. Rijksmuseum. Otterloo.
Mm.'. Raynal Collection, Pari-. 81. The tea-cups. 1911. Oil. charcoal and collage on canvas, 65 92 cm.
Townscape, Pari-. 1912. Oil on canvas, 98 65 cm. Douglas Cooper Kunstsammlung Nordrhein. Westfalen. Diisseldorf.
I nil. i ion, I' ranee. 82. Still life. 191 I. Collage, gouache, oil and pencil. 61 38 cm. Smith College
Still life with I k. 1913. Oil on i
mvas, Id in cm. Museum of Art. Northampton, Massachusetts.
 245

83. Fruit-bowl with bottle. I'M I. Oil, charcoal and collage on canvas. 118. Man from Touraine. 1918. Oil on canvas, loo 05 cm. Musee National
02 65 cm. Kroller-Miiller Rijksmuseum, Otterloo. d \rt Moderne, Paris.
84. The breakfast. 1915. Oil and charcoal on canvas, 92 73 Cm. Musee 116. Land-cape at Beaulieu. 1918. Oil on can\a-. 60 6 I cm. Kroller-Miiller
National d'Art Moderne, Pari-. Rijksmuseum, Otterloo.
83. Still life in a townscape (Place Ravignan). 1915. Oil on canvas, 16.5 I 126. Still life. 1917. Oil on canvas, 73.5 91.5 cm. The Minneapolis Institute
89 cm. Philadelphia Museum of \ri. Louise and Walter ^.rensberg of \rt. Tin- John R. X an Derlip Foundation.
( lollection. 121. Harlequin. 1917. Pencil drawing, 50 31 cm.
86. Fruit-bowl, book and newspaper. on canvas. 33
I'Md. Hi cm.
Oil 122. Townscape of Paris. 1917. Oil on wood. 116 71 cm. Private collection.
Smith College Museum of Xrt. Northampton, Massachusetts. Joseph
123. Fruit-bowl with new-paper (vignette). 1918. Pen-and-ink drawing,
Brummer Donation (2-1-1923). 8.5 12 cm.
87. Newspaper with coffee-mill. 1915. Oil on canvas, 61 Id cm.
121. Wine-glass (vignette). 1918. Pen-and-ink drawing, 8.5 12 cm.
88. Still life dedicated to Andre Salmon. 1919.
125. New-paper, glass and pear. 1917. Oil on canvas, 27 35 cm.
89. Bottle, newspaper and fruit-bowl. 1915. (HI on wood, 72. .> 50 cm.
126. The pedestal table. 1918. Oil on canvas, 55 38 cm.
Kunstmuseum, Basle.
127. The sideboard. I'M 7. Oil on cam a-. 116 73 cm. Nelson \. Rockefeller
90. The draught-board. 1915. Oil on canvas, 92 73 cm. \n Institute,
<lolled ion. New ^ ork.
( Ihicago.
128. Harlequin. 1617-1918. Pla-ter sculpture, height 55 cm. Philadelphia
91. Violin with wine-glass. 1915. Oil on canvas, 92 60 cm.
Museum of Xrt. A. E. Gallatin Collection.
92. Fruit-bowl, pipe and newspaper. 1917. Oil on plywood, ''2 65.5 cm.
129. Bottle, bowl and wine-glass. 1618. Pencil drawing. 13.5 31.5 cm.
93. The woman with the mandolin (alter Corot). 1916. Oil on plywood,
136. Fruit-bowl with new-paper. 1618. (til on canvas. 62 65 cm.
62 66 cm. Kunstmuseum, Basle.
131. Mug, knife and plate of fruit. 1918. Pencil drawing, 26 >!..", cm.
94. Bathers (alter Cezanne). 1916. Pencil drawing, 28 39 cm. Claude
1.32. Fruit with knife. 1917. Pencil drawing.
Bernard-Halm Collection. Pari-.
133. Townscape. 1918. Charcoal drawing, 18 31.5 cm.
95. Man's head (portrait of the artist). 1916. Oil on canvas. 65 50 cm.
13 1. Girl with guitar. 1918. Pencil drawing, 18 31 cm.
96. Portrait. 1916. Pencil drawing, 22 17 cm.
135. Harlequin with bat. 1916. Pencil drawing, 16 24.5 cm. Davis Wayzata
''7. Figure of a woman (alter Corot). 1916. Pencil drawing, 39 28.5 cm.
( ollection. Minneapolis.
98. Man with hi> elbow on a table (alter Cezanne). L916. Pencil drawing,
136. Fruit-bowl with two apples. 1919. Pencil drawing. 20.5 27 cm.
22 17 cm.
9'). Fruit-bowl with bottle. 1916. Oil on canvas, 65 80 cm. Smith College
137. The village. 1918.

Museum of Art. Northampton. Massachusetts. Joseph Brummer Do- 138. Guitar and fruit-bowl on a table. |'M8. Oil on canvas, 66 73 cm. Kunst-
nation (8-4-1921). museum, Basle.

160. Portrait of Mine. Gris. 1916. Oil on canvas, 55 16 cm. Uiipl Foun- 139. Harlequin with guitar. 1919. Oil on canvas, 116 89 cm.
dation, Berne. I ML Clown. 1619. Oil on canvas, 1 00 65 cm. Musee National d' \rl Moderne.
61. Harlequin (alter Cezanne). 1916. Pencil drawing, 22 17 cm. Pari-.

02. Wine-glass with lemon. 1916. Coloured drawing, 15 28 cm. 111. Clown. 1919. Oil on canvas, 90 70 cm. Musee National d'Art Moderne.
Pan-.
03. Portrait of Max Jacob. 1916. Pencil drawing. 35 27.5 cm.
112. Still lite with lamp. 1616. Kroller-Miiller Rijksmuseum, Otterloo.
1. The vase. 1916. Pencil drawing, 10 28.5 cm.
113. Guitar with clarinet. 1620. Kunstmuseum, Ba>le.
05. Harlequin (after Cezanne). 1616. Pencil drawing, 22 17 cm.
III. The sack of coffee. 1626. Kunstmuseum, Basle.
0(). The coffee-mill. L916. Pencil drawing, lo 28.5 cm.
115. Self-portrait. 1921. Pencil drawing. 33.5 25 cm.
07. Still lifewith newspaper. 1916. Pencil drawing, 13.5 38.5 cm. Phillips
116. Still life with guitar. 1626. Gouache, 33.5 28 cm.
Collection, XX ashington.
117. flic loaf. 1926. Pencil drawing. 25.7 33.5 cm.
08. Still life with coffee-pot. 1615-1916. Pencil drawing, 58 39.3 cm.
118. Pitcher, wine-glass and bowl. 1626. Pencil drawing, 33 25 cm.
09. Still lite with new-paper. 1916. Oil on canvas, 73 60 cm. Phillips Collec-
t ion. XX ashington. 116. Still life 1626. Pencil drawing, 25 32.5 cm. Private collection. Pan-.

10. The Place Ravignan. 1917. Pencil drawing, 37 26 cm. 156. Snll lit.- with pitcher. 1620. Pencil drawing. 48.3 31.7 cm.

11. Bottle with fruit-bowl. 1917. Charcoal drawing, 18 32 cm. 151. View of the bay. 1621. Oil on canvas, 65 100 cm. (,u-ia\ Kahnweiler
Collection, Cambridge.
12. The open book. 1917. Pencil drawing, 28 35 cm.
152. Portrait of Mine. Louise Leiris. 1621. Pencil drawing. 3 26 cm.
13. The violin. 1916. Oil on wood. I l(>. 5 73 cm. Kunstmuseum, Basle.
1

153. Portrait of Mme. Ebe Lascaux. 1621. Pencil drawing, 3-1 26 cm.
1 I. Still life on plaque. 1617. Oil on canvas, 81 65.5 cm. Kunstmuseum.
Basle. 15 1. "The kid". 1921. Lithograph. 10 32.5 cm.

15. The strawberry jam. 1917. Oil on canvas. Kunstmuseum, Basle. 155. Portrait of Mme. Lucie kahnweiler. 1621. Pencil drawing, 36.5 26 cm.

16. Slill lite on a chair. 1917. Oil on plywood, I 00 73 cm. Musee National 150. Portrait of D.-II. Kahnweiler. 1921. Pencil .hawing. 32.5 26 cm.
<l' \ri Moderne, Paris. 157. Boris (portrait of Boris Kochno). 1621. Lithograph. 10 >2.5 cm.
117. Themiller. 1918. Oil on canvas, 160 81 cm. Galerie Louise Leiris. Paris. 158. "Marcelle la Blonde". 1621. Lithograph, 10 32.5 cm.
 —
Ill

I 19 I . in I. Municien 1921 Lithograph, I" '•-'< • m. 00. "Les Tentations de la Bergere". Oriental costume. 1921. Pastel, 27
U IK <in.
160 .... II. la Brum 1921 I ithograph, 10 12.5 • m.
161 II" •|.in window, 1921. <6l on canvaa 65 100 'in. 01. "Les Tentations de la Bergere". Costume for the lady-in-waiting. 192.'?.

Pastel, 27 IK cm. Private collection, Paris.

-nil Li. 1922 Stencil published bj "L'Espril Nouveau" a- • gift i"
1 1 - -uli -i rib< i - iii I
'» .' '.
J I i 13.5 cm. Private collection, Paris. H2. "Les Tentations de la Bergere". The gentleman's costume. 1923. Pastel.
27 IK cm. Private collection, Paris.
I. i
n, i ou 1921 Oil "ii can van. 65 100 cm Mbright Knox \n
G ,li. n Buffalo N 1
03. The pipe on the book. 1925. Oil on canvas, .53 II cm.
ii.i II,. nun 1922 Oil "i n. i- 92 i n Wiirthle Gallery. Vienna. 04. Siphon with basket. 1925. Oil on canvas, .5 1 73 cm. Musee National
,1' \n Moderne, Pari-.
16 P i
1921. Oil anva* I 16 T I i m.
205. Three masks. 1925. Oil on canvas, 65 100 cm. Galerie Louise Leiris,
166 P i with -mi. ii 1922 Charcoal drawing, 11.2 -' I cm.
Paris.
i. nl 1922 ' 'il "M .ni\ .i- 52 I" in.
Man
i

06. reading. 1925. Drawing in ink. 2n 1.3 cm.

Girl 1922 Oil invae <>". '• I m (17. Woman with fan. 1925. Drawing in ink. 20 13 cm.
169 Die dice. 1922. Oil on canvat 19 16 cm. Musee National d'Art Moderne,
UK. Tin- blue cloth. 192"). Oil on canvas. Musee National d'Art Moderne.
Pari
Pan-.
170, I he two pierrots, 1922 Oil invas. 100 65 cm. Harold Hecht I ollec-
119. Table overlooking the sea. 1925. Oil on canvas. 73.5 92 cm. Ignacio
lion I" -\ erl) Mill- i
alifornia.
I ...a ( lollection, Madrid.
171 Pierrol with guitar. 1923. Pencil drawing, 19 29 cm.
10. Pierrol with guitar. 1925. Oil on canvas, 130 89 cm.
I 72. Pierrol with guitar, 1923 Charcoal drawing, 38.3 28.3 cm.
11. Harlequin. 1925. Oil on canvas. 92 60 cm. John Huston Collection,
!
I I' i 192 I.
i
HI mi canvas, 116 81 cm. I I "II v wood.
I : I Bowl, I k and -| n. 192 I.
12. Woman in classical attire. 1926. Oil on canvas. 7.3 60 cm.
Bottle, wine-glas* and fruit-bowl, 1921. thl on canvas. « » 50 cm.
cm. Bernoudy Collection.
i

1926. Oil on canvas. 100

I

13. Flute-player. Kl
K iin-i inn-, him Basle I mmanuel Hoffman Donation. St. Louis.
I Ti, II.. pierrot, 1922. Oil invas. 100 i>5 cm. 1 I. Guitar, apples and bottle. 1926. Sonia Henie & Niels Onstad Museum.
177. M.i n with guitar. 1923. Sheet metal cul oul and painted, Height 10 cm. Oslo.
I In pierrol 1923 Sheet metal cut out, folded and painted. Height 30 cm. 15. The bust. 1925. Oil on canvas. 73 92 cm.
179 Man in evening-dress. 1923. Painted metal. Height 30 cm. 16. Fruit with bowl. 1926. Oil on canvas. 27 35 cm.
180 II. nl. -i 192 I. Painted metal. Height in cm. 17. The bananas. 1926. Oil on canvas. 73 60 cm. Private collection. Paris.
181. III.- black boxer. 1923. I'. .1 metal. Height 30 cm. IK. Self-portrait. 1926. Pencil drawing. 31 23.5 cm.
182, Decor foi Gounod's "La Colombe". Ballets russes, 1923. 19. Still life with fruit-bowl and mandolin. 1926-1927. Gouache and coloured
183 Decor for "Lea Tentations de la Bergere". Ballets russes, 1923. pencil. 22.5 1K.5 cm.
184. Mask for the "Swedish I!. ill". 1923. Painted paper. Height 51 cm. 20. (.rapes. 1927. Oil on canvas. 11 33 cm.

185 I '• ,,r for "Les Tentations de la Bergere". Ballets russes, 1923. 21. Cup. 1926. Oil on canvas. 3.3 15 cm. Jose Sahgun Collection. Caracas.
\ ene/uela.
186 M .in with stick, 1923. Oil on canvas, 92 73 cm.
222. Fruit-bowl with carafe. 1927. Oil on canvas, 3K 16 cm.
Il!7. Man with glass. 1923. Pencil drawing, 29 39 cm.
188 Recumbent harlequin. 1923. Drawing in ink. Id 24 cm.
22.3. Fruit-bowl with book. 1927. Oil on canvas, 33x47 cm.
224. Guitar with fruit-bowl. 1927. Oil on canvas, 46 55 cm. Galerie Louise
189. Fruit-bowl «iili mandolin. 1923. Drawing in ink, -I 32 cm.
Leiris. Paris.
I
(
>(i. Guitar « ii Ii music copv book. 1 92 >. Drawing in pencil and ink, 1 (• 24 cm.
225. Woman with basket. 1927. Oil on canvas. 92 7.3 cm. Galerie Louise
I'M. The bay. 1923. Coloured drawing, 24.5 31.8 cm. Leiris. Paris.
192. Harlequin with guitar. 1923. oil .>n ..una-. II 27 cm.

193. Harlequin standing before a table. 1924. Oil on canvas, (>1 l<> cm.
Man
ADDITIONAL WORKS
194. with cigarette. 1924. Oil on canvas, II 33 cm. Curl Valentin
( oiled ion, Nev i .irk.
226. Rottle with glass. 1910. Charcoal drawing and gouache. IK 31.3 cm.
195. Violin with fruit 1924. Oil on canvas, 16 33 cm. 22 cm.
227. Child".- head. 1910. Charcoal drawing. 29.5
196. Seated harlequin. 1923. < >il on canvas, 73 92 cm. Care) Walter Foun- 228. The scent-spray. 1910-1911. Charcoal drawing. IK 31.5 cm.
il.ll lull. New ^ lirk.
229. Three bottles. 1910-1911. Charcoal drawing. IK 31 cm.
"
197. I .r- Tentations .1.' la Bergere". Shepherd's costume. 1921. Pastel.
230. Still life with goblet. 1911. Charcoal drawing. 4K 31.5 cm.
27 18 cm.
2.31. The coffee-mill. 1911. Charcoal drawing, 17.5 31.5 cm.
198. "Les [entations <lr la Bergere". Peasant girl's costume. L924. Pastel.
27 Ui cm. 232. Reer-mug. 1911. Charcoal drawing. 18 31.7 cm.

"Les Tentations de 233. Bottle of milk with funnel. 1911. Pencil drawing. IK 31.5 cm.
199. la Bergere •
Negro's costume. 1924. Pastel,
18 cm. 23 1. Wine-bottle. 1911. Charcoal drawing. 48 •
31.5 cm.
 247

235. Oil-lamp. 1911. Charcoal drawing, 17.5 32 cm. 270. The bottle of Martinique rum. 101 1. Collage.

236. Pitcher with funnel. 1011. Charcoal drawing, 28 1") cm. 28(1. The bottle of rum. 101 1. Collage.
237. ^ 'ine-glass with box of cigars. 25.7 31.6 cm. 281. Class with packet of tobacco. 1011. Collage. 27 22 cm.
238. Still life with 1kp\ of cigars. 1011. Oil <>n wood, 16 55 cm. 282. The cluster of grape-. 101 1. Private collection. Paris.
239. The bottle of Bordeaux. 1911. Oil on canvas, 61 50 cm. 283. (.lasses on a table. ION. Oil ami collage, 61 38 cm.
240. The eggs. 1911. Oil on canvas, 57.5 38 cm. Private collection, Charleston. 281. The coffee-mill. 1011. Collage. 16 33 cm.
241. Bottle. glass and newspaper, I'M 1-1012. Oil on canvas, II 27 cm. 285. The pot. 1011. Oil on canvas, 65 54 cm.
Mr. and Mr-. Leigh B. Block Collection, Chicago. 286. Phi' packet of coffee. 1014. Oil and collage. 65 16 cm.
212. Guitar with glasses. 1012. Oil :anvas, 31 58 cm. 287. The bottle of Pinot Bo-e. 1914. Collage.
213. The bottle of rum. 1912. Pastel, 18 32 cm. 288. The lamp. 1014. Oil and collage, 55 16.5 cm. Private collection. Pari-
211. The cafe table. 1912. Oil on canvas, 16 38 cm. 280. The backgammon board. 1011. Oil on canvas, 81 54 cm. Joseph II

245. The bottle of Bordeaux. 1013. Oil and collage, 55 53 cm. Ha/.en Collection. New ^ ork.

2 In. Guitar with wine-glass. 1013. Oil and collage, 02 (ill cm. 20(1. Still life: flask and glas-. 101 I. Oil and collage on (.una 16.5 38 cm.
217. The bullfighter. 1013. Oil on canvas and collage, 92 60 cm. Mrs. Staat-galerie. Stuttgart.

Ernest Hemingwa) Collection. 291. \l the cafe. 101 1. (),| and collage on canvas, 100 73 en Mr. and Mr-.

218. The violin. 1913. Oil on canvas, 92 60 cm. Kunstsammlung Nordrhein, Leigh B. Block Collection. Chicago.
Westfalen, Diisseldorf. 202. Newspaper and book. 1014. Oil on canvas, 65 50 cm.
2I (
). Guitar on a table. 1013. Oil on canvas, 65 100 cm. 203. Guitar on a chair. 1011. Oil on canvas.

250. Violin with wine-glass. 101.3. Oil on canvas, 73 60 cm. 201. Still life. 101 I. Collage, 27 31 cm.
251. Fruit-bowl, new-paper, pears and grapes. Oil on canvas, 5 1 73 cm. 295. The music score. 101 1. Oil on canvas, 65 16 cm.
Burton G. Tremaine Collection, Meriden, Connecticut. 296. The draught-board. 1011. Oil on canvas, 61 38 cm.
252. Violin with score paper. 1013. (til on canvas, 02 65 cm. 207. Glass with packet of tobacco. 1014. Collage.
253. Pipe with music -(ore. 1913. Collage, 27 35 cm. 208. Cigarettes and matches. 1011. Oil and collage.
254. The book. 1013. II 3.3 cm. 206. Bottle with newspaper. 1011. Oil on canvas, 55 Id en
255. \ iolin with engraving hanging on wall. 1013. Oil and collage, 65 I'' cm. 300. The glass of absinthe. 1011. Oil on canvas.
256. The guitar. 1013. Oil and collage. 73 60 cm. 301. Stdl life with book. 101 ',. Oil and collage. 61 Id cm.
257. The siphon. 1013. Oil on canvas, 81 60 cm. 302. Glass and carafe. 101 I. Oil on canvas.
258. The glass of absinthe. 1013. Oil on .ansa-. 21 10 cm. 3(13. The bottle of Bordeaux. L914. Oil on canvas, 16 33 cm
250. Still life with playing-cards. 1913. Oil on canvas, Kin 65 cm. I niversitj 3(11. Bottle of Pinot Rose. 191 I. Collage.
of St. Louis. ^ ashington. 3(15. The table. 1011. Collage, 77. 10 cm.
2()D. The bottle of Su/.e. 1013. Oil on can\ as. 35 21 cm.
and
306. The jar. 101 1. Oil collage.
261 Guitar. 1013. Oil on canvas, 1(> 33 cm. 307. *.ce of clubs. 1914. Oil on canvas, 24 19 cm.
262. Violin with guitar. 1913. Oil on canvas, 81 60 cm. Ralph Colin Collection. and charcoal on canvas. 61
308. The Venetian blind. 1915. Oil 16
New i ork.
Perls Galleries, New ,
t ork.
63. Guitar on a table. 1013. Oil on canvas, <>(> 73 cm. 300. The book. 1015. Oil on canvas, 73 60 cm.
64. Bottle. 101 1. Collage, 16 38 cm. 3111. Still life. 1915. Oil on canvas, Id 33 cm.
65. Vce of clubs and glass of absinthe. 101 I. Oil on canvas, Id 27 cm. 311. "L'Intransieeant". 1915. Oil on canvas, 65 15 cm. Norman Granz
66. Violin with newspaper. 1011. Oil on canvas, 81 do cm. ( Collection. Gene\ a.

67. The chess-board. 1914. Collage, 73 60 cm. 312. "Le Journal". 1015. Oil on canvas, 12.5 28.5 cm.

68. The bottle of wine. 1011. Oil on canvas. II 2 1 cm. 313. Still life. 1915. Oil on canvas, 61 16 cm.
60. Bottle with music -core-. 1011. Oil on canvas, 65 60 cm. 314. The bottle of Bordeaux. 1915. Oil on canvas, 50 61 cm.
7(1. -Yin rose". 101 1. Collage 16 38 cm. 315. Still life. 1015. Oil on canvas, 116 80 cm.

71. The bottle of rum. (til on canvas, 16 38 cm. 316. .lug with bowl. 1916. Pencil drawing. 2d.8 21 cm.

72. The fruit-bowl. 1914. Collage. II 30..") cm. 317. Mali's head. 1016. Pencil drawing, 35.5 27.5 cm.

73. The bottle of rum. 101 I. Oil on canvas, 35 22 cm. 318. \ irgin and Child. 1916. Pencil drawing. 17.8 30.5 cm.

71. The bottle of rose. 1011. Collage. 16 27 cm. 310. Bottles and glasses. 1916. Oil :anvas, 55 38 cm.

5. The cup of coffee. 1011. Oil on canvas, 16 27 cm. 320. The vase of flowers. 1916. Oil on canvas, 61 50 cm.
6. The packet of cigarettes. 1914. Collage. 22 27 cm. 321. The coffee-pot. |0|(i. Oil on ..una-. 17 39 cm.
322. Still life with fruit-bowl. 1916. Oil on ..una-, (id 72 cm.
7. 'Guitar with bottle. 101 1.

323. The fruit-bowl on the cloth. 1016. Oil on canvas, 50 61 cm.

278. The marble console. 101 I. Oil and collage of plate-glass on fabric, 61
50 cm. Mr. ami Mr-, \rnold Maremont Collection, Winnetka, Illinois. 321. Still life with while table-cloth. 1916. Oil on w I. 51 60 cm.
 Mill life with ncwspapei 1916 Pencil and gouachi 20.5 28 cm. 371. The packet ,.l tobacco. 1920. Oil on canvas, Id 27 cm.
I I,. envi lopi 1916 Oil anvas I I 19 i m. .572. (.Hilar and bottle. 1020. Oil mi canvas, 50 61 cm.
III. fruit-bowl 1916 Oil on can vac. II _' I • m Guggenheim Museum. 173. The carafe. 1920. Oil on canvas, 61 50 cm.
\. M ">..rk 57 1. I.iK ..I the valley. 1920. Oil on canvas, 61 61 cm.
l!u-i ..I harlequin. 1917. Oil on ..uiv.i-. 71 "> I cm. 577>. In front of the cupboard. 1020. Oil on canvas, 61 16 cm.
>9 ihIi ind giant 191 1 Oil on inva*. II J I cm.
I I I i

176. The jug. 1920. Oil on canvas, 16 :i:5 cm.

'nil life 191 : Oil mv.i- 19 >••
I I i
'.77. Pedestal table before a window. 1021. Oil on canvas, 100 65 cm.
Fruit -bowl with newspapei 1917 Oil on canvas, 65 50 cm. Dr. Peter :5T8. .In;: with fruit-bowl. L921. Oil on canvas, 61 38 cm.
Vii 1 1 1 1 1 t nil. i i urn Zurii li

379. Glass and flask. 1921. Oil :anvas.

1
.iii. .Hi.l m|.i--i -. 1917. • 01 ..ii w I 65 16 cm Private collection.
380. Guitar and flask. 1921. Oil on canvas, 100 65 cm.
Berm
Gla .m.I I I. I'M 7 Oil anvas. 381. The mandolin. 1921. Oil :anvas, 33 55 cm.

134 II,. tiphon 1917.

382. The cloud. 1921. Oil on canvas, 65 100 cm. (ialerie Louise Leiris. Pari-.

135 I hi l uu 1917 Oil invas. 27 22 i m 383. Fruit-bowl with newspaper. 1421. Oil on canvas, Id dl cm.

136 II.. draught-board 1917. Oil on canvas. 73 100 cm. 384. Pedestal table before a window. 1421. Oil on ean\as. dl 07) mi.

nl. mi canvas. 92 cm. K Morris .587.. Tin- table. 1921. Oil on canvas, 65 100 cm.
Cuitai I.. i .m.I glass. 1917. < hi 7 1 (. I

(lolled New York. 380. (.Hilar, bottle and fruit-bowl. 1021. Oil on canvas.
Id. in. in with ill. violin, I'M::. Oil on canvas. 92 I i. Moderna 387. Roses. 1921. Oil on canvas, 27 Id cm.
\l ii -. . i
St ... kholm. 388. The nam. 1021. Pencil drawing, 25 32.8 cm.
139 Bottle .m.I glass. 1918. Oil on canvas. 55 13 cm. 389. The Idler. 1921. Oil on canvas, 28 22 cm.
110 Harlequin 1918 'M :anvas. 92 65 cm. Perls Galleries. New York. 500. (.uilar with fruit-bowl. 1921. Oil on canvas, dl 05 cm.
'.II Bottle, glass .mil newspaper. 1918. Oil on canvas. II 27 cm. I'M Guitar with fruit-bowl. 1021. Oil on canvas. 50 dl cm.
142 I I., glass. 1918. Oil on canvas. 33 _' I i m. 502. Violin and clarinet. 1021. Oil on canvas, .'58 dl cm.
143 rhe packet of cigarettes. 1918 Oil on canvas. 13 24 cm. 193. Overlooking the bay. 1 02 1. Oil mi canvas, dl 05 cm.
144 I I., glass, 1918. <>,l on canvas. -'7 16 i m. (01. (.uiiar with fruit-bowl. 1021. Oil mi canvas. 38 dl cm.
145 Glass with playing-cards. 1918. Oil on canvas. 27 22 cm. 105. The fruit-bowl. 1021. Oil on canvas. 33 18 cm.
146 Guitar and glass. 1918. 13 Hi m, :500. The pedestal table. 1021. Oil mi canvas, Id dl cm.
347. Still life, 1918, <>,| on canvas, 22 33 cm. 507. "La carte-lettre". 1021. Pencil drawing, 32.5 2.5 cm.
Hi. fruit-bowl, ,. 1918. Pencil .lr.iNM.i-. 17..' 22.1 em. 398. The grapes. 1021. Oil on canvas, dl 18 cm.
149 I Iscape. 1918. Pencil drawing, 21.5 26.7 cm. .500. Bottle and glass. 1021. Oil on canvas. 35 22 cm.
150 s iill with fruit-bowl. 1918. Oil on canvas, 55 cm. cm.
life I « >
100. Glass and bottle. 1022. Oil on canvas. 27 Id
351, Still life 1918. Oil on i anvas, 17 55 cm. 101. Harlequin. 1 022. Oil on canvas. 100 65 cm.
352. The siphon. 1919. Oil on canvas, 55 16 cm. 102. The spoon. 1022. Oil on canvas. 27 Id cm.
153 Harlequin and chair. 1919. Pencil drawing, II 25 cm. 103. The lemon. 1022. Oil on canvas. 19 33 cm.
354. Fruit-bowl, glass and newspaper. I'M'*. Oil mi canvas, 55 38 cm. 10 1. Table-cloth with glass. 1022. Raised drawing.
I . Journal". 1919. 'hi on canvas, 7 1 5 I cm. 10.5. Grapes and book. 1022. Oil on canvas. 38 Id cm.
I 16 I Ii. glass. 1919. Oil on canvas, 33 18.5 cm. 406. The pear. 1922. Oil on canvas. 38 16 cm.
357, Guitai \miIi fruit-bowl. 1919. Sonia Henie Collection. Oslo. 107. Mandolin with grapes. 1022. Oil on canvas. 02 73 cm.
Carafe and glass. 1919. Oil on canvas, 1 1 33 cm. 108. Dice with pipe. 1922. Oil on canvas. 22 12 cm.
359. Bowl. 1919. Pencil drawing, 23 17 cm. 109. Bottle, bowl and glass. 1922. Oil on canvas. Id 27 cm.
160. The tobacco-pouch. 1919-1920. Pencil drawing, 22.4 17. 3 cm. 110. Pipe with packet of tobacco. 1922. Oil on canvas. 3.5 10 cm.
361. The packet ol tobacco. 1920. Oil on canvas, 16 -7 cm. 111. Ace of clubs. 1922. Oil on canvas. 33 10 cm.
362. II.. breakfast. 1920. Pencil drawing, 17 22.5 cm. 112. The pedestal table. 1922. Oil on canvas. 02 7.3 cm.
163. 111.' packet .ii tobacco. 1020. Oil on canvas, ill 3.5 cm. 11.5. "I/Echo des sports". 1922. Oil on canvas. 33 II cm.
164. Bottle and fruit-bowl. 1920. Oil on canvas. 16 21cm. 111. The packet of tobacco. 1922. Oil on cam as. 27 Idem.
165. 1 lint. 1920. < >il mi canvas, 27 35 cm. 415. Fruit-bowl, pipe and packet of tobacco. 1922. Oil on canvas, 10 33 cm.
(66. Bottle and violin. 1920. Oil mi canvas, Cl 55 cm. 416. Fruit-bowl and carafe. 1922. Oil on canvas. 50 dl cm.
307. Fruit-bowl. 1920. Oil on canvas, 27 3.5 cm. 117. Seated harlequin. 1922. Pencil drawing. 20 21.8 cm.
168. Fruit-bowl and glass. 1920. Oil on canvas, K> :5:5 cm. 118. Pierrot with guitar. 1922. Oil on canvas. 11.5 72 cm. Nils On-lad
Glass with playing-cards. 1920. Oil mi canvas, 27 Id cm. Collection. New ^ ork.
I ruit-bowl and glass. 1920. Oil on canvas, Id 5:5 cm. 119. Mother and child. 1922. Oil on canvas. 92 7.3 cm.
 249

120. 1'icrrnt with guitar. L922. Oil on canvas, 100 HI cm. Private collection, 168. The fruit-bowl. 1921. Oil on canvas. 19 27 cm.
Sw itzerland. 169. Pot with pears. 1921. Oil on canvas. 33 II cm.
121. The music score. 1922. Oil on canvas, 95 (>l cm. Mrs. Harrimann Collec- 176. Bowl and glass. 1921. Oil on canvas, 21 33 cm.
tion, New ^ ork.
171. Harlequin in front of a table. 1921. Oil on canvas, 92 73 cm.
422. Man fitting in an armchair. 1923. Pencil drawing, 21 21) cm.
172. Fruit-bowl and glass. 192L Oil on canvas. 21 33 cm.
123. Pierrot with guitar. 192.5. Oil on canvas, 11 27 cm.
173. On the pedestal table. 1924. Oil on canvas. 22 33 cm.
12 1. Sealed harlequin. 1923. Pencil drawing. 23.7 52 cm.
171. The pears. 1924. Oil on canvas. 22 55 cm.
12"i. Fruit-bowl and glass. 1923. Charcoal drawing. 2 1 31.1 cm.
175. Bowl and pipe. 1921. Oil on canvas. 10 15 cm.
426. Bottle, fruit-howl and glass. 1923. Charcoal drawing. 19.3 28.4 cm.
176. Glass, pipe and boxes. 1924. Charcoal drawing. 2.~>..~> 31.4 cm.
127. The siphon. 1923. Charcoal drawing. 31.1 25.5 cm.
177. Houses. 1924. Oil on canvas. 27 35 cm.
128. The black grape*. 1923. Oil on canvas, 28 16 cm.
178. The little house. 1924. Oil on canvas. 24 33 cm.
429. Bottle, glass and fruit-howl. 1923. Drawing. 63 18 cm.
179. The basket. 1924. Oil on canvas. 33 II cm.
430. Fruit with jug. 1923. Oil on canvas, 38 55 cm.
180. Lemon with playing-card. 1924. Oil on canvas. 13 16 cm.
131. The pedestal table. 192.3. (Ml on canvas, 50 61 cm.
181. Violin with fruit-bowl. 1924. Oil on canvas. 38 61 cm.
132. Guitar. 1923. Gouache on wood. 11 18 cm.
182. The howl. 1921. Oil on canvas. I(( 1 .1 cm.
133. Glass and pipe. 1923. Oil on canvas, 19 39 cm.
183. Ace of diamonds. 1924. Oil on canvas. 38 16 cm.
434. The candlestick. 1923. Oil on canvas^ 21 19 cm.
181. Figs. 1924. Oil on canvas. 27 35 cm.
435. Glass and pipe. 1923. Oil on canvas, 22 16 cm.
185. \ icdin and hook. 1924. Oil on canvas. 5(1 61 cm.
136. Portrait of a man. 1923. Oil on canvas, 92 61) cm.
186. The jar. 1924. Oil on canvas. 55 16 cm.
137. The man with a pipe. 192.3. Oil on canvas, 21 19 cm.
187. (,rapc-. 1924. Oil on canvas. 22 32 cm.
138. Glass and pipe. 1923. Gouache, 36 27 cm.
188. The table-napkin. 1924. Oil on canvas. 27 35 cm.
439. \\Oman> head. 1923. Oil on wood. 27 22 cm.
189. Fruit and knife. 1924. Oil on canvas. 21 11 cm.
440. Seated harlequin. 1923. Oil on canvas, 33 II cm.
190. The fisherman. 1921, Oil on canvas, 33 21 cm.
111. "Le .Journal". 1923. Oil on canvas, 33 II cm. 19 I. Woman with a guitar. 1924. Oil on canvas, 11 27 cm.
442. Fruit. 1923. Oil on canvas, 19x24 cm.
492. Woman with hands clasped. 1924. Oil on canvas. 81 0(1 cm. The Ger-
443. Fruit-bowl and guitar. 1923. Oil on canvas. 50 72 cm. trude Stein Estate.
111. La Base. 1923. 19 27 cm. Heinrich Wolf Collection, London. 193. The draught-hoard. 1921. Oil on canvas. 50 65 cm.
445. Fork and spoon. 1923. Oil on canvas. 21 35 cm. 494. \ct of spades. 1924. Oil on canvas. 22 27 cm.
116. Window and hills. 1923. Oil on canvas, 73 92 cm. 195. Ace of clubs. 1921. Oil on canvas, II 18 cm.
117. Fruit-bowl and carafe. 1923. Oil on canvas, 54 65 cm. 196. The apples. 1921. (HI on canvas, 27 11 cm.
118. Black grapes. 192.3. Oil on canvas, 22 35 cm. 197. The farm-house. 1921. Oil on canvas. 27 35 cm.
449. Fruit-howl and glass. 1925. Oil on canvas. 28 35 cm. 198. Guitar and fruit. 1924. Gouache. 29 39 cm.
150. Cup and pipe. 1923. Oil on canvas. 22 33 cm. 199. Fruit-bowl and bottle-. 1921. Oil on canvas. 35 21 cm.
151. Pipe and glass. 1923. Oil on canvas. 1 6 22 cm. 500. Man at table. 1925. Oil on canvas. 73 60 cm.
152. Harlequin's head. 1921. Oil on canvas, 35 21 cm. 501. Woman sitting in an armchair. 1925. Oil on canvas, 55 10 cm.
153. Woman with a picture. 1921. Oil on canvas. 61 50 cm. ~>02. Woman with a guitar. 1925. Oil on canvas. 10 38 cm.
151. The stable-boy. 1921. Oil on canvas. 55 16 cm. 503. In front of the hath. 1925. Oil on canvas, 65 50 cm.
155. Woman in a hat. 1921. Oil on canvas. 35 21 cm. 504. Man with a pipe. 1925. Oil on canvas. 35 27 cm.
156. Woman with a hook. 1921. Oil on canvas. 35 21 cm. 505. Pierrot with hands clasped. 1925. Drawing. 22 27 cm.
157. Woman in a kerchief. 1921. Oil on canvas. II 27 cm. 506. Woman with a hook. 1925. Oil on canvas. 73 54 cm. Privalc collection,
158. Harlequin with hands clasped. 1921. Oil on canvas, 35 27 cm. Switzerland.
159. Pierrot and curtain. 1921. Oil on canvas. 35 21 cm. 507. Woman with a mandolin. 1925. (HI on canvas, 16 33 cm.
100. Pierrot. 192 1. Oil on canvas. II 21cm. 508. The guitarist. 1925. Pencil drawing. 21.8 10 cm.
161. Harlequin and pierrot. 1921. Oil on canvas, II 27 cm. 509. The crossword allium. 1925. Oil on canvas. 38 10 cm.
162. Pierrot with a I k. 1921. Oil on canvas. 65 5(1 cm. 510. The open hook. 1925. Oil on canvas. 73 92 cm.
16:',. Man with a violin. 1921. Oil on canvas, II 33 cm. 511. Lemon and grapes. 1925. Oil on canvas. 27 11 cm.
161. Man in front of a window. 1921. (HI on canvas. 16 .">.")
cm. 512. The painter's table. 1925. Oil on canvas. 00 81 cm.
165. The packet of tobacco. 1921. Oil on canvas. 22 33 cm. 513. The flask of milk. 1925. Oil on canvas. 10 01 cm.
166. The book. 1921. Oil on canvas. 21 33 cm. 514. The electric light. 1925. Oil on canvas, 65 81 cm.
167. Plate and apple. 1921. Oil on canvas. 2 1 II cm. 515. The green cloth. 1925. Oil on canvas, 73 92 cm.
 , - - -I

Guitat mi! new»paper 1925 I'll "ii canvas, 65 81 cm. 562. The slice of water-melon. 1920. Oil on canvas, 27 II cm,
In the lamp-light 1925 Oil on canvas, ill I * . cm 563. Guitar with fruit-bowl. 1926. Oil on canvas, 60 73 cm.

i: in in i 1 92 3 ' »il 'n\ .1-. Ui Id . in 564. The black mandolin. 1926. Oil on canvas, 56 65 cm.
'
. i'» Mil- r> - 1925 Oil on canvai 5*1 '•
• m. 565. The musician's table. 1926. Oil on canvas, HI 100 cm. Galerie Rosen-
II,. open booh 1925 Oil on canvae 13 II cm. gart, Lucerne.

.
'
I Book and pipi 1 925 ' * »
I on • am at 566. I he page of music. 1926. Oil on canvas, 38 lf> cm.
lli. red I k 1925 Oil on canvas, 73 '•" cm Kunslmuseum, Berne. 567. The singer. 1926. Oil on canvas, 92 65 cm.
Hermann and Margril ltu|.i Donation 568. Woman. 1926. Oil on canvas, 92 73 cm.
.
•
; \ i-. ..i il..>,.r- 1925 ' ol ..I. canvas, 92 73 cm. 569. I In' peasant woman. 1926. Oil mi canvas, ''2 65 cm.
i I mil bowl I newspaper. 1925 * » I on canvas. 55 16 cm. 570. Fruit-bowl with book. 1926. Oil mi canvas, 27 35 cm.
~iill life guitar and fruit-bowl, 1925. Couachi 13 26.5 cm. 571. The allium. 1926. Oil on canvas, 65 HI cm.
»26 II.. black palette. 1925, OH on canvas. 50 65 cm, 572. The pipe and the open book. 1926. Oil on canvas, 33 II cm.
i. mi. ii .mil fruit-bowl 1925 <hl on canvas, 50 <>l cm. 573. I, uilar with bowl. 1926. Oil on canvas, 73 92 cm.
528. Id. bottle ..I U.i-- 1925 Oil on canvas, 16 55 cm. 574. Notel k-. 1926. Oil on canvas, 3H 61 cm.
.
'•!
II.. basket ol pears 1925 Oil on canvas, 1 <
» >5 cm. 575. s iill life with newspaper. 1926. Oil on canvas, 27 35 cm.
.... II.. open book 1925 Oil on canvas, 7'. ''_' cm. 576. Rolled table-napkin. 1926. Oil on canvas, 33 II cm.
.
II Grapi - 1925 " Ml 1 1 v .. - 13 II. m. 577. Woman before the window. 1926. ( >il on canvas, II 33 cm.
I ,1.1. ,,„.| armchair. 1925. < • • I hi\.i-. 92 73 cm. 5711. Man with a guitar. 1926. ( HI mi canvas, 92 73 cm.
. .
; Bowl .in.l fruit-bowl, 1925. <oi on ».i-. I<. 55 cm. 579. The carafe on the letter. 192f>. Oil on canvas, 3H 16 cm.
534. In:: in. I ..ii. ii. 1925. i'i| ..ii canvas, 50 61 cm. Bernard roissonier 580. The knife. 1926. Oil on canvas, 27 35 cm.
( ollei i ion Paris,
581. Fruit-bowl and bottle. 1926. Oil on canvas, (ill HI cm.
It. ink with fruit-bowl, 1925. I'll on canvas, 13 II cm.
582. Fruit-bowl with pears. 192(>. Oil on canvas, 27 35 cm.
.
16 Still life. 1925 < at be.
583. \|i|ile and lemon. 1926. Oil mi canvas, 27 11 cm.
Book "iili guitar. 1925. < >
• I on canvas, 38 I'. cm.
584. Glass with fruit. 1926. Oil on canvas.
Crossword puzzle. 1925. Oil on canvas. >! II cm.
585. The slice <>t melon. 1926. Oil on canvas, 33 11 cm.
5 19 I I., lemon 1925. <>il on canvas. 38 16 cm.
586. The apples. 1926. Oil mi canvas, 27 35 cm.
540, Id. mandolin on the pedestal table, 1925. Oil on canvas, It. 55 cm.
5H7. Still life. 1926. Gouache and water-colour, 2:5.7 27). H cm.
">tl Itiink uiili pipe. 1925, <Ml mi canvas, 27 35 cm.
5HH. Bowl of black grapes. 1926. Oil on canvas, 27 35 cm. Dr. Peter Witt
• I
'

Mandolin with pipe. 1925. Oil on canvas, 60 73 cm.

( nlleit ion, New ^ ork.
.1 I Guitar »iili the sea behind ii 1925. Oil on canvas, 5 I 65 cm.
.589. The cut lemon. 1926. Oil on canvas, 35 27 cm.
544. Table overlooking 1 1 • -
sea. 1925. Oil on canvas, 73 92 cm.
590. Flower on a table. 1926. Oil on canvas, 92 73 cm.
'.
I
'
Mandolin »iili fruit-bowl. 1925. Oil on canvas, 73 92 cm.
591. Guitar with fruit-bowl. 1926. Oil on canvas, 73 60 cm.
lii I In cluster ..l grapes. 1925. Oil on canvas, 38 Hi cm.
592. Woman with a basket. 1926. Gouache, 30 21 cm.
• IT Guitar with incrustations. 1925. Oil mi canvas, 73 '>2 cm.
1
393. Jug with fruit. 1926.
".I: . Fruit nmiIi I k 1925. Oil on canvas, .">
I 65 cm.
594. Bowl and pears. 1926. Oil on canvas, 27 35 cm.
549. lli. painter's window. 1925. Oil on canvas. 100 81 cm.
595. Table in front of a picture. 1926. Oil on canvas, 50 61 cm.
550. Violin with fruit-bowl. 1925. Oil on canvas, fil 50 cm.
596. Bowl with 1 k. 1926. 3H 16 cm.
551. Guitar and music scores. 1926. od mi canvas, t>> HI cm. Mr. and Mrs.
597. Fruit-bowl and knife. 1926. Oil on canvas, 6(1 92 cm.
Daniel Saidenberg Collection, New York.
598. Playing-cards. 1926. Oil on canvas, 27 35 cm.
552. I In black guitar. 1926. Oil on canvas, 50 73 cm.

553. Hie marble table. 1926. Oil on canvas, 65 81 cm. HAG Kunststiftung
599. The white napkin. 1926. Oil on canvas, 16 55 cm. Gilberl Harrison
Collection, Washington, I). C.
i ..Hi .1 urn. Bremen.
554. I lif pipe on the book, 1926. Oil on canvas, 35 27 cm. 600. The marble pedestal table. 1926. Oil on canvas, 38 16 cm.

555. Pedestal table with .i red cloth. 1926. Oil on canvas, 92 73 cm. 601. The letter. 1926. Oil on canvas, 27 35 cm.

556. Plant on ,i pedestal table. 1926. Pencil drawing, 24.3 I'M cm. 602. Bowl, gla.^s and |>i|>c. 1926. Oil on canvas, 27 35 cm.

557. Man iii evening-dress 1926. Pencil drawing, 56 II cm. 603. Woman playing the guitar. 1926. Oil on canvas, 116 73 cm.

I In- -i i".ir». 1926. Oil mi canvas, 50 61 cm. Sam Jaffe Collection, 604. The reader. 1926. Oil on canvas, HI 65 cm.
Beverlj Hills. California 605. Book with fruit-bowl. 1927. Oil on canvas, 3.3 II cm.
Book with violin. 1926. Oil on canvas, 33 II cm. 606. The egg. 1927. Oil on canvas, 21 33 cm.
Iln- yellow miliar. 1926. Oil hi canvas, 73 92 cm. 607. Glass. 1927. Oil on canvas, 33 II cm.
561. i. nii.ir ami T-square. 1926. Oil mi canvas, fill 92 cm. 608. Fruit-howl and carafe. 1927. Oil on canvas, 38 16 cm.
 . 1

25

INDEX OF DRAWINGS PUBLISHED IN NEWSPAPERS AND MAGAZINES

•II. HI Kir. Paris. No. 138. 21-VIII-1909.

625. "With a film like this. I'll wipe the Hour with m\ competitors."
No. 249. 9-XI-1907.
60*). "We've already made il up three times since this morning and it s No. 138. 21-\ [11-1909.
beginning to get me down! 626. The anarchist
New series. No. 311. 16- 1
-
1 909. "Fair shares for all is what I si\. I've never liked celebrating alone.'

610. Poetry. No. 457. 1-1-1910.

"There's no denying it: whenever I see thai Mona Lisa gob of yours
627. Christmas presents, by Calanis and Gris.
my inspiration gets all balled up!"
"Thank you kindly, Mr. Moneybags, sir. and till next year, il the butler
hasn't melted!"

"L'ASSIETTE Al REURRF". Paris. No. 457. 1-1-1910.

No. 123. 8-V-1909. 628. "Have they given you a rise, then?"
"No, but wait till you see my lovely new decoration!
611. "Artists are people who aren'l even married!"
No. 157. 1-1-1910.
No. 138. 21-VIH-1909.
629. "And why should give you a Christmas tip?"
I

612. [Suicides, by Gris).

"And isn't it thanks to me you have that medal in your button-hole!"
" \man who commits suicide is a coward, a bad Frenchman, a deserter...
"What do you mean, thanks to you?"
V man who commits suicide doesn't deserve to live!'
"I'm the fellow you saved from drowning that morning last spring.
"How right you are!"
No. 457. 1-1-1910.
No. 438. 21-VIII-1909.
6.30. "Is il as constable or concierge that you're expecting me to lip you'.''
61:5. "Is it for a dog?" " \* both, of course. Don't you know that as a constable I can get you
"No, it's for myself." into all sorts of trouble, and as your concierge I can protect you?"
"Then you'd better take about five grams more'
No. 157. 1-1-1910.
No. 138. 21-VIII-1909. was counting on New
63 1 "Getting up alread\ ? I a little extra tor Year's
oil. "Above all. sir. please don't miss. You have no idea the extra trouble Day."
it would cause us!"
No. 157. 1-1-1910.
No. 138. 21-VIII-1909. 632. "Do you mean to say you're not gi\ ing us a tip because you ne\ er go
6 I
.">. " Rut honestly, darling. 1 swear il was for me thai all the others committed to the corner?"
little

suicide!" "I'm sorry, old fellows, but the utih ones I like are the ones in the Min-
istry!"
No. 438. 21-VIII-1909.
No. 457. 1-1-1910.
616. "Heavens! My husband!"
633. Al the playwright's house
No. 438. 21-VIII-1909. "The drama critics have come for their Christmas presents, my lord."
617. "What a dirty trick, to go and do it in m\ cab!"
No. 438. 21-VIII-1909.
"LE RIRE". Paris.
618. "Here, take these iort ^ centimes... Rut you must promise me faithfully
No. 372. 9-III-1910.
you won't do it again."
634. "That's not a dress, it's a jigsaw puzzle!"
No. 138. 21-VIH-1909. "Oh. well, at your age any game with ladies is a game of patience!'
619. The woman's guide to suicide
rich
No. 384. U-VI-1910.
"Well, you cant deny it's gol much more chic than a gas-oven.
635. The old retainer
No. 438. 21-VIII-1909. "Between ourselves, Madam. I think you can keep your hat on. His
620. "Gawd, it's freezing! ,)ust my luck!" lordships masseur hasn't arrived yet.

No. 438. 21-VIII-1909. No. 121. 25-11-1911.

621. "Oh, I beg your pardon!" 636. The tears of Bacchus

"You don't seem to be enjoying yourself, darling. What's tin' matter?"
No. 438. 21-VIII-1909. "I was just thinking of my poor wife, sitting all alone at home tonight.
!"
622. "Jacques! Jacques! You're leaving me in a terribly delicate situation! All her lovers are here

No. 438. 21-VIII-1909. No. 154. L4-X-1911.

62.3. "So you won't open up? Vi ell. just for that III open myseli ii|i! 637. At the air show
"Do you mean to tell me you've just lifted three hundred kilns with
No. 438. 21-VIII-1909. that machine of yours, and you're not up to carrying two tiny creatures
624. "Ah, well! I thought we'd be having trouble with that new tenant!" like us?"
 I' \l'l I
i
Banc lima 2nd year. No. 1 I. 21-11-1909.

l-i . ,, V. '

Ml 191 649. "Ah, in the days of Don Manuel Planas i Casals the Conservatives all

rami- from the \er\ best families. Bui now it's simpl) disgusting. Even
I illiii^ oil .1 borne i- ,tl«. is- .1 bore but falling "II eighth horses .ii

!' the Republicans support Maura!"

•
f f
i I'll loo l.ir

l-i yi ,, \., I
'» Ml I'm:; 2nd year. No. 16. 10-111-19(19.

Vncl m In n will our emperor •_•" now I

650. "And what do you t Ii ii k about feminism, Agatha?
In V .iIi-iii i.i oi ..nir-i lli.ii - where .ill emperors wind up. whether "Bali! The onl) real feminism is the -ort I've been practising since I wa>
i In \ in. in. i^i in banc "ii in their thrones or not! it. ever so young!"

l-i M-.ir No •
'
: Ml I'm:;
2nd scar. No. \H. 24-111-1909.
ii I" Si. 1 homai ~ Day 651. "What's \oiir opinion of matrimony?'
Wli.ii tio \ mi ilnnk "I tin- year's parts '
"I think it's a game that's best played 1>\ lour, like bridge. It s a lot
I i i nk I \ I ilnnk "iir millionaires onl> managi i" behave like rich men more rest lul i hat ss a) .

• hi one il.i\ in the s. u

I \.i.il\ \nil even then ilns choose St. 1 1 i.i- - has because ii - 2nd year. No. 21. I l-IV-1909.
une "I I In -In. l I. I

652. Electioneering
l-i yeai No i ; \ 11-1908. "I wouldn't have him if he were the last man on earth. Besides, he's as
."
|ioor as he's ugl)
I'll Mum' Wliii II we do il we the man from the Deceno League
mil he -•'•- ii- - 1 1 1
|
>
I
' "I se your head, girl. Don't you know they're going to make him a
1

Don i in i ' lulil ii - i n I \ in the towns thai vou lnnl animals 1 1 ki- him. councillor an> da) now ?

l-i yeai No ' 10- \ 1 1 1908 2nd year. No. 23. 28-IV-1909.
'il' 1 1 i.i - n i \ "in conscience ever reproach vou. Lola, for eating such 653. "Ms daughters pretend the) don't know me. How sad! Ah well. I ran
Kiiuisite ili-ln- with so m.iii\ | people dvine "I hunger?
i -nil look forward to inheriting all the money the) ve got now.
\li luii I in vers religious, vou kium. and I .ilss.is- remember < hrisl -

vvi.nl-: Nui 1 1\ bread alom 2ml year. No. 25. 12-V-1909.

6.5 I . I ninterested
2nd year. No. 7. 5-1-1909
"To (ell \uu the truth. I don't give a damn about the social question.
'• I
'.

piphaiw
/
I'm too bus) killing myself to earn enough to eat.
Ii were one "I the wise km;:-.I wouldn I i brine vou .m\ presents al
.ill il |u-i keep them for myself."
I 2nd year. No. 26. L9-V-1909.
W .11. thank God for the Republii !" 655. Ihi- Catalonia Cup
" Vnd his head ended u]i fifteen yards from the car.
•ml year. \... 7. 5-1-1909.
i.l I hiil the wise kings ol the easl ;im- you .ill il •
medals, Dad?"
"How horrible!"
"Yes. and even though we heat him. it's the lirsi time we \c ever been
Hardly. Winn s nsider that the ones of the west onl) gave me
able to >a\. What a head!"
i i
r"-- .nui even then I had to pas the postage!

•ml s.ar No. 8. 13-1-1909. 2nd year. No. 27. 26-V-1909.

'.I I "What can I serve you, sir?" 656. Portrait of P. lribe.

\ -I r.i» lnrr\ we."
2nd year. No. 27. 26-V-1909.
\ml for the lad) ?"
I ilnnk Id like some passion-fruit.' 657. After the big event
"And what did you think of the homage to Guimera, Senora Matas?'
.'ml \r.ir. No. H). 27-1-1909. "Oh. I enjoyed it. 1 really did. I shall go again next year."
iilii. Willi such -.ul faces, you lm>k .i- il you were coming from a funeral."
2nd year. No. 33. 7-VII-1909.
"•And so we are. We've just lost this fellow's wife!"
658. The homage to Guimera yet again
2nd year. No. 1 1. 3-II-1909. "Do you mean that its over, or that it II ever lie oxer';
1

iil7. "I- \ our name Maria?"

"\ c-. -ir. M.iri.i ilc I.i (
>." 2nd year. No. 34. I l-VII-1909.

"De I.i whal '."

659. Societycomjersation
"O." "What is this pragmatism everyone's talking about'.''
vh!"
•
"Oh. its a new philosophical idea that's jusl been invented.
"Ah, I see. A sort of wireless philosophy,
2nd year. No. I I. 24-11-1909.
(>IK. "She's going to marrs the old man after all. 2nd year. No. 35. 2 1-Y 1 1- 1909.

\ml does he consent to her keeping all her lovers?" 66(1. The war
"Oh, yes. The unl\ thing he wont put up with is her being in love with "Its harder on us than on the married women, because one ol us should
one ol them when she"- making love with him!" really count as three or four widows."
 253

2nd year. No. 36. l-\ III-l'N)"-. 3rd >ear. No. 1)7. 9-III-1910.
661. About the conscripts (i72. "Bui such a fervenl Catholic as you can ' possible love boih oi us.

"Yes indeed, all kinds of attentions. In Malaga the) gave them sausages, "Oh, never tire of admiring the work- of
I the Creator."
in Andujar they gave them water, and in Madrid the bishop even gave
them his blessing. And still thev complain!" 3rd year. No. 69. 9-III-1910.
make me happ\ ?"
67.3. "And when are you going to
2nd year. No. 39. 25-VHI-1909. "W hen you hu\ me that 'Rhine gold' or one ol those 'Nibelungen rings
662. Misunderstood everybody's talking about."
"Nobody understands me in this country."
"Well, why don't we go to Paris?" 3rd year. No. 7:',. 2lt-I\ -1910.

"Oh, but they'd understand me si ill less there." 674. (hi thena\ to Barcelona
"I've heard the celebration- an- to be magnificent. The\ even I
•• 1 1 me
2nd year. No. 10. l-IX-1909.
Cambo is going to ll\ as far a- 'Can Tunis'."
663. Occupational "hazards"
"II these pills don't work. I in done for." 3rd year. No. 71. 27-IV-1910.
67"). "Isn't the heal terrible?"
2nd year. No. IT. 20-X-1909.
"It certainl) is. Whoever said that Africa begins at the Pyrenees was
661. "that's this hear about the castle being turned into a public park?"
I
perfectl) right."
"Oh. we've given up that idea. Apparently, it's more useful than wed
t bought." 3rd year. No. 75. t-V-1910.
()7(). At the theatre
2nd year. No. IK. 27-X-1909.
"Have you anything on vou to pa\ for this, Carmen?
665. Cupid's arrows "Everything on me is paid lor.
"Listen. Eladio. I wouldn I go to \malia s house again il I were vou.
She's a ver) odd girl." 3rd year. No. 76. ll-V-1910.
"\es. she's really 'unfathomable'. I don't think I'll so out wilh her 677. "No. ma'am, Don Toribio didn't bin an) votes."
"Well, what has he given lo the Party then?"
"His tongue."
2nd year. No. 50. 10-XI-1909.

666. Eclectic 3rd year. No. 78. 25-V-1910.

"I like flying because there are so lew of us who can afford it, that's all." 678. The "festivities" of I inaixa
"And don't you like common sense?" "Well, well! Two more explosions! What do you think of that?"
"No. it's too common. "Not bad at all. And you haven't counted the explosions of enthusiasm
for the Spring Festivals."
3rd year. No. 59. 12-1-1910.
667. The women and the dwarf 3rd year. No. 82. 22-VI-1910.
"Just fancy! So small and ahead) earning your living! 67 (
>. // the races
"Well, you two were even smaller when you began to earn yours. "And win did you not go to the first night ol 'Canigo ?

"I thought it might be loo realistic and I mighl catch cold.

3rd year. No. 61. 26-1-1910.
668. The comet A 3rd year. No. 83. 2"-\ 1-1910.
1
" \inl is it true that we can see ibis comet? ()8(). "Oh. Senor Parera. the older you get the more of a rake you are!
"Certainly it's true. With your own eyes." "It's because I'm getting closer to the last lihert\ oi all — . the cemeterv !"

"Good heavens, isn t modern science wonderful!

3rd year. No. 83. 29-\ 1-1910.
3rd year. No. 64. 16-11-1910. 681. "The Marques de Vilella fell into the water at the third jump.
669. The end of the world "Poor man! \fter all his protests against bathing!"
"It as main people die as the) sa\. it'll be a greal thing lor the next
3rd year. No. 93. 7-IX-1910.
elections.
"It certainl) will! Think of the jobs we'll get voting lor the dead..." 1)82. Behind the scenes
"Only those working in the theatre arc allowed on stage.
3rd Near. No. 65. 23-11-1910. " I5ut 1 do w oik in il !

670. The avengers "You?"

"A lad) like you can't possibl) walk... Hi, cab!" "Yes, 1 in working ver) hard on a ballet-girl at the moment.
"Shut up. it's m\ lather."
3rd year. No. 95. 21-IX-1910.
3rd year. No. 66. 2-1 1 1- 19 I II.
683. "The) tell me you're going to marry a ver) rich girl.
671. Aviation "Oh. -he's rich enough, bill I know whether
don't I'll inairx her or not.
"Haven you got horses, carriages and motor-cars? Well, now
t I want I'm reall) loo loud of m\ pleasures, you know.
you to hu\ an aeroplane. "So much the better. Now you'll be able lo indulge your tastes to the

"Yes, and then you'll complain that I'm always in the clouds." lull."
 lr<| ... .u \.. 96 !8 l\ 1910 THE "PAPITU" CALENDAR. Barcelona, 1911.
Manias 697. Self-portrait.
Vou know I •- v tell me iln 606 goes very *% • 1

698. "What's that scent of \mir- that costs mi much, Suzette?"

iii t .i it i|i, i I .. 1 1 » ,i
\ • -.ml palindromes bring good link " I'iiiii
Espagne.il

inl yeai No 98 12-X-1910

"Well, Spaniard's skin would be a better name for it!"

I in Nun know the worn I .iliuiii what happened in Portugal?

V. u hal
'
"L'ESQI ELLA DE LA TORRATXA". Barcelona.

I hal I In I, Im in M .i- in I nil i .i 33rd year. No. 1,689. 12-V-19I I.

699. Interior
Ird M,,i N,, 10 !. 9-X1 1910
"If anyone calls, tell them I'm en deshabille and ask them to wait."
I mm nli in i

"Li-leu. I'm in. good at those Frenchv words. If anyone calls. I II just
" -n ill '
["here's ins Ini-li.iiiil In linn r\ \
ii ii ii \ 1 \ u Ii i I \ ii ii
I I I I | i 1 1 1 1 I I

bring them in here and you can tell them yourself."

.i- tin I i|in -i n.in i Inli 'and here's you slogging everybody in sigh) at
I In I i|in -Iri.m I in n-
'

33rd year. No. 1,696. 3<t-\ [-1911.

700. Idmirer
I
yeai v. 108. 21-XII-1910. "So you're from Bordeaux? What a splendid municipal band you have
687. / In budgt i Ilure! Mid the local wine isn't bad at all."
'

I In \ \ i • \ in |
> ii i
up In price ol w ine i

33rd year. No. 1,707. 15-IX-1911.

\ iim.ilh I In \ want everybod) in ilrmk water.
Til I . tpaches
.i.l m.ii \.i 109 28-XII-1910. "I bear some German is offering a hundred thousand marks to whoever
Misfortunes finds the Gioconda."
\ml does vour brother suffer from the same handicap .i- you? "Ml hem marks
I for one old picture! Wouldn't you think il had enough
"Oh mi. In- iniU stutters, Kni it's sui bad stutter thai In- even puts Ii i
mark- on ii already ?"
two stamps nil ..II In- letters. 33rd year. N,.. 1,708. 22-IX-1911.

I Ii year. No. I 10. 1-1-191

Toi!. Good advice
"So you have a Frenchman and a German after vou? Well, if vou
689 ' hi foolish virgins
take my advice, you'll string them both along for a few days longer,
\inl do ill -in- disappear after confession, no matter Imw bad?
till you see how the currency market goes."
"Of ( mil -i \ in\ i Inlil mI , inn -i

Mi' So vou nn .in ii - .i kiml nl spiritual detergent?

"LA CAMPANA DF GRACIA". Barcelona.
Iili year. N,.. 155. 15-XI-1911.
12nd year. N.,. 2,212. 30-IX-1911.
690 "Don i stand on ceremony, duckv. Jusl take your things nil and make
yourself .ii home, likr the rest oi us.
703. How io settle the argument
France (to the Kaiser): "Here, you take the little black fellow and I II

HI, year. No. 155. 15-XI-19I I. keep t he half-caste."

691 Ii iln caban i

"Nov i Ion I \mi worrj jusl because the} didn elecl you to their -ill\ I
"L'ESQI ELLA DE LA TORRATXA". Barcelona.
.III i
it\ i
mini il. II soon cheer you ti and it won cost hall a- much!
I [ > t

34th year. No. 1.733. 15-111-1912.

5th year. No. 164. 17-1-1912. The go-ahead driver
704.
692. W li.ii iln \ mi mean, an old man followed you home? You're raving! "In modern countries like the Stales the cars are let go at eight \ an
II. u.i- probabl) following Mother!" hour. But here they tell us we're going too fast when we're only doing
twenty. Imagine how hard we'll have to work to catch up on those
5th year. \... 165. 24-1-1912.
Yankees!"
693 "I give you m\ word I in an honesl man! [f you don i believe me, just
,i-k i In- hangman !" 34th year. No. 1.737. 12-IV-1912.
705. The latest craze
5th \rar. No. 167. 7-II-1912. "Haven't vou ever been kidnapped, Bizea?"
694. "Which wrestling do you find more tiring. Graeco-Roman nr judo? "Oh yes, lots of times. But I've never let it get into the papers.
"I In- night wrestling, ma'am, the nighi wrestling." "You're quite right. That sort of publicity is no good at all for a girl s

reputation."
".id year. No. 168. I 1-II-1912.
695. "( ro on, gi\ e us a sweet 34th vear. No. 1.738. 19-IV-1912.
\rin t you ashamed ol yourself? Sweets are for ladies." 7(16. Swil idled!
"The crooks! They guaranteed the car for a year, and now il won I

".ili year. \... 191. _'l-\ [1-1912.

start !"
696. Modesty "And how long have you had it?"
"\\ hat a pair ol peeping Toms! Well, I'll just turn my back mi them!" "Eleven months and twenty-nine days.
 255

34th year. No. 1,739. 7-VI-1912. CALENDAR OF THE "ESQUELLA DE LA TORRATXA".

707. Secrets Barcelona. 1913.
"Hello, old dauber! Have you Mill got that understanding with the Til!. "Franklv I'd never marry a man that's been plucked a- bald a- that one.
.

lit lie sewing woman in the Market Square? "Ah. but he "s only been plucked of hi- hair, not of hi- moiiev .

"No. I've no understanding with anybody now. ve become a Cubist. I

:Uth year. No. 1,745. 7-\ [-1912.

"L'ESQUELLA DE LA TORRATXA". Barcelona.
708. The old hands
"But would you really go hark to the age of fifteen il you could, Paca? 35th year. No. 1.778. 24-1-1913.
Vnd who would you find to look after you?" 713. The fitting
"Oh. one of those kind gentlemen who call themselves the protectors "Don't you think this hat matches the dress perfectly ?"
of minors." "Oh. they've made a match of il all right. But it's an unhappy one. just

like ours."
34th year. No. 1,747. 21-VI-1912.
35th year. No. 1.780. 7-II-1Q-1:?.
709. Her plan of campaign
714. "A steak? But todav is Friday. Father Lluc."
grilled
"And are you going to do much sea-bathing?
"Well, let the Bishop do the fasting, we poor parish priest- fast enough
"Only as much as I have to till find somebodj I to lake me bathing
all the year round.
on dry land !"

34th year. No. 1,750. 12-VIM912.

710. Opinions in Sants
CALENDAR OF THE "ESQUELLA DELAT()RR\T\ V. Barcelona, 1<M L
"The members of the Hostia have all the luck. They've goi a Virgin 715. Poor man s humour
who's great at miracles." "Have you really money in the bank? I had no idea."
"Don't you believe it! Never pav too much heed lo the boasts oi those "I mean all the monev have on me
I — and it this isn 1 a bank we re

fellows down in the Barceloneta. They're all nine days' wonders, like ~i 1 1 i ii«i on, 1 don't know what it is."
the Musselmen."

34th year. No. 1.765. 25-IX-1912. CALENDAR OF THE "ESQLELLA DE LA TORRATX V . Ban dona. 1^1 1.

711. Lift's little ironies 71b. Old friendships

"Who. that one? We don'l even speak to each other an) more "I hope you're going to devote some part of the ball to me, pretty Har-
"Did you have a quarrel then?" lequina."
"No. I married her." "Certainlv . I'll spend all the interv al w itli v ou, w hen we go in to -upper."
CKITICAI Wl» W I llnl.iH.lCM. Kim. KM, R \l»m

I;. .ili kahnwrilt-i and Soln added Uj the in.nn bod> ol theii monographic /( npublisked letter to Kahnweiler, dated December 14th 1915). In "Art News".
volume i bibliography generally coinciding which contain* in each case \n. in. February 18th 1950.
ulioul i hundrrd i nim - li i- nol partii nl.uK I > 1
1 • nil in ini rease this number. Letters of Juan (iris. 1913-1927. London. 1956. Edition of 300 copies. The let-
... ill work* bul then introducing quite .1 lot of Spanish ters, collected !>\ Kahnweiler. were translated into English and edited
which both author* incomprehensibly, preferred to ignore, I -impl\ h\ Douglas Cooper.
1. 11 1 understand fin in* lance how both ol them managed to avoid men-
Posibilidades </< la pintura \ otros escritos. Cordoba, Argentina. Editorial As-
tioning iIh r**a> b^ Grrardo Diegu which, far From being published in some
sandri, 1957. One volume of 1 35 pages, translation h\ Alfredo Terzaga.
two 1 (•li 11 \ little review, appeared in the eminent page* ol the "Revista de
(There 1- another Spanish edition, published hv Hachette, Paris).
II. .iil.ni, I li>- -.inn' happened with the text* ol Manuel Mini and Eugeniu
/), Ins posibilidades de In pintura v otros escritos. Barcelona. Editorial Gustavo
.1 in in. I iIh with those ol 1 .iiii.hi V/n.ii which Sob} could have included
(,ili. S. \. ("Letras de Arte'" Collection). 1971. Prologue by D.-H. Kahn-
even though Kahnweiler could not. However, we are used to 1 In- ignorance
weiler. translated l>\ J. E. Cirlot. One volume. 19.5 12.4 cm., with
..I Spanish li «t« 1 1 wa* onh natural thai in the present work we should take
hi pages and 10 illustrations.
III, upponite line nol l>\ am mean* plaving down the Foreign criticism, bul
introducing .ill the known criticism From Spain. \nJ nol harping too much
mi little notice* ol exhibit - bul endeavouring to provide abstract* ol the
Important text* \ critical and anthological bibliography, in short,
li. Hooks ILLUSTRATED Itt .UAN <;RIS
whii li 1- the kiml I 1 1 k • I In entries in se< tion* \. B and are in chronologii >l <

.mill while those in section* I' and I an alphabetically arranged according

>\nic>» Cho< \m>. Jose: Alma America. Madrid. Victoriano Suarez, 1906.
in 1I1, author* names. I should like to express mj gratitude For the help rei eived
Reverdy, Pierre: Poemes en /irose. Paris. Paul Birault, 1915.
mpiling ihi* bibliography From Don Jose Vltabella. Don Uberto del < as-

lilln .mil I
1, ,11 I .In ml. 1 \\ 1 -1 . 1 il.ihl. Hi IDOBRO, Vicente: Horizon carri. Poemes. Paris. Paul Birault. 1917.

Reverdy, Pierre: l.n guitare endormie. Paris. Nord-Sud, 1919.

Huidobro, Vicente: Tremblement de del. Paris. Louis Tschann, no year

\ WRITINGS 01 II W GRIS given (I'll 1
)'.').

it ntitled on Cubism). In "Valori Plastici", Rome, February-March 1919, DERMEE, Pvt 1.: Beautis de 1918. Pari-, published by the author. 1919.
page 2. ,1 v< OB, Max: Ve coupez /ms. mademoiselle ou les erreurs des P.T.T. Paris. Gale-

( Untitled, on \egro art). In "Action", Paris, No, I, Vpril 1920, page 24. ne Simon, 1921.

1 I ntitled, aesthetit system). In I 'Esprit Nouveau", Paris, No. V February *->u \< ion . Vrmand: Le casseur (Tassiettes. Paris. Galerie Simon. 1921.

1921 page 534. Reproduced in "Cahiers d'Art", Paris, II. 1927, page PEIPER, Tadeusz: Zyice linje. Cracow. 1921.
171 Translated into German in " l».i- Kunstblatt". Potsdam. V. 1921. Tzara. Tristan: Mouchoir de nuages. Paris. Galerie Simon. 1925.
page 372. Simon. I92o.
Radiguet, Raymond: Denise. Paris. Galerie
Soles --in ma peinture. In "l>rr Querschnitt", Frankfurt. I -J Summer 1923,
Stein. (»kktri de: A book concluding with as a wife has n eon. I lore story.
pages 77-TH.
Paris, (ialerie Simon. 1926.
/>,v possibility 'I' In peinture. Lecture alluded to in the text. First published
Reverdy, Pierre: Au soleil du plafond. Paris. Teriade, 1956.
in .in English translation in ''The Transatlantic Review", New York, I.

Jul) I924,pages 182-486; II, August 1924, pages 75-76. Another English
translation in "Horizon", London, \l\. No. Hit. Vugusi I'Md. pages
II 1-122. Spanish translation, l>\ .1. (uan) d<- (J. (esus) \. (azquez). in C. CATALOGUE OF ONE-MAN EXHIBITIONS \\\ II \\ GRIS
"Alfar", l.i Coruna, l\. \». 13, September 1924, pages 24-30 (with
reproductions), French text (under the title I ne conference de Juan Pari.-. Galerie Simon. Exposition Juan Gris. March 2()th-April 5th, 1923.
1,11s) in "< ahiers .1' \n".
VIII. 1933. pages 185-197. Translation (partial) A catalogue of 8 pages, with 2 reproductions. Text by Maurice Raynal.
into Danish in: Sterup- Hansen, Dan: Juan Gris: el Foredag (preceded 51 paintings and some drawings and lithographs were shown. The text
l.\ .1 prologue): 24-page booklet, Copenhagen. I9I(>. h\ Raynal was reproduced in "('.ahiers d'Art". \ III. 1933. pages 198-

Rtponse a Venquete "cftej les cubistes". In "Bulletin de la Vie ^.rtistique", Pa- 199. With 5 reproductions.
11-. \ I. Januan l-t I
1
'-'"), pages 15-17. "L'on a accuse Foeuvre de Gris d'hermetisme, mais e'est que on n a ja- 1

Rfponse a une enquete sui l> cubisme. In "Europa-Almanach", Potsdam, 1925, mais pris la peine de demeler les intentions de sa pure science lyrique.
pages 34-35. Reproduced in " Documents", Paris, No. 5, 1930, pages 267- Paris. Galerie Simon. Exposition in Memoriam Juan Cris. June llh-lolh 1928.
27 I. 66 paintings, one sculpture and various drawings and engravings were
(Declaration, untitled). "Antholog) of Painting in France, from 1906 In to shown.
the present day", h\ Maurice Raynal, Paris. 1927. page 172. Berlin. Galerie Mired Flechtheim. In Memoriam Juan Gris (1887-1927). Feb-
TexU inidit. Published l>\ Carl Einstein in "Documents", II. 1930, pages 2(>7- ruary 1930. \ catalogue of I I pages, with text b\ Gertrude Stein, bio-
268. graphy and bibliography. 9(1 works were shown.
 257

Zurich, Kunsthaus. Juan (iris. April 2nd-26tb L933. -\ catalogue of 10 pages, Cooper. Douglas: Juan Gris ou legout du solennel. Paris. Skira (Col. "Les Tre-
with reproductions. Preface In \\ . \\ artmann. I 17 works were shown. sors de la Peinture francaise"), 1949. One volume. 30 28 cm., with

Paris, Galerie Balay & Carre. Juan (iris: Exposition. June L3th-Julj L3th 16 page- and 15 plates in colour. A very penetrating vision of he artist. I

1938. A catalogue of 12 pages and 23 plates. Text,-. b\ Raynal, Stein "On trouve par exemple la meme forme ovale employee dan- mi seul
and Douglas Cooper. 23 works, from 1911 to 1920. were shown. tableau, pour exprimer le bee dune flute, le rond dun verre, le goulot
il tine bouteille, la rose dune guitare et une grappe de raisin sur un
New ^ ork. Jacques Seligmann & Co. Retrospective loan exhibition: Juan (iris.
compotier. (iris ne fait pas des comparaisons, il alimente notre ima-
November-December 1938. A catalogue of 10 pages, with texts 1,\ (iris.
gination et innove des rapports neufs el harmonieux, eclaires d une
Ravnal and Stein. 27 works were shown.
poesie inherent et naturelle."
New York. Buehholz Gallery (Curt Valentin). Juan (iris. 1887-1927. March
Elgar. Franck: (jris. \atures mortis. Pari-. Ilazan. 1961. One volume.
28th- April 22nd 1911. A catalogue of 18 pages, with texts l.\ J. (,. and
15 10 cm., with 16 pages and 15 plate- in colour anil one -heel. A
Lipchitz. 10 works were shown. The exhibition was put on again in
short biographical and critical monograph.
1947 (April lst-26th), with 27 works (catalogue witli text li\ J. G.),
"II a non seulemenl donne an cubisme ses lettres de legitimite, mais
and in 1950 (the catalogue including the text of a letter from .). G. to
encore un accent particulier par la minutieuse mise an point de ces
Kahnweiler). with 18 works.
architectures plates el colorees, par I'expression simplifiee des aspects
Cincinnati, Modern Art Society. Juan (iris. 1887-1027. April 30ih-Ma\ 31st multiple- de 1'objet..."
1948. A catalogue of 16 pages, with a preface l>\ E. H. Dwight. 01 work-
George, \\ vldemar: Juan Gris. Pari-. Gallimard (Col. "Les Peintres nou-
were shown.
veaux"), 1931. One volume, 15.4 12.3 cm., with 61 page-, containing
Berne. Kunstmuseum. Juan Gris. October 29th 1955-Januarj 2ml 1956. a portrait engraved l>\ Vuhert and 5 reproductions in the text, besides
A catalogue of 80 pages, with a prologue h\ Douglas Cooper. 187 work- 2 I plates.
were shown. 6: "(.et athee. ce rev olutionnaire, cet insoumis de armee espagnole
Page 1

Venice, Esposizione Biennale, 1956. Pages 250-256 of the general catalogue, avait un singulier penchant pour I alchimie el pour I'astrologie.

with a text by Kahnweiler. 20 works were shown. Page 11: "Toute 1'oeuvre de Juan Gris est une passion raisonnee, refou-
Paris. Galerie Louise Leiris. L atelier de Juan October 23rd-November
Gris. Ice. une passion qui revel 1'apparence dun altier theoreme.
23rd 1957. One volume, 17 17 cm., with 26 pages and 10 (dales. Text Kahnweiler, Daniel-Henry Juan Gris. Leipzig- Berlin (Col. "Junge Kunsi
: .

by Kahnweiler. 22 works, from 1926-1927. were shown. No. 55). 1929. One volume. 20 13.5 cm., with 30 page- and 36 (dale-,

London. Marlborough Fine Art. Ltd. Juan Oris. 1887-1927. Retrospective (loth bound. Partial!) reproduced in "Cahiers d'Art", \lll. 1933.

exhibition. Februarv-March 1958. 50 works were shown, together with page- 202-201. With II reproductions.
" Dieser Juan Gris. der kurze Zeit lebte, wenig (.luck ha lie nie sich vor-
hooks illustrated by the artist. A catalogue with texts h\ Kahnweiler
1

and John Russell. drangte, war eine der ganz Grossen.

New York. Museum Kahnweiler, Daniel-Henri .limn Gris. Sa vie, sun ormrr. ses ecrits. Paris.
of Modern Art. Juan Gris. April Oth-June 1st 1058. (The :

Gallimard, 1016. One volume. 23 10 cm., with 211 page-, containing

catalogue is the hook by Soby, No. 51 in this bibliography).
II reproductions, with 50 full-page plates and 2 page-.
Paris. Galerie Louise Leiris. Juan Gris: Dessins gouaches 1010-1027. June
1 7th- July 17th 1965. One volume, 17
el

with 9 pages and plates,

17 cm.,
A conscientious — hut v erv lengthy, diffuse and rambling k on I

the artist hv the man who wa- hi- first admirer and large-scale patron.
containing 68 reproductions in black and white and in colour. Text I

Too short and v ague a- regard- the Spanish period, which i- insufficiently
h annweuer. works were shown.
reflected in both texl and bibliography.
Dortmund. Ostwall Museum. Juan October 23rd-I)eceml>er llh 1065.
(iris.
Kahnweiler, I) wiki -llixm Juan (iris. His : life mid work. London. Lund
A catalogue of 181 pages, with texts hv L. Revgers. J. Richardson and
Nl\
Humphries, 1017. One volume. 20 23 cm., with 178 pages,
D.-H. Kahnweiler.
containing 57 reproductions +68 plates with 113 reproductions 2
New 'I ork. Saidenherg Gallery. Juan Gris: Drawings and gouaches 1010-1027. plates in ((dour. Cloth hound.
May 9th-. June 21th 1967. Catalogue with text h\ Kahnweiler. \ translation of Douglas Cooper, who ha- mu-
l he previous entry h\
meagre Spanish bibliography given. The edition is
tilated the already
handsomer than the French one. though il doe- not include some im-
portant reproductions.
D. MONOGRAPHS ON Jl AN GRIS
KAHNWEILER. Dvmki -Hi- \h\ : .Jmm Gris. Sa vie, son oeuvre. sis rails. Paris.

Gallimard, no year given (1969). One volume. 20.5 24.3 cm., with
Anonymous: Juan (iris. Geneva, Skira. 1966. A folder, 0.32 0.25 cm., with 354 pages, containing 21 plate- in colour, 22 illustrations in the text
2 sheets and 6 plates in colour.
and 110 full-page plates. Cloth hound.
A critical resume, notes on the plates and summary bibliography. \ new edition, more sumptuously presented but without anv novelties,

"Gris assimile le language revolutionnaire de Picasso el de Braque de of the previous enlrv under this title. The onlv new contributions are
maniere tres personnelle et plus precise que la leur; rationnel e1 lucide, in the bibliography, which now includes 265 items, though including
il sait echapper a toute confusion." a ureal number ol general works.
K ahnw i 1 1 i i: Da mel- Hem m I Him Gris \ ill it v I 'mi ii i a. Madrid, Dire n VPOLLINAIRE, Gl ILLA1 vie: Juan Gris. In "Cahiers d'Art", VIII, 1933, page
General di Bellai Vrti (No I in the "Arte de I Rpana collection), 182. ( \ reproduction of the text already published by the author in
19 I One volumi 29 • !4 cm ^nli 108 pages, containing 163 re- "Les peintres cubistes", Paris- Figuiere, 1916. pages 60-63).
produi lion- in lil. n k and whiti and 2 I in colour. Cloth bound. \ Spanish "His painting i* lar removed from music, by which I mean thai it is

1 in- 1. 1 1 i In second French edition h\ Conce| n Falcon Ro- directed principally towards scientific reality".
driguez which doe* not tribute anything new. Bi i i . ( i i\ E : Exhibition, Mayor Gallery. In the "New Statesman and Nation",

Rav>al, M \i mi i I mm Grit. Paris, Editions de I Effort Moderne (Col. London, November 14th 1936. page 771.
I. Mail res du Cubismi 1920 One volume. 18.8
i 12.3 cm., with On the exhibition at the Mayor Gallery, London.
12 page* .mil 20 plates, Reproduced in Effort Moderne No. 16, I -
I!i \ m in . .1 \< Ql i s tMILE Exhibition. Galerie Simon. In "Revue Europeenne",
:

linn 1925 pages 1-6, and in "Das Kunstblatt". Potsdam. V. 1921, Pari-. June 1st 1923, pages 69-70.

. i _• . ; i . i
On tin- artist's exhibition at the Galerie Simon.
l

\ texl "i great i larit) showing justice and understanding "I the ,irii-i .
Hi i vr. Vnthony: .hum Gris. In "The Spectator", London, December 11th
Santos "i;nm 1936, page 1038.
I i i \ Rafael: Juan Gris. Barcelona, Editorial I . • I » i . 1969.
One volumi 'in with III pages and 63 reproductions of
On the exhibition at the Mayor Gallery. London.

plates l"\ the artist. Prologue b) H S. I and selection bj Juan BONJEAN, .1 m i,ii ES: .hum (,ris. In "Beaux-Arts'". Paris. June 24th 1938.
Pi i m In. i
loth bound. page 6.

,
m
On the exhibition at the Galerie Baiav & Carre.
^iini | AMES I nil \l I :
I mi n l.i i- \i u > nrk. I In \l n-i imi nt \| |i i n \rl .

1958 <>!>• v , >l ii i ii i

2 I
".
22 cm., with 128 pages, containing 87 repro- BREESKIN, \nm
\ I).: The painter's window. In "Baltimore Museum of Art

ductions in lil. ii k .iml white and I

1
'
in colour. ' Inili bound. New-". December 1943. pages 4-5. With 1 reproduction.
Published on the ision ol the exhibition <>! the artist - work in the On In- picture of the same title, from the Saidie A. May Collection in
l

aforesaid Museum i Ipril 9th-June l-i 1958); the Minneapolis Institute the Museum of Baltimore.

..I \ii- i
|une Jlili-.luK 24th): San Francisco Museum "I Vrl i August Brei mm.. Margaret: Gris retrospective... Buchholz Gallery. In "Art Digest".
Uth-September 14th) and Museum ol I"- Vngeles (Septembei 29th- New lork. April 15th 1944. page 11.
1 1. tober 26th) On the exhibition at the gallery mentioned.
\n important Imnk. extremely well illustrated and clearly expounded. BrOSSE, La: Silhouettes: Juan Gris. In "Paris-Journal". July 22nd 1912.
\- usual, the Spanish pari is rather neglected. A brief portrait, of interest because it was one of the first articles to be
Schmidt, Georg: limn Grii und die Geschichte des Kubismus. Baden-Baden. published on the artist.

1957 (I ol. "Der Silberne Quell", \ olume 36). Bruguiere, La presence de Juan Gris. In "Cahiers d'Art", XXVI,
P. G.:

\ volume i«l I" pages, with reproductions. 1951. pages 115-136. With 21 reproductions. A penetrating and poetic
text, very well illustrated.
"(irisV language takes its force and its sureness. of few terms and those
always the same, from an intangible property given to each of them
I ARTICLES V.ND ESSAYS ON Jl W t.KI--
and from the rigour of their syntax. It would appear that he has for-
bidden himself" any kind of liberty, in order not to run the risk of weaken-
\iiiiii. \l \ m i i El pintoi Juan Gris. In "Alfar", La Coruna. III. No. 34. ing the sureness demanded by the importance of a work which is to
November 1923, pages 3-7. Willi > reproductions. justify him' .

I In- article calls the reader's attention to the quality ol the artisi and
Caillois, Roland P.: Le cubisme classique de Juan Gris. In "Critique", Paris.
compares his ideas in those "I > lassicism. on account ol 1 1 i — "formulas, so
1917. No. 12. pages 411-416.
classical, which Mengs and W inckelmann would welcome with delight .

On Kahnweiler's book.
In i In- lasl paragraph he says: "There is always an interior, patent or
tacit, in the pictures ol l.ri-. the intimist, and always in thai interior
Camfield, William A.: Juan Gris and the golden section. In ""Art Bulletin .

Innr simple, everydaj evocations are enough to call up the world with
XLVII, March 1965. pages 128-134. With 4 reproductions.
the utmosl beauty and also with tin- utmost honesty". An analysis of the painters works "The washing " and "The bottle ol
sherry", and an extensive study, with the aid of mathematical and
Vim 1 1 . Manuel: .hum Gris. In "I ,.i Gaceta Literaria", Madrid, June I si 1927.
geometrical principles, of his methods of composition, with reference
page 7. \\ ii Ii I reproducl ion.
to the "Section d'Or" mentioned in the title.
\n article written <ni learning of t In- death of the artist, who "was
Camom Azinar, Jose: Juan Gris v sus etapas. In "Goya", Madrid. I. No. 3,
perhaps the Cubist who best knew how to compose a picture".
November-December 1954, pages 158-163. With 8 reproductions in
\ihmv Philip Ii.: The ill-starred troubadour of cubism. In "Ari News", Mas
black and white and one plate in colour.
1948, pages 1-45 and 55-56. same author
1

A lucid analysis, later amplified and incorporated in the -

On the exhibition al the Museum of Cincinnati.

book "Picasso y el Cubismo".
\ \i>\ > miii s; - /.< ( anigou" h\ Juan (,ris. In "Gallery Notes", Buffalo, Spring "Before each picture of Juan Gris we have the feeling thai there In- t

1948, Nn. 3, pages 25-26. On the great and famous picture. painter has not permitted himself any personal charm, any relief thai
 259

is not imposed by the formative law of the object, an) device thai does as a man or as an artist": "Together with (his) sincerity, a sweet but
not respond to a rigorous articulation of the whole. The total effect, intractable obstinacy".
whether pleasing or not. we know to he as nece— ar\ as a theorem, elear EcHEA, Enrique: In Memoriam. Juan Gris. In "La Esfera". Madrid. \l\.
to he seen and assembled in accordance with graphic principles which No. 700. June 4th 1927. W ith 3 reproduction-.
are as immaterial as an idea". A disappointing article, considering it was written b\ one who was a
Camon Aznar. Jose: Juan (^ris. In "Picasso y el Cubismo", Madrid. Espasa- very close friend of Juan Gris. and not wholly free from inexactness,
Calpe, S.A.. 1956. pages 177-252. With 63 reproduction- in Mack and though with some very correct observations, such as this: "Juan Gris
white and 3 in colour. was the genuine representative of this dogma of purity reflected in his
Although this article is not meant to be any more than a chapter ol the work and in his life".
book mentioned, it really constitutes a conscientious monograph. EcHEA, Enrique: En la rata de la relebridad. Juan Gris. In "ABC". Madrid,
dividing the work of (iris into periods, viz. plastic, syncopated, inte- August 28th 1951. With 6 reproductions.
grating, angular, platonic, undulating, romantic and spectral, (.anion Another article bv the artist- old friend, more interesting than tin-
begins by affirming that "in the whole history of art. Juan Gris is preceding one, for it refers to Gris's financial difficulties. He wrote to
perhaps the most extreme case of ascetic submission to the aesthetic Echea, towards the end of 1908: "Forgive me for not writing. I am so

principles bv which his painting is governed . sickened that it is shameful and unbelievable: I haven 'l a solitary

CaSSANYES, M. A.: Juan Gris. In "D'aci i d'alla", Barcelona. \\ll. No. 179. sou. I ntil I received some pe-eta- from Barcelona, we were eating at

December 1934. pages 16-17. \\ itli 2 reproduction- in black and white Picasso's house every dav...". And in October of 1908: "I am beginning

and one in colour. to grow bored with doing drawings. And I am afraid to paint... ".

A brief and penetrating commentary, from which we quote these Einstein. Carl: Exposition Juan Gris. Berlin. Galerie Flechtheim. In "Docu-
phrases: "The work of J. G. seems to us to be an apotheosis of restric- ments", Pari-. 1930. No. 1. pages 243-248.
tion"; "...the work of J. G. will always be of interest on account ol the Account of the exhibition mentioned.
extraordinary accent of austerit) and racial renunciation...". Eluard, Pail: Juan Gris. In "Voir", Edition- de- Troi- Collines, Geneva-
Cassou, Jean: Braque. Marcoussis et Jean (iris. In "L'Amour de 1'Art", XIV. Paris, 1948. page- 23-25.
November 1933. pages 227-231. A \ erv beautiful poem of homage to the arti-t. from which we transcribe
Chamberlain, J. B.: Still-life with guitar, acquired by St. Linus. In the "St. Louis the verses that best identify with his painting:
Museum Bulletin". April 1910. pages 21-21. W ith reproduction. 1
"Table guitare el verre vide
News item regarding the acquisition by the Museum in 191(1 of the ex- Sar un arpent de terre pleine
cellent picture with this subject, measuring 50 81 cm. De toile blanche d air nocturne
Clark. Eliot: Milestones in modern art: I. Guitar and flowers by Juan Gris. Table derail se soutenir
In "The Studio". London. Vol. 153, No. 770. pages 36 and 153. With Lampe resler pipin de lombre
one plate in colour. Journal delaissail sa moitie
This article deals with the above-named picture, of 1912. in the Museum Deux fois le j<nir. deux fois la null
of Modern Art. New York (112 67 cm.), and analyses it on geometrical De deux objets un double objet
principles: "The technique contrasts the flat, emphatic surface of the I n seal ensemble a tout jamais".
frontal plane with the vibrant gradations of spherical forms. Thus it
Encina, Jian de la: Coloquios a la deriva (la elegia de Juan Gris). In "La
projects the concrete object ideation of an abstract idea". Voz", Madrid, May 24th 1927.
Corbalan, Pablo: Gris. el cubista. In "Informaciones", Madrid. August \n imaginary dialogue of no great acuteness:
15th 1968. With 3 reproductions.
"Juan Gris was one of the first Cubists, one of the apostles of the move-
"...while the Cubism of Picasso gives an impression of displacement in-
ment, at a time when Cubism was not even a name, when Cubism
wards all the objects contained in the canvas, (iris fixes them, examining
could not give anything, could only — at most — displease .

them individually from a point of view that is different but one and
Florisoone. Michel: Juan (,ris. In "Beaux-Art-". Pari-. July 2nd 1937,
the same and reconstructing the overall image on the basis ol those
page 8.
diverse element-".
"Juan Gri- is the measure and the limit of Cubism".
Davidson, Martha: Juan Gris. a pivotal figure of the school of Paris. In "Art
News". November 1938, page- 13-14. Gallego. ,li iiax: El taller de Juan Gris. In "Goya", I\. No. 22. January-

Diego. Gerardo: Devocion x meditacidn de Juan Gris. In "Revista de Occi- February 1958. page 243. With 2 reproduction-.
Account of the exhibition, at the Galerie Louise Leiri- in Pari-, of the
dente". Madrid. V, No. L. August 1927. page- 160-18(1.
A charming essav. written bv the illustrious poet on learning of the twenty-two canvases thai were found in the artist's studio alter In-

death of the artist. Gerardo Diego, who was his friend, says of Juan death, work- of "astonishing modernity".

Gris that "rather than Spanish, he seemed Moorish. You should have Galvez, Pedro Luis de: Desviazioni artistiche: clu Vevangelista del cubismo' <•

seen him in his studio in the Hue de la Mairie (Boulogne), barefoot. In "La Domenica del Corriere", Milan. July 27th-Augus1 ird 1913.

enveloped in workman's overalls all stuck with brushes, bis dark round \n important incunabulum in the bibliography of Juan Gris. ["he
head floating... (like a) banner of his guild". Together with this there notable, legendary and ill-fated poet interviews the painter and speaks
are some acute observations: "He wasn't slick, he wasn't easy, cither to him about 111- "painting of idea- .
 I luan Grit vlakdeling In "Museumjournaal . \I.ip h- \pnl 1959, \ commentary on the artist. From the last paragraph: "(The)
lucid

So 8 9 p igei 151 i
secret of Juan (>ri- is simple: an enthusiastic soul, a passionate heart.
(in i imp «ork- 1
1 1 1 r • I !i\ the \ .in Mil" \lii-. imm I indhoven. ,iclear mind and an unbending character. A man. a simple, laborious,
i.\-pii ^ih\-iiv lln limn In, iii (,m~ lii I \iiiip p|. Ii - \ri- Sitges. III. expansive man. perhaps Ir\. without the proper amount ol flexi-
I

N.p II Mo) '.l-i 1927 page 10. \ briel bul substantial memorial. hilit\. \ man who took up hi* stand once and for all anil In whose

I imI.iu. .1 with .i -iripn- -in-iliilii \ .i -p n-i|pilii \ thai was eompletelv eves the possibilities of mutation, even of evolution, did not exist".
imi in il \> p would venture to -.n with .i r i
a< ute plastic sense. Habasqi E, (, i 1 : U atelier
de .hum Gris. In "L'OEil", Paris. IV. 1958, No. 1,

(In painting" >pi Gris we might affirm, are the humanization ol pictorial pages With 8 reproductions in black and white and 2 in colo.ur.
28-.'i.5.

•
i< ii. p
"It is evident toda\ thai, even il (>ris was not its creator, it was he
i . \ ^ \ \ i m> 1 1 o \ \ 1 1
1 \ iii I nun i.i is \ Souza-Cardoso. In "Diario de Bai -
who took Cubism to the point of perfection."
.
. Ippii .i Ma> 28th 1968. Wuli J reproductions, II \i i\i\n\. Wihnkh: Eine Lanze fur Juan (iris. In "Die Zeit". Hamburg,
\ itud) ..I the ' iniipii- |p.u .iIIp li-ni between the two Peninsular artists. June ird 1° I"). page 5.
.in . \ 1 1 .ip i i r •iii which is given in note (1) to the present text, on page 211, Heilmaier, Hvns: Juan (,ris. In "Musaion", Prague, November 1928. pages
25-29.
i,vi\ \i mi I > \\ \siiisiii/iii n I in in urn il. I mm I ,i is. In "Diario de Bar-
Heilmaier, llvxs: Juan (iris. In "Die Kunst", Munich. November 1929.
celona lnl\ llili 1970, Wild 2 reproductions.
pages 63-65.
i
ommentan on the dizzying rise in the prices paid for the artist's
works and the reason foi ii \ll this hastv si rabbling onstitutes tin-
Hi i nr. Jean-\ mi' m : .Imm (,ris in juir Maurice Ravnul. In "Beaux-Arts",
Paris, Jul) 22nd 19:58. page 6.
most -|pip lln demonstration ol the respei i
and reverence now fell for this
J. .1. I.l'isi Jl Nov.?): Jikiii (,ris. In "La Publicitat", Barcelona. April Ith
i . i - 1 1 1 1 . 1 1 1 artist uIiip died forty-three years ago, three years more than
1912, Willi 2 reproductions.
In managed to live. The fact thai this respect should In- expressed in
This is the first printed commentary devoted exclusivel) to our artist.
financial terms i- nol necessarily surprising and offensive so much .i-
in which we read of his "special deductive structure and geometrical
-iiii.iI.Ip .mil tr.iilitmn.il. as it contains one ol tin- signs that neither
conformation". It is consequently, though brief, an article- of the greatest
deceive nor are mistaken, thai in which monev i- .ii stake".
interest.
George, Waldemar: Juan '.m* In "L'Amour de I'Art", Paris, II. \n. II.
Kahnweiler, Daniel-Henri : Der Toddesjuan (iris. In "Der Querschnitt",
November 1921, pages 151-352. Wuli 2 reproductions.
Berlin. \ II. July 1927. page 558.
\n excellent article, from which we take these words: "Once he has
\ moving article on the death of the artist.
solved the problem ol form and harmony, Gris justifies his geometric
Kahnweiler, Daniel-Henry: / ne lettre inedite de Juan-Gris. In "Prisme des
form! Ii\ borrowed from the figurative world, signs
suitable signs
Wis". Mav 15th 1956, pages 22-24.
thai In does nol suggest bul qualifies and embodies".
The letter in question is one written to Ozenfant.
( .ii hip i \ - W i 1
1 k i ii. i \ in ii v : Juan Gris. In "Das Werk", W interthur, Januar)
Keller, Horst: Sieg tier Malerei iiber die Welt. Juan (iris. In "Koln", De-
1945
cember 1965. No. 4.
' H m.. John: Juan Gris at Berne. In "The Burlington Magazine", XC\ II.
On the exhibitions of works by the artist in Dortmund and Cologne.
\n633, December 1955, pages 385-386. With 3 reproductions.
Kerrigan, \vrmi\v : Juan (iris, de Nueva } ork a San Francisco. In "Goya '.

\ commentary mi the exhibition in Berne, with a rapid and accurate

\. No. 25. July-August 1958. pages 56-57. With 3 reproductions.
analysis ol the artist - evolution, "...his methodical, more purel) intellec-
Account of the American exhibition in 1958. which for the author
tual Cubism formed in mam ways the nece — arj complement to In* t

means that "Gris is. first of all, the eternal artist, in the Promethean
I iiIh-iii ol I'ii .i — > .mil Braque."
sense, a painter destined for his work, independent ol all doctrine or
i.iimi/ in i \ Si rna, Ram6n: .Imm Gris. In "Retratos completos", Madrid,
dogma, or even of any specific style",
tguilar, 1961, pages 1096-1 102.
I In' data, .i- i- alread) admitted in the text, are nol verj veracious.
Kramer, Hilton: Juan Gris exhibition at the Museum of Modern tit. In

Gomez de Serna frequently "Arts". New Wk. Vol. XXXVIII, May 1958. pages 18-51.
la refers to the artist's poverty and his

tinned sardines:
\bout this memorable exhibition.
diet nl "Wli.it could be better than thai Juan Gris
- In hi lil eal silvered greys, without leaving the house, with the cardboard L.. H. A.: A note on Juan (iris and cubism. In "Broom", New ^ ork, \ . I92i.

prepared, read) for the pencil, the stump to hand for creating those pages 32-35.
drawings nl his. so personal, -ii expectable, so tin-preserved?" Lassaigne, Jacques: Juan Gris. In "Revue Hebdomadaire", Paris, Septem-
G6mez Sii hi. Josl : Volas </i arte. Para el aniversario de ,1mm Gris. In "EI ber, pages 112-1 If.

Nac al", Caracas, November 2?nl 1917. With 2 reproductions. About the exhibition at the Galerie Balay & Carre.
Gordon, I \ n : Juan Gris. In "The Observer", London, November 15th 1936, L. (assaigne), J. (acques): A propos de Juan (iris. In "Panorama des Vrts
page 16. 19 17". Paris, Somogy, 1948. pages 19-21. With 2 reproductions.
Grohmann, Will: Mil Kahnweiler bei Juan (,ris. In "Pour Daniel-Henrj Commentary on Kahnweiler's book: "It is not surprising... thai he
Kahnweiler", New 'lurk. 1966, pages 104-107. should appear as one of the most classical ol our painters, whose pure,
t.i i i iin. I!n Mum: Introduccidn a Juan Gris. In "De Goya al arte abstracto", noble and austere art is established, statically, in the essential, all

Madrid, I
1 *")-',
pages 99-111. anecdote and all accessory observation being abolished .
 .

26]

Legua, A.: Portraits d'artistes: Juan (iris. In "L'Intransigeant", Paris. De- Paul, Eliot: A master of plastic relations. In "Transition". New \ ork. No. I.

cember 25th 1934. July 1927. pages 163-165.

An article both well-informed ("From hi* elders, especially from a
Pericas. Antonio G.: El pensamiento estetico de Juan Gris. In "Arte \ ivo",
Spanish writer named Alejandro Sawa. Oris took all the airs of artistic
May-June 1959. pages 16-2(1. With 2 reproductions.
Valencia, No. 3.
romanticism...") and fair ("He will remain one of the most authentic \n excellent summing-up of the purposes of the artist, "w hose thought
Cubist painters, one might almost say the type for all Cubists"). which operated by deductions in pursuit of a poetic instrumentality
Lipchitz. Jacques: Introduction to Juan Gris. In the catalogue to the exhi- with a vocation of synthesis, absolutely refuses the path which would
bition at the Buchholz. Gallery in New ^ ork in 1944. logically have led him from idea abstraction to experimental abstrac-
We should pav special attention to this extremely interesting prologue tion; he defies analysis".
by Lipchitz. who had been an intimate friend of Juan (iris and tells
Porteus. High Gordon: Gn'.s (Mayor Gallery). In "New English Weekly".
some yery curious details of his human personality. London, November 19th 1936. page 115.
Lord. Douglas (Pseudonym of Douglas Cooper): Juan Gris. In "Axis". Raynal. Maurice: Juan Gris. In "'L'Esprit Nouveau". No. 5. Februarv
London. No. 7. Autumn 1936. pages 9-12. 1921. pages 531-534.
Louchheim. Aline B.: Looking back at Gris. lyric cubist. In "Art News". Raynal, Maurice: Juan Gris el la metaphore plastique. In "Feuilles Libre- .

April 15th 1944, page 23. Paris. V, March-April 1923. pages 63-65.
Missac, Pierre: Regard sur Juan Gris. In "Cahiers du Sud", Marseille-. \\\ .
A beautiful text, from which we take these words: ""The plastic meta-
August-September 1938. pages 1-4. phors of Juan Gris are undoubtedly lyrical allusions, hut they are
A brief recapitulation about the artist, on the occasion of the exhibition illusions thathave the merit of not deceiving anybody. And it we
at the Galerie Balay & Carre in Paris. needed more explicit testimony to the legitimacy of such means, could
Molleda. Mercedes: Los "Collages" Juan Gris. In "Arte Vivo", Valencia,
de we not find it considering, by comparison, the use of the same pro-
No. 3. May-June 1959, pages With 3 reproductions.
21-24. cedure in grammar, the direct expression of thought?
Eulogy and history of this technique as practised by Juan Gris. which Raynal. Maurice: La mort de Juan Gris. In "L'Art Vivant", Paris. III.
in the writer's opinion surpasses that of other Cubists. June 1927. pages 131-432.
Nicholson, Benedict: Cubism and Juan Gris. In "Horizon". London. No. "...as to the colour, the work is fundamentally Spanish. His slight-

99. March 1948. pages 225-227. est still life has a tragic, severe aspect, with a powerful lyricism, full

About Kahnweiler's book. of grandeur. The whole of Spain is in his work: Spain and her melan-
Ors. Eugeinio D': A un cubista castellano. In "Glosas, Paginas del Glosario choly; the Spain of the livid, sulphurous, sombre tones of El Greco,
".
de Xenius", Madrid, Calleja. 1920. pages 240-241. Zurbaran. Ribera. Herrera
This commentary, written in 1917. does not mention Juan Gris. bu1 Richardson. John: Juan Gris en Suisse. In "XXe siecle", No. 6. Januarv
it is unquestionably he who is intended in the article, which begins 1956. pages 6.3-65.
thus: "My Cubist friend, sturdy Castilian of old Castile, man with On the artists retrospective show in Switzerland.
the pure name of your native soil, what was the ideal, or rather the ROUVE, Pierre: Portrait de I'artiste: Juan Gris. In "Art News and Review".
act of yolition. that introduced itself behind those thick black eyebrows Vol. X, number 6. February 1958. page 3.
and stimulated you to go to Paris...?"
New
Salacrou. Armand: Gris paintings of 1927 stir memories. In "'The ^ ork
Ors, Ei'GE.nio D': Juan Gris. In "Mis Salones", Madrid. Aguilar. no year Times". December 27th 1927.
given, pages 101-107. 1933. page 182.
Salmon, Andre: Juan Gris. In "Cahiers d'Art", VIII, It
"Juan Gris... has desired to be a man who is much more interested in
reproduces the reference to Juan Gris previously published by the
problems in themselves than in solutions Each of these pictures, there- author in "La jeune peinture francaise", Paris. 1912. page 57, and in
fore,has the unamiable aspect of a speculation. At times, however,
"L"Art Vivant". Paris. 1920. pages 139-112.
a certain tenderness is filtered into the speculation, as in a deductive
"A thinking painter, he is not. however, entirely dominated by logic
science such as mathematics there is a filtering, to the horror of its
deep moral purity takes the place of imagination.
alone. With him a very
severe analysts, of irreducible elements of irrationality and intuition".
He is the only one who, while remaining shut up in a tight circle of
Ozenfant. Amedee: Juan Gris. In "L'Esprit Nouveau". 1921. No. 5. pages plastic conditions, all defined and chosen by himself, has conveyed,
535-534. year after year, the immediate feeling of an opening out through
A text thought to have been written by the artist himself. broadening".
Ozenfant, Amedee: Juan Gris. In "Cahiers d'Art". VIII. 1933. page 184. Schmidt. E. G. & G.: Juan Gris. In "Das Kunstwerk". January 1958, No. 7.

With 7 reproductions. (Based on the authors text in "Art". Paris. pages 3-14.
Jean Budrv. 1929. pages 109-111). Seligmann. Ethique and Germain: Of the proximity of death and its st\-
J.
"'Of all the Cubists'work. that of Gris was the last to be recognized, listic activations: Roger de la Fresnaye and Juan Gris. In "Art Quarterly .

because it was the least pleasant. Devoid of amiability, it has that Detroit. XII. No. 2, pages 117-155. With 6 reproductions. \ an-
rather aloof nobility which one appreciates when one has succeeded ations and parallels on the two great painters, both of whom died at the
in passing the heavy door of the entrance hall". age of forty.
 \ii.r 1920 did b( (J. G.) too, lik. La Fre«naye, feel the Deed for .1 Torre, Gi illermo de: .limn Gris y Robert Delaunay. Reminiscencias perso-
more lyrical and •enwuout r than the steel and concrete one with *.» < • I • I
nates. In his lionk "Minorias \ Masas en la Cultura v el Arte contem-
which he had identified himself and which neemed -•> characteristic poraneos", Barcelona, Edhasa, 1963. pages 231-240. Later reproduced
ol linn Evidence •! thin can I" found in L* Canigou, wherein Gris
'
m "Revista de Ideas Esteticas", XXI. 196.3. No. 81. pages 295-316.
• -.|..-i-
li complrlel) different personalis and Ivriciom so far 1111-
1 1 Mthoiigh the author did not know Juan Gris until a year before his
kllnn 11 death, the references to the artists environment are important, e.g.:
Sortivicti Lima: liiiui i.ii* In "Arriba" Madrid, Maj 15th 1966. "...with I. l>. there were no short conversations, such were his verbal
Mi inn rn- .it tin .irii-i and hi In- relationship with Ram6n Gomez de fluency, bis Hair lor communication, his theoretical eloquence... (I re-

l.i Sema, llr had thai innocenl - -nsuouMii •-- thai .il«.i\- saved member thai I wa> once talking
him from twelve o'clock noon till
to

1 In • » I « I painter* and which Picasso learned thai he had i" have**. twelve o'clock midnight)". The painter "was then thirty-nine years old.
\ d.irk face, big eyes, sober gestures. Hi- Spanishness was in hi- spirit,
^ I villi I Iti x m \ I '11 nl Kl, • and hum Gris. In " \ rr \ I -I iin.ii Bill iiu-
in a certain passion and tenacity...". Then follow some keenly-observed
\iri - September 1951 paget B- 1
">

memories of Gris as a painter: "at the dawn of Cubism (he) embraced

\ 11 1 inli .i\ 1 hi 1 in -In m the connection between thi two artists bj means
this art (and we do well to underline this word) with unshakable fidelity.
•I the concept! expressed in two lectures given in 1924. one l>\ K. !<•<-

Even knowing that hi> unilateral practice of the new style would bring
in Jena the other h\ Gris in Paris; bul the analysis ol the parallel,
him nut lung but narrowness, we may sav that J. G. entered Cubism
despite .ill the arguments advanced, 1- nol convincing.
as if he had entered a religious order".
*> 1 1 1 n 1.1 iiihi in hum 1, n>. In "lln- Little Review**, No. 2, Autumn 1924-
Winter 1925. With 18 reproductions. TORRES Gar< i\. JOAQUIN: Juan Gris y el cubismo. In "La Nacion", Buenos
I In hi-i testimony ol 1 In American writer's generositj to Juan Gris, \ire-. LXVI, No. 22876. April I 1th 1935. page 1 of the supplement.

^11 in Reproduced in the author's "Universalismo Constructive", Buenos

Gi i c ict hi lh, hi, mill death "/ Juan Gris. In "Transition**, No. I.

Ink 1927, pages 159-162. translation into German in "Kunsl uu<l Ures, 1944, pages 513-520.

Kiin-il.i". Berlin, XXVIII. \|.nl 1930, page 108; into Spanish in

An important stink of the artist, whom it calls "the first painter of our

Gaceta .!• \ri.-". Tenerife, \... 20, October 1933, pages I--'.
age" and "the perfect geometrician. That is why he is the purest of

\ \ii\ affectionate portrait: "...and because this 1- so in Spain, .1. <>. Cubists". With regard to his ideas about had an measurement: "J. G.

succeeded in being 1 brother and .1 comrade, more than anybodj else unshakable faith in measurement. And this faith sustained him. It
ever did. This 1- the proportion; I'm- among millions, the just, the
might be said that he secretly lived for that: the strict number, the
\.n 1 proportion; and this one «.i- Juan Gris .
mathematical concordance, the harmony achieved which he would
see almost as something cosmic, regulating both the constellations of
-- 1 i\ Gertrude; The autobiography »\ Mice II. Toklas. New York, Harcourl
and the proportion in all that has been created, whether
1

infinite space
Itr.n 1 19 I
'.
h has liiin translated into Spanish l>\ Carlos Ribalta.
it be a crystal or a living being".
I In . 1 I. .11. 1 I .li 1 hi 1.1I I ,umen, 1 967.
\ ii\ interesting details about Gris and his circle, including some items Turkel-Deri, Flora: Juan Gris memorial exhibition... Flechtheim Gallery.

already mentioned ir text. In "Art News". March 8th 1930, page 14.

Stori v. l!i \umi\: Juan Gris. In "Emporium**, No. 739, Jul) 1956, pages
Vazquez Diaz. Daniel: Juan Gris o la creciente uocacion. In "ABC", May
10-15.
5th 1957. With 2 reproductions.
Swei ney. I \ m 1 - I . : In h 11, 1 1 1,1 ih, 1 urn as. In "Saturday Review of Litera- Interesting details concerning the artists youth. Gris wanted his

ture", June 28th 1958. portrait by Vazquez Diaz to be exhibited in the [National Exhibition
\ commentary on >• \ >l > - n igraph. of Madrid, presumably that held in 1908. Vazquez Diaz, in fact, did
submit it. but it was rejected.
Imcimh I. : hum Gris. In "Cahiers d'Art", III. 1928. pages 231-246. With
19 reproductions. Vazquez Diaz, Daniel: Juan Gris. Primeros dibujos en la prensa de Paris.
" llii- effort ol .In, in Gris \n.i- .in uninterrupted sacrifice mi the altar ol In "ABC". March 18th 1966. With 2 reproductions.

Memories of the artist, those referring to his arrival in Paris being

greal plastic purity. Disdaining miracles, everyday ur rare, he believes
nnk in the rule .mil in the confidence thai it gives. There i- a kind of especially valuable.

religious sentiment In-hind this effort, an intransigent effort, fer-

In " V.BC", Sep-
\ Daniel: Juan Gris v nuestra vieja amistad.
\/oi ez Diaz,
ociously attached to 1» «- one ideal: style".
1
tember 27th 1966. With one reproduction.
Torre Guillermo de: Vaturaleza muerta. Poem addressed
, to J. (.. Published Interesting data on the artist's youth in Madrid, when he was an
first in .1 liuiik entitled Hilices, Madrid, 1923; later in "Gaceta de Vrte '. habitue of the Ateneo.
fenerife, \». 37. March 1936, in the article ipologia del cubismo \ de
Venturi, Lionello: Piero delta Francesco - Seurat - Gris. In "Diogenes".
Picasso, li 1- .1 poem ol thirteen verses in a cubist mood, like:
Brooklyn. No. Spring 1953. pages 19-23.
2.
"
Desconsolada una muiarra An important ami most penetrating study. Venturi suggests and affirms
con las clavijas sueltas that, even though the three painters named differ in idea and method,
enmarana su testa." thev coincide in the final objective, a sort of "idealized architecture
 263

VEZELAY, P.: Juan (iris. In "Artwork". London. Vol. I. Winter 1928. pages "The works of Juan (iris will neyer lose the qualit) possessed 1>\ sincere
258-261. works born of a powerful temperament".
Vicente. Esteban: Gris. Reality cubed. In "Art News", LVII. May 1958, Wolfradt. Willi: Juan Gris. In "Der Cicerone". Berlin. XXII, February
pages 30-33. With 5 reproductions in black and white and 2 in colour. 1930. pages 110-111.
Comments of a general kind on the artist. "Although attracted by Zervos. Christian: Juan Gris el V inquietude d'dujourd'hui. In "Carders
French culture. Gris remained essentially Spanish in his passionate
d'Art". I. 1926, pages 269-274. With 6 reproductions.
temperament and the fanaticism of his sober, lucid style". "Sincere above all with himself. Gris has realized that a painting cannot
W. O.: Juan Gris. Galerie Alfred Flechtheim. In " Kurtstauktion", Berlin. Fe- be only a surface to be divided by means ol coloured masse-. The design
bruary 9th 1930, pages 10-11. and the colour must not hold their place on the canvas otherwise than
Warnod, Aindre: L'esthetique de Juan Gris. In "Comoedia", Paris. March through an intelligent balance. One then remarks in his canvases a
17th 1923. constant care for the composition which considerably raises their

On the exhibition at the Galerie Simon. "J. G. cares little about know ing quality".
whether he is continuing to practise Cubism or not, he endeavours to Zervos. Christian: Juan Gris Juan (,ris sur ses recher-
(et) quelques notes de
express as best he can his concepts oi art and nature". ches. In "Cahiers d'Art". II. With 5 reproductions.
1927. pages 170-172.
Warnod. Aindre: Juan Gris. In "Comoedia". Paris. May 13th 1927. An Brief biographical information, followed by some of the thought- ol
obituary note. the artist.
INDIA nl I'l ICES, NAMES \\1) SUBJECTS

" \. ll.Hl"". I' ill- Blanchard, Maria Cooper, Douglas

Pagi 176 Page 204 Pages 77, 100, 102, 132

MIkim iii. M.ii i.i ilt I

"Blanco j Negro", Madrid Corpus Barga
Page li. Pages 52, 53, 5 Page 54

Ml., ill. Kalael Block Collection, Chicago Cubism

I
'
I I
". "> Page 82 Pages 7. 14, 25, 53. 56, 57, 61, 62, 72, 77,
t>

78. 81, 82, 84, 86, 88, 89, 102, 128, 129,
Boulogne-sur-Seine, France
tlbright-Knoa Gallery, Buffalo 130, 131, 132. 134, 135, 164, 170, 176,
Pages 179, 180
Page 160 178. 180. 184, 205, 207, 208, 209, 210
Braque, Georges
Uvarez de Sotomayor, Fernando
Pages I. 78, 98, LOO, 103, L04, L05, 128.
I
Dali, Salvador
Page "-I
Jut,. 208 Page 51
\|H.llin.iiir. Guillanme
Brenner, Michel Dario, Ruben
Paget >6 B6
Page 127 Page 53
\ i ,i,| 1 1 i -1 .1 i n . I in-
Bruguiere Collection, Paris Delaunay, Jules
Page 8 Pages 82, L96 Page 14
\ri Nouveau Buchholz Gallery, New ^ i.rk Derain, Andre
Pages 16, 51, 52, 53 Page 181 Page 162
iteneo, Vladi nl "Bulletin de le Vie Artistique**, Paris Diaghilev
Page 51 Page 176 Pages 161, 168, 169, 174, 200
Bandol, France Cabrera Canto Diego, Gerardo
Pages 54, 160, 162, 204 I
Page ">
I
Pages 102, 196, 204
Barcelona Camara, Leal da Dongen, Kees van
i
ralerias I lalmau Page 58 Pages 56, 162
Pages 98, If. I

Cardona
Echevarria, Enrique
Magazine « Papit u» Page 58
:

Pages 51, 59
Page 59
Casadesus, Henri
Expressionism
Bartos Vxmand 1'. Collection, New ^ ork Page I (.8
Page 77
Page 98
Castelao, Alfonso Rodriguez
Fantin-Latour, Henri
Basterra, Ramon de See: Rodriguez Castelao, \lfonso
Page 77
Page L3
Ceret, France
Fauvisme
Bateau-Lavoir Pages 103, 104, 126. 134, lbi. 168 Pages 61, 62, 208
Page 56
Cezanne, Paul Flechtheim Gallery, Berlin
Beaulieu, Touraine (France) Pages 56. 61, 77. 152
Pages L32, 152, 154
Pages 169, 184

Chagall, Marc Flechtheim Gallery, Diisseldorf

Itiiuiliii. > Vives, Manuel
Page 204 Page 154
Page 5 I

Bergamin, Jose
< .hard in. Jean B. Simeon Flores, Ricardo
Pag.
Page 77 Page 58

Bernoudy Collection, St. Louis Collage Flores Garcia, Francisco

Page L79 Pages 104. 105. 117 Page 54

Biennale of Venice, 28 th. Collioure, France Forain, Jean-Louis

Paee IK I Page 126 Page 58
 265 1

Foujita, Tsuguharu Jarnes, Benjamin Lyons, France

Page 204 Page 13 Page 164

Galerias Dabnau, Barcelona Josette Macho, Victorio

Pages 98. 164 Pages 57. 103. 126. 131. 162. 164. 168, Page 13
178, 192
Galerie Balav & Carre, Paris Madrid
Page 184 Jugendstil Pages 26. 52, 53, 54, 55, 57, 58, 178
Page 58 Pueyo
Galerie La Boetie, Paris Editorial
Page 98 Kahnweiler, Daniel-Henry Page 52

Galerie Louise Leiris, Paris

Pages 25, 51, 56. 57, 103, 126. 127. 154, Magazine: «Blanco y INegro»
157, 162, 168, 169, 180, 193 Pages 52. 53. 54
Pages 78, 160. 169

Galerie Rosenberg Kahnweiler, Lucie School of Arts and Industries

Pages 153, 164 Pages 157, 164 Page 50

Galerie Simon, Paris Kars, George School of Arts and Manufactures

Pages 86, 169, 184 Page 51 Page 36

Galvez, Pedro Luis de Kunsthaus, Zurich Manet, Edouard

Page 55 Page 184 Page 77

Geiger, Willy Kimstmuseum, Basle Manolo

Page 51 Page 131 Pages. 25. 103

George, Waldemar Kunstmuseum, Berne Maraiion, Gregorio

Page 205 Page 184 Page 13

Gleizes, Albert La Fresnaye, Roger de Marcoussis, Louis

Pages 14, 98 Pages 14, 209 Page 14

Gomez de la Serna, Ramon Larionov Marcpiet, Albert

Pages 13, 25. 35 Page 161 Page 126

Gonzalez Rodriguez, Gregorio "L'Assiette au Beurre", Paris Martinez Hugue. Manolo

Pages 16, 31, 54 Pages 55, 58, 59, 88 Sec: Manolo

Gose, Xavier "Le Charivari", Paris Marx Collection, Chicago

Page 59 Page 58 Page 117

Guggenheim Museum, New ^ ork "Le Cri de Paris", Paris Matisse, Henri
Page 135 Page 58 Pages 8. 126. 127. 189

Gustav Kahnweiler Collection, Cambridge "Le Rire", Paris Meifren, Eliseo

Page 160 Page 58 Page 54

Gutierrez Solatia, Jose "L'Esprit Nouveau", Paris Mendez Bringa, Narciso

See: Solana, Jose Gutierrez Page 176 Page 54

Herbin "Le Temoin", Paris Menendez Pelayo, Marcelino

Pages 14. 164. 209 Page 58 Page 53

Hugue, Manolo Martinez Leger, Fernand Metzinger

See: Manolo Pages 8. 14. 78 Pages 14. 98

Hyeres, France Lhote, Andre Modigliani, Amedee

Page 179 Page 14 Pages 57. 189. 204

Jacob, Max Lipchitz, Jacques Monte Carlo

Page 56 Pages 135. 180. 193 Pages 161. 162. L69
Munii i l.ni "Papitu'". Magazine- Almanac. Barcelona Picasso, Pablo
Page 168 Page 59 Pages 6. 14. 51, 56, 59, 62, 77, 78. 82. 84,
86. 98, 100, 103. 104. 105, 129, 130. 161,
MlM IIIO ( .11 llOIII'l I). JoSC Pari.
162. 180, 184, 204, 205, 206, 207, 208,
I',,. ,1 Pages 52, 5 I. 55, 56, 59, 61, 82, 103, 117.
209, 210
!_•<>. 127. L68, 169, 193, 196,202,204,205
Moreno \ ilia. Jose Portugal
Page I I ( Collections
Page 16
Museum of Vrt of Cincinnati Bruguiere
Pages 82, L96 Pnevo Editorial, Madrid
Page 184
Page 52
Museum of V 1 1 of Col bus, < Ihio Galleries
Pnget-Theniers (Alpes Maritimes)
Page 100 Galerie Bala) X ( larre
Page 179
Page 181
Museum of V it of Philadelphia
, Qnerol, Agustin
P i
- 86 128, 138 Galerie I .a Boel ie
Page 54
Page 98
Mil-rum of \ i ol San Francisco
Galerie Louise Leiris Ralph Colin Collection, >iew ^ ork
Page IHI
Pages 78, 160, 169, IHI Page 100
Museum of Modern Vri ofNen ^<»ik
Galerie Simon Raynal, Maurice
Pages 78, 117, l»l
Pages 86, 169, IHI Pages 82, 178, 180,205
Museum of Otterloo, Holland Salon des Independents
Pages 71!. 107, I
">_
Pages 98, 154 Reverdv, Pierre
Pages 53. 129
Nelson Rockefeller Collection, Nev 'l mk Lectures
Page 111 \i the (.roup nl Philosophic and Rodriguez Castelao, Alfonso
Scientific Studies of the Sorbonne Page 8
\r» ^ ork
Page I7<>
( lolled • « » • i — Rosenberg, Leonce
Magazines:
Page 127
\iim.ih.I I'. Bartos Action
Page 98 Page 1 7d Rouen, France
^ssiel te an Beurre
." Page 98
Nelson Rockefeller I

Page 134 Pages 55, 58, 59, 88

Rubel Collection, Cos Cob, Connecticut
Le Charivari Page 117
Ralph < < > 1 1 1

Page 58
Page 100 Rupf, Herman
Le <.ri de Paris
Galleries: Page 58 Pages 98, 131. 178

Buchholz Le Rire Sagot, Clovis

Page IHI Page 58 Page 77
L'Esprit Nouveau
Seligmann Salmon, Andre
Page 176
Page 184 Page 56
Le Temoin
M useums Page 58 Salon des Independants, Paris
Guggenheim Bulletin de la Vie Artisticrue Pages 98. 154
Page L35 Page 176
Sam Jaffe Collection, Beverly Hills,
Museum of Modern \ii Penzol, Pedro California
Pages 78, L17, 184 Pages 51, 193 Page 179

Olivier. Fcrnaiiric Phillips Collection, Washington Sancha, Jose

Page 84 Page 131 Pages 54, 59

Opisso, liicardo Pieabia, Francis Sanchez Cotan, Juan

Page 59 Page 78 Page 131
 267

Santos Chocano, Jose Soutine, Chaim Unamuno, Miguel de

Pages 53. 54 Page 204 Page 53

Sanchez Gonzalez, Cuillermo Souza Cardoso, Aniadeo de Vaillant, Paul

Page 26 Page 16 Page 56

Sawa, Alejandro Stein, Gertrude Varela, Eulogio

Page 55 Pages 86, 127, 174, 178, 192 Pages 52, 54

School of Arts and Industries, Madrid Steinlen, Theophile- Alexandre Vazquez Diaz, Daniel
Page 50 Page 58 Pages 51. 55. 56. 57. 59, 189. 202

School of Arts and Manufactures, Madrid Suarez, Victoriano Velazquez, Diego Rodriguez de Silva v
Page 36 Page 53 Pages 6, 206, 207

Seligman Gallery, New York Thompson Collection, Pittsburgh Villon, Francois

Page 184 Page 88 Page s 14. 209

Slavinsky Torne Esquius, Pedro VoUard Ambroise

,

Page 161 Page 58 Page 82

Sohy, James Thrall Torres Garcia, Joaquin Wely

Pages 25, 164 Pages 91, 184 Page 58

Solana, Jose Gutierrez Toulouse-Lautrec, Henri de Zurbaran, Francisco

Page 13 Page 58 Pages 6, 102, 131, 207

I should like to express my gratitude to M. Daniel-Henry

Kahnweiler, as also to the Galerie Louise Leiris,
who have been so kind as to let me have large
numbers of photographs and to replv
patiently to all my requests for information.

PHOTOGRAPHS:
ARCHIVO M \S. (, \I.KH1K l.oi ISK LEIRIS, \ \Hloi S \KT Ml SE1 MS \M> COLLECTORS
Printed in Spam by La Poligrafa, S. A. - Balmes, 54 - Barcelona-7 - Spain - Dep. Legal: B. 33.381 - 1975
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The Da^^W^^HIrcnnuieTSocket indi-

cates the date on or before which this

book should be returned to the Library.
Please do not remove cards from this
pocket.

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