Along with Pablo Picasso and Georges Bracque, José Victoriano Carmelo Carlos González-Pérez was one of the "Big Three" of Synthetic Cubism. The art world knows him, however, under the somewhat shorter (and therefore memorable) pseudonym, Juan Gris.
Juan Gris, born in 1887 as the thirteenth of fourteen children of a wealthy merchant in Madrid, was instructed in painting technique by his own uncle and studied at the "Escuela des Artes y Manufacturas" from 1902 to 1904. There he became friends with José Moreno Carbonero, who later was to succeed as Salvador Dali's teacher and who already had a decisive influence on the young "Juan Gris". Under this pseudonym the young man painted his first pictures, still composed in Art Nouveau style, and earned his living with book illustrations - especially to poems by the then well-known revolutionary poet from Peru, José Chocanos. But as a draughtsman one did not get enough of drawing in Spain at the turn of the century, so Gris moved to Paris in 1906 at the age of 19. Although he was not economically better off there as a cartoonist for satirical weekly papers, he met a compatriot from Malaga in the "Beau Lavoir" studio who had begun to create paintings from geometric forms or, as the critics claimed, to dismember them: Pablo Picasso had created "Cubism" (French: cube), and Gris became his student.
Gris' speciality were "Papiers collées", from which our word "collage" is derived: For this purpose he glued pieces of wallpaper, playing cards, newspaper clippings into his pictures, in order to dissolve them by emphasizing the independence of color, form and structure and to integrate them into his work. Prime examples of this are "The Man in the Café", the "Still Life with the Cane Chair" or the "Teacups". The eponymous subjects provided the framework or rather the form of the work, which in the end only reminded one of the objects mentioned from a distance. However, if one steps back further and allows the picture as a whole to take effect, the "offside" materials and forms recede into the background, and the tea cups, cane chairs etc. suddenly reappear. The same effect was achieved by the ancient Romans with their colourful mosaics.
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Over time, Gris's painting style became "softer" and more conciliatory than conventional painting. He began to compose still lifes and landscapes in one painting. But Gris did not limit himself to painting: he created sculptures, created stage sets and even designed theatre costumes. He also continued to illustrate books. Like so many versatile geniuses, he seemed to have foreseen his early end - as obsessed as he was at times. He died of kidney failure in Paris in 1927, at the age of just forty.
Along with Pablo Picasso and Georges Bracque, José Victoriano Carmelo Carlos González-Pérez was one of the "Big Three" of Synthetic Cubism. The art world knows him, however, under the somewhat shorter (and therefore memorable) pseudonym, Juan Gris.
Juan Gris, born in 1887 as the thirteenth of fourteen children of a wealthy merchant in Madrid, was instructed in painting technique by his own uncle and studied at the "Escuela des Artes y Manufacturas" from 1902 to 1904. There he became friends with José Moreno Carbonero, who later was to succeed as Salvador Dali's teacher and who already had a decisive influence on the young "Juan Gris". Under this pseudonym the young man painted his first pictures, still composed in Art Nouveau style, and earned his living with book illustrations - especially to poems by the then well-known revolutionary poet from Peru, José Chocanos. But as a draughtsman one did not get enough of drawing in Spain at the turn of the century, so Gris moved to Paris in 1906 at the age of 19. Although he was not economically better off there as a cartoonist for satirical weekly papers, he met a compatriot from Malaga in the "Beau Lavoir" studio who had begun to create paintings from geometric forms or, as the critics claimed, to dismember them: Pablo Picasso had created "Cubism" (French: cube), and Gris became his student.
Gris' speciality were "Papiers collées", from which our word "collage" is derived: For this purpose he glued pieces of wallpaper, playing cards, newspaper clippings into his pictures, in order to dissolve them by emphasizing the independence of color, form and structure and to integrate them into his work. Prime examples of this are "The Man in the Café", the "Still Life with the Cane Chair" or the "Teacups". The eponymous subjects provided the framework or rather the form of the work, which in the end only reminded one of the objects mentioned from a distance. However, if one steps back further and allows the picture as a whole to take effect, the "offside" materials and forms recede into the background, and the tea cups, cane chairs etc. suddenly reappear. The same effect was achieved by the ancient Romans with their colourful mosaics.
Br/>
Over time, Gris's painting style became "softer" and more conciliatory than conventional painting. He began to compose still lifes and landscapes in one painting. But Gris did not limit himself to painting: he created sculptures, created stage sets and even designed theatre costumes. He also continued to illustrate books. Like so many versatile geniuses, he seemed to have foreseen his early end - as obsessed as he was at times. He died of kidney failure in Paris in 1927, at the age of just forty.
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