毕加索 静物和吉他 Still Life with aGuitar 美国大都会艺术博物馆藏

作品介绍

On view at The Met Fifth Avenue in Gallery 905

Despite the apparent flatness of the composition, it suggestsdepth with bold colors and sudden changes in perspective. Grispainted this picture in Céret, a small town in the Pyrenees popularwith artists, most notably Picasso, who spent the summer of 1911and parts of 1912 and 1913 there.

作品资料

Still Life with a Guitar

Artist:Juan Gris (Spanish, Madrid 1887–1927Boulogne-sur-Seine)

Date:1913

Medium:Oil on canvas

Dimensions:26 x 39 1/2 in. (66 x 100.3 cm)

Classification:Paintings

Credit Line:Jacques and Natasha Gelman Collection, 1998

Accession Number:1999.363.28

Signatures, Inscriptions, and Markings

Inscription: Signed and dated (verso): Juan Gris/ Céret9–13

Provenance

[Galerie Kahnweiler, Paris, 1913–14; stock no. K8914;sequestered Kahnweiler stock, Paris, 1914–22; third Kahnweilersale, Hôtel Drouot, Paris, July 4, 1922, no. 96, sold for Fr 120,as "La Guitare," to Ohn]; Mme Ohn, Paris (from 1922); [GalerieSimon, Paris]; [Galerie Louise Leiris, Paris, from July 1953];[Jacques Lindon, New York, 1953; stock no. JV493; sold on October8, 1953, for $17,230, as "The Guitar," to Gelman]; Jacques andNatasha Gelman, Mexico City and New York (1953–his d. 1986);Natasha Gelman, Mexico City and New York (1986–d. 1998; her bequestto MMA)

展览历史

Exhibition History

Dortmund. Museum am Ostwall. "Juan Gris," October 23–December4, 1965, no. 16 (lent by Mr. and Mrs. Jacques Gelman, MexicoCity).

Cologne. Wallraf-Richartz-Museum. "Juan Gris," December 29,1965–February 13, 1966, no. 16.

Paris. Orangerie des Tuileries. "Juan Gris," March 14–July 1,1974, no. 17 (lent by Mr. et Mrs. Jacques Gelman, Mexico).

New York. The Metropolitan Museum of Art. "Twentieth-CenturyModern Masters: The Jacques and Natasha Gelman Collection,"December 12, 1989–April 1, 1990, unnumbered cat. (p. 123).

London. Royal Academy of Arts. "Twentieth-Century ModernMasters: The Jacques and Natasha Gelman Collection," April 19–July15, 1990, unnumbered cat.

Martigny. Fondation Pierre Gianadda. "De Matisse à Picasso:Collection Jacques et Natasha Gelman," June 18–November 1, 1994,unnumbered cat. (p. 147).

New York. The Metropolitan Museum of Art. "The Florene M.Schoenborn Bequest: 12 Artists of the School of Paris," February11–May 4, 1997, extended to August 31, 1997, not in brochure [seeRef. Glueck 1997].

New York. The Metropolitan Museum of Art. "Painters in Paris:1895–1950," March 8–December 31, 2000, extended to January 14,2001, not in catalogue.

相关文献

References

John Golding. Cubism: A History and an Analysis 1907–1914. 2ndrev. ed. (1st ed., 1959). New York, 1968, p. 132, colorpl. C (1959ed., ill. front cover), calls it "The Guitar" and dates it summer1913; erroneously identifies it as one of the paintings cited byGris in a September 17, 1913 letter to Kahnweiler [see DouglasCooper, ed., "Letters of Juan Gris (1913–1927)," London, 1956, pp.2–3, letter no. III].

Werner Spies. "Juan Gris oder: Der Gang durch das Prisma."Frankfurter Allgemeine (April 22, 1974), p. 25, ill.

Jean Leymarie in Juan Gris. Exh. cat., Orangerie desTuileries. Paris, 1974, p. 13.

Michèle Richet and Claudie Judrin in Juan Gris. Exh. cat.,Orangerie des Tuileries. Paris, 1974, p. 80, no. 17, ill. pp. 26(color), 80.

Juan Antonio Gaya-Nuño. Juan Gris. Boston, 1975, p. 247, no.249, ill. p. 213, as "Guitar on a Table".

Douglas Cooper with Margaret Potter. Juan Gris: Catalogueraisonné de l'oeuvre peint. Paris, 1977, vol. 1, pp. XL, 92–93, no.53, ill., call it "Guitare sur une table (Guitar on a Table)";include it among thirteen pictures executed at Céret from August tothe end of October 1913 [see Ref. Derouet 1999].

Malcolm Gee. Dealers, Critics, and Collectors of ModernPainting: Aspects of the Parisian Art Market Between 1910 and 1930.PhD diss., Courtauld Institute of Art. New York, 1981, appendix F,pp. 68, 84, no. 52, notes that it sold for Fr 120 to Mme Ohn at thethird Kahnweiler sale.

Juan Antonio Gaya Nuño. Juan Gris. New York, 1986, colorpl.43, as "Still Life with Guitar".

Sabine Rewald in Twentieth-Century Modern Masters: The Jacquesand Natasha Gelman Collection. Ed. William S. Lieberman. Exh. cat.,The Metropolitan Museum of Art. New York, 1989, pp. 122–23, 301,ill. (color and bw).

William S. Lieberman in Twentieth-Century Modern Masters: TheJacques and Natasha Gelman Collection. Ed. William S. Lieberman.Exh. cat., The Metropolitan Museum of Art. New York, 1989, p.13.

Gary Tinterow in Twentieth-Century Modern Masters: The Jacquesand Natasha Gelman Collection. Ed. William S. Lieberman. Exh. cat.,The Metropolitan Museum of Art. New York, 1989, p. 34.

Grace Glueck. "A Surprise, and Then a Collection." New YorkTimes (February 28, 1997), p. C31, notes that this picture wasincluded in the 1997 exhibition of the Schoenborn collection,paired with another Gris still life of 1913 (MMA1996.403.14).

Christian Derouet, ed. Juan Gris: Correspondances avec LéonceRosenberg, 1915–1927. Paris, 1999, p. 67, letter no. 104 n. 17,lists this picture among twelve painted in Céret, referencingGris's August 10, 1917 letter to Rosenberg categorizing tenpaintings signed at Céret between August 1 and October 30, 1913[see Ref. Cooper 1977].

William S. Lieberman. "Les Peintres de Paris à New York."Connaissance des arts no. 578 (December 2000), p. 130, ill.(color).

Roberta Smith. "In a Brash Yet Refined School, EveryoneBelongs Together." New York Times (June 15, 2001), p. E37.

María Dolores Jiménez-Blanco, ed. Juan Gris: Correspondencia yescritos. Barcelona, 2008, p. 182 n. 287.

Douglas Cooper, with Margaret Potter, updated by Alan Hyman,and Elizabeth Snowden. Juan Gris: Catalogue raisonné de l’oeuvrepeint/ Catalogue Raisonné of the Paintings. 2nd ed. (1st ed.,1977). San Francisco, 2014, vol. 1, p. 101, no. 53, ill. (color),call it "Guitare sur une table (Guitar on a Table; Guitarra sobreuna Mesa)".

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