One hundred works between Paris and Madrid
The 100known paintings that tell the storyJuan Grey
From Picasso's monumental portrait to tables covered in newspapers, guitars and compotiers, Juan Gris gives cubism an architect's clarity - even his breakfast seems to have been checked squarely.
Portrait of Pablo Picasso1912 · Art Institute of Chicago
Born in Madrid and settled in Paris in 1906, Juan Gris joined Picasso, Braque and the artists of the Bateau-Lavoir before developing an immediately recognizable cubism. His paintings reconstruct reality with luminous logic: bottles, books, windows and instruments become the perfectly fitted pieces of a new world.
Juan Grey
Portrait of Pablo Picasso
Painted in 1912, this portrait pays homage to Picasso while affirming the independence of Juan Gris within Cubism. The seated silhouette is reconstructed in blue, brown and gray facets; the friend almost becomes a cathedral of folded paper.
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Juan Grey
Breakfast
In Le Petit Déjeuner, newspaper, cup and utensils come together with the precision of a table set by a surveyor. Gray introduces textures and letters to keep one foot in reality, even when space decides to take several directions at once.
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Juan Grey
Still life in front of an open window, Place Ravignan
Created in 1915, this still life opened the workshop on Place Ravignan in Montmartre. The interior and the landscape fit together without any clear boundaries: at Gris, even a window no longer knows very well which side it is on.
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Juan Grey
The Bottle of Rum and the newspaper
The bottle, the newspaper and the printed characters belong to the favorite vocabulary of synthetic cubism. Gris arranges these clues like a very orderly reader who would have cut up his morning coffee to better reconstruct it.
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Juan Grey
The book
At rank 5, "The Book" precisely organizes its space. In work 5, Juan Gris brings together "The Book", color and volume. Table 5 then transforms "The Book" into readable cubist architecture. Finally, row 5 retains an element of surprise behind its construction.
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Juan Grey
The musician's table
In row 6, "The musician's table" precisely organizes his space. In work 6, Juan Gris brings together "The Musician's Table", color and volume. Table 6 then transforms "The Musician's Table" into readable cubist architecture. Finally, row 6 retains an element of surprise behind its construction.
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Juan Grey
Harlequin on guitar
The Harlequin, a theater character adopted by the Cubists, here becomes a construction of diamonds, curves and colors. The guitar connects the costume to the music and gives the character a melancholy presence behind the impeccable mechanics of the shapes.
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Juan Grey
Portrait of Germaine Raynal
In row 8, "Portrait of Germaine Raynal" precisely organizes its space. In work 8, Juan Gris compares "Portrait of Germaine Raynal", color and volume. Table 8 then transforms "Portrait of Germaine Raynal" into readable cubist architecture. Finally, row 8 retains an element of surprise behind its construction.
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Juan Grey
The guitar
At row 9, "The guitar" precisely organizes its space. In work 9, Juan Gris brings together "The Guitar", color and volume. Table 9 then transforms "The Guitar" into readable cubist architecture. Finally, row 9 retains an element of surprise behind its construction.
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Juan Grey
Compotier and checkered tablecloth
In row 10, "Compotier and checkered tablecloth" precisely organizes its space. In work 10, Juan Gris compares "Compotier and checkered tablecloth", color and volume. Table 10 then transforms "Compotier and checkered tablecloth" into readable cubist architecture. Finally, row 10 retains an element of surprise behind its construction.
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Juan Grey
Journal and fruit dish
In row 11, "Diary and fruit dish" precisely organizes its space. In work 11, Juan Gris compares "Diary and fruit dish", color and volume. Table 11 then transforms "Diary and fruit dish" into architecture readable cubist. Finally, row 11 retains an element of surprise behind its construction.
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Juan Grey
The violin
At row 12, "The Violin" precisely organizes its space. In work 12, Juan Gris brings together "The Violin", color and volume. Table 12 then transforms "The Violin" into readable cubist architecture. Finally, row 12 retains an element of surprise behind its construction.
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Juan Grey
The Electric Lamp
In row 13, "The Electric Lamp" precisely organizes its space. In work 13, Juan Gris brings together "The Electric Lamp", color and volume. Table 13 then transforms "The Electric Lamp" into readable cubist architecture. Finally, row 13 retains an element of surprise behind its construction.
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Juan Grey
Guitar and clarinet
In row 14, "Guitar and clarinet" precisely organizes its space. In work 14, Juan Gris brings together "Guitar and clarinet", color and volume. Table 14 then transforms "Guitar and clarinet" into cubist architecture readable. Finally, row 14 retains an element of surprise behind its construction.
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Juan Grey
The Blue Carpet
At row 15, "Le Tapis bleu" precisely organizes its space. In work 15, Juan Gris brings together "Le Tapis bleu", color and volume. Table 15 then transforms "Le Tapis bleu" into readable cubist architecture. Finally, row 15 retains an element of surprise behind its construction.
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Juan Grey
Harlequin sitting with a guitar
In row 16, "Harlequin seated with a guitar" precisely organizes its space. In work 16, Juan Gris compares "Harlequin seated with a guitar", color and volume. Table 16 then transforms "Harlequin seated with a guitar" in readable cubist architecture. Finally, row 16 retains an element of surprise behind its construction.
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Juan Grey
The Canigou
At row 17, "Le Canigou" precisely organizes its space. In work 17, Juan Gris brings together "Le Canigou", color and volume. Table 17 then transforms "Le Canigou" into readable cubist architecture. Finally, row 17 retains an element of surprise behind its construction.
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Juan Grey
The window open
In row 18, "The open window" precisely organizes its space. In work 18, Juan Gris compares "The Open Window", color and volume. Table 18 then transforms "The Open Window" into readable cubist architecture. Finally, row 18 retains an element of surprise behind its construction.
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Juan Grey
Cherries
At rank 19, "Les Cerises" precisely organizes its space. In work 19, Juan Gris brings together "Les Cerises", color and volume. Table 19 then transforms "Les Cerises" into readable cubist architecture. Finally, row 19 retains an element of surprise behind its construction.
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Juan Grey
Still life on a chair
In row 20, "Still life on a chair" precisely organizes its space. In work 20, Juan Gris compares "Still life on a chair", color and volume. Table 20 then transforms "Still life on a chair" into readable cubist architecture. Finally, row 20 retains an element of surprise behind its construction.
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Juan Grey
The pedestal table in front of the window
In row 21, "The pedestal table in front of the window" precisely organizes its space. In work 21, Juan Gris compares "The pedestal table in front of the window", color and volume. Table 21 then transforms "The pedestal table in front of the window" into readable cubist architecture. Finally, row 21 retains an element of surprise behind its construction.
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Juan Grey
The woman with the mandolin, according to Corot
In row 22, "The woman with the mandolin, according to Corot" precisely organizes her space. In work 22, Juan Gris brings together "The woman with the mandolin, according to Corot", color and volume. Table 22 then transforms "The woman with the mandolin, according to Corot", color and volume. Table 22 then transforms "The woman with the mandolin, according to Corot", color and volume. Table 22 then transforms "The woman with the mandolin, according to Corot", color and volume. Table 22 then transforms "The mandolin, according to Corot" in readable cubist architecture. Finally, row 22 retains an element of surprise behind its construction.
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Juan Grey
The packet of tobacco
In row 23, "The tobacco packet" precisely organizes its space. In work 23, Juan Gris compares "The Tobacco Package", color and volume. Table 23 then transforms "The Tobacco Package" into readable cubist architecture. Finally, row 23 retains an element of surprise behind its construction.
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Juan Grey
Guitar and newspaper
In row 24, "Guitar and newspaper" precisely organizes its space. In work 24, Juan Gris brings together "Guitar and newspaper", color and volume. Table 24 then transforms "Guitar and newspaper" into readable cubist architecture. Finally, row 24 retains an element of surprise behind its construction.
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Juan Grey
Abstraction
At row 25, "Abstraction" precisely organizes its space. In work 25, Juan Gris brings together "Abstraction", color and volume. Table 25 then transforms "Abstraction" into readable cubist architecture. Finally, row 25 retains an element of surprise behind its construction.
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Juan Grey
Abstraction (Guitar and Glass)
In row 26, "Abstraction (Guitar and Glass)" precisely organizes its space. In work 26, Juan Gris compares "Abstraction (Guitar and Glass)", color and volume. Table 26 then transforms "Abstraction (Guitar and Glass)", color and volume. Table 26 then transforms "Abstraction (Guitar and Glass)" into readable cubist architecture. Finally, row 26 retains an element of surprise behind its construction.
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Juan Grey
Harlequin
At rank 27, "Harlequin" precisely organizes its space. In work 27, Juan Gris brings together "Harlequin", color and volume. Table 27 then transforms "Harlequin" into readable cubist architecture. Finally, row 27 retains an element of surprise behind its construction.
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Juan Grey
Seated harlequin
At row 28, "Sitting Harlequin" precisely organizes its space. In work 28, Juan Gris compares "Sitting Harlequin", color and volume. Table 28 then transforms "Sitting Harlequin" into readable cubist architecture. Finally, row 28 retains an element of surprise behind its construction.
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Juan Grey
Harlequin on the violin
At rank 29, "Harlequin on the violin" precisely organizes its space. In work 29, Juan Gris compares "Harlequin on the violin", color and volume. Table 29 then transforms "Harlequin on the violin" into readable cubist architecture. Finally, row 29 retains an element of surprise behind its construction.
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Juan Grey
Harlequin in front of a table
In row 30, "Harlequin in front of a table" precisely organizes its space. In work 30, Juan Gris compares "Harlequin in front of a table", color and volume. Table 30 then transforms "Harlequin in front of a table" into architecture readable cubist. Finally, row 30 retains an element of surprise behind its construction.
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Juan Grey
Ace of clubs and four of diamonds
In row 31, "Ace of clubs and four of diamonds" precisely organizes its space. In work 31, Juan Gris compares "Ace of clubs and four of diamonds", color and volume. Table 31 then transforms "Ace of clubs and four of diamonds" tile" in readable cubist architecture. Finally, row 31 retains an element of surprise behind its construction.
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Juan Grey
Bowl and pot
At row 32, "Bol et pot" precisely organizes its space. In work 32, Juan Gris brings together "Bol et pot", color and volume. Table 32 then transforms "Bol et pot" into readable cubist architecture. Finally, row 32 retains an element of surprise behind its construction.
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Juan Grey
Bottle of rum and Journal
In row 33, "Bouteille de rhum et Journal" precisely organizes its space. In work 33, Juan Gris compares "Bouteille de rhum et Journal", color and volume. Table 33 then transforms "Bouteille de rhum et Journal" into readable cubist architecture. Finally, row 33 retains an element of surprise behind its construction.
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Juan Grey
Bottle and compote maker (Bottle, newspaper and compote maker)
In row 34, "Bottle and compote maker (Bottle, newspaper and compote maker)" precisely organizes its space. In work 34, Juan Gris compares "Bottle and compote maker (Bottle, newspaper and compote maker)", color and volume. Table 34 then transforms "Bottle and compote maker (Bottle, newspaper and compote maker)" into readable cubist architecture. Finally, row 34 retains an element of surprise behind its construction.
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Juan Grey
Bottle and jug
In row 35, "Bottle and jug" precisely organizes its space. In work 35, Juan Gris compares "Bottle and jug", color and volume. Table 35 then transforms "Bottle and jug" into readable cubist architecture. Finally, row 35 retains an element of surprise behind its construction.
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Juan Grey
Bottle and fruit dish
In row 36, "Bottle and fruit dish" precisely organizes its space. In work 36, Juan Gris compares "Bottle and fruit dish", color and volume. Table 36 then transforms "Bottle and fruit dish" into readable cubist architecture. Finally, row 36 retains an element of surprise behind its construction.
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Juan Grey
Bottles and knife
In row 37, "Bottles and knife" precisely organizes its space. In work 37, Juan Gris brings together "Bottles and knife", color and volume. Table 37 then transforms "Bottles and knife" into cubist architecture readable. Finally, row 37 retains an element of surprise behind its construction.
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Juan Grey
Pitcher and glass
At row 38, "Broc et verre" precisely organizes its space. In work 38, Juan Gris brings together "Broc et verre", color and volume. Table 38 then transforms "Broc et verre" into readable cubist architecture. Finally, row 38 retains an element of surprise behind its construction.
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Juan Grey
Buffet
At row 39, "Buffet" precisely organizes its space. In work 39, Juan Gris brings together "Buffet", color and volume. Table 39 then transforms "Buffet" into readable cubist architecture. Finally, row 39 retains an element of surprise behind its construction.
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Juan Grey
coffee maker
At row 40, "coffee maker" precisely organizes its space. In work 40, Juan Gris brings together "coffee maker", color and volume. Table 40 then transforms "coffee maker" into readable cubist architecture. Finally, row 40 retains an element of surprise behind its construction.
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Juan Grey
Carafe and lemon
In row 41, "Carafe and lemon" precisely organizes its space. In work 41, Juan Gris compares "Carafe and lemon", color and volume. Table 41 then transforms "Carafe and lemon" into readable cubist architecture. Finally, the rang 41 retains an element of surprise behind its construction.
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Juan Grey
Carafe and book
In row 42, "Carafe and book" precisely organizes its space. In work 42, Juan Gris compares "Carafe and book", color and volume. Table 42 then transforms "Carafe and book" into readable cubist architecture. Finally, row 42 retains an element of surprise behind its construction.
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Juan Grey
Carafe, bowl and glass
In row 43, "Carafe, bowl and glass" precisely organizes its space. In work 43, Juan Gris compares "Carafe, bowl and glass", color and volume. Table 43 then transforms "Carafe, bowl and glass" into readable cubist architecture. Finally, row 43 retains an element of surprise behind its construction.
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Juan Grey
Playing cards and siphon
In row 44, "Playing cards and siphon" precisely organizes its space. In work 44, Juan Gris compares "Playing cards and siphon", color and volume. Table 44 then transforms "Playing cards and siphon" into architecture readable cubist. Finally, row 44 retains an element of surprise behind its construction.
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Juan Grey
Playing cards and glass of beer
In row 45, "Playing cards and glass of beer" precisely organizes its space. In work 45, Juan Gris compares "Playing cards and glass of beer", color and volume. Table 45 then transforms "Playing cards and glass of beer" beer" in readable cubist architecture. Finally, row 45 retains an element of surprise behind its construction.
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Juan Grey
Abstract composition
In row 46, "Abstract Composition" precisely organizes its space. In work 46, Juan Gris brings together "Abstract Composition", color and volume. Table 46 then transforms "Abstract Composition" into Cubist architecture readable. Finally, row 46 retains an element of surprise behind its construction.
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Juan Grey
Compotier
At row 47, "Compotier" precisely organizes its space. In work 47, Juan Gris brings together "Compotier", color and volume. Table 47 then transforms "Compotier" into readable cubist architecture. Finally, row 47 retains an element of surprise behind its construction.
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Juan Grey
Compotier and carafe
In row 48, "Compotier and carafe" precisely organizes its space. In work 48, Juan Gris compares "Compotier and carafe", color and volume. Table 48 then transforms "Compotier and carafe" into readable cubist architecture. Finally, row 48 retains an element of surprise behind its construction.
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Juan Grey
Compotier and diary
In row 49, "Compotier and newspaper" precisely organizes its space. In work 49, Juan Gris compares "Compotier and newspaper", color and volume. Table 49 then transforms "Compotier and newspaper" into readable cubist architecture. Finally, row 49 retains an element of surprise behind its construction.
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Juan Grey
Compotier and Pipe
At rank 50, "Compotier et Pipe" precisely organizes its space. In work 50, Juan Gris brings together "Compotier et Pipe", color and volume. Table 50 then transforms "Compotier et Pipe" into readable cubist architecture. Finally, rank 50 retains an element of surprise behind its construction.
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Juan Grey
Compotier and glass (Still life with lemons)
In row 51, "Compotier and glass (Still life with lemons)" precisely organizes its space. In work 51, Juan Gris brings together "Compotier and glass (Still life with lemons)", color and volume. Table 51 then transforms " Compotier and glass (Still life with lemons)" in readable cubist architecture. Finally, row 51 retains an element of surprise behind its construction.
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Juan Grey
Fruit bowl, pipe and newspaper
In row 52, "Fruit bowl, pipe and newspaper" precisely organizes its space. In work 52, Juan Gris compares "Fruit bowl, pipe and newspaper", color and volume. Table 52 then transforms "Fruit bowl, pipe and newspaper" in readable Cubist architecture. Finally, row 52 retains an element of surprise behind its construction.
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Juan Grey
Knife
At row 53, "Couteau" precisely organizes its space. In work 53, Juan Gris brings together "Couteau", color and volume. Table 53 then transforms "Couteau" into readable cubist architecture. Finally, row 53 retains an element of surprise behind its construction.
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Juan Grey
Checkerboard and playing cards
At rank 54, "Checker and playing cards" precisely organizes its space. In work 54, Juan Gris compares "Checker and playing cards", color and volume. Table 54 then transforms "Checker and playing cards" into architecture readable cubist. Finally, row 54 retains an element of surprise behind its construction.
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Juan Grey
In front of the bay
At row 55, "Avant la baie" precisely organizes its space. In work 55, Juan Gris compares "Avant la baie", color and volume. Table 55 then transforms "Avant la baie" into readable cubist architecture. Finally, row 55 retains an element of surprise behind its construction.
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Juan Grey
Chessboard, glass and dish
In row 56, "Chessboard, glass and dish" precisely organizes its space. In work 56, Juan Gris compares "Chessboard, glass and dish", color and volume. Table 56 then transforms "Chessboard, glass and dish" into architecture readable cubist. Finally, row 56 retains an element of surprise behind its construction.
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Juan Grey
Fantomas
At rank 57, "Fantomas" precisely organizes its space. In work 57, Juan Gris brings together "Fantomas", color and volume. Table 57 then transforms "Fantomas" into readable cubist architecture. Finally, row 57 retains an element of surprise behind its construction.
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Juan Grey
Woman seated
At row 58, "Sitting Woman" precisely organizes her space. In work 58, Juan Gris compares "Sitting Woman", color and volume. Table 58 then transforms "Sitting Woman" into readable cubist architecture. Finally, row 58 retains an element of surprise behind its construction.
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Juan Grey
Guitar and compote maker on a table
In row 59, "Guitar and compote maker on a table" precisely organizes its space. In work 59, Juan Gris brings together "Guitar and compote maker on a table", color and volume. Table 59 then transforms "Guitar and compote maker on a table" in readable Cubist architecture. Finally, row 59 retains an element of surprise behind its construction.
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Juan Grey
Guitar and fruit bowl
At rank 60, "Guitar and fruit bowl" precisely organizes its space. In work 60, Juan Gris brings together "Guitar and fruit bowl", color and volume. Table 60 then transforms "Guitar and fruit bowl" into readable cubist architecture. Finally, row 60 retains an element of surprise behind its construction.
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Juan Grey
Guitar and bottle
In row 61, "Guitar and bottle" precisely organizes its space. In work 61, Juan Gris brings together "Guitar and bottle", color and volume. Table 61 then transforms "Guitar and bottle" into readable cubist architecture. Finally, row 61 retains an element of surprise behind its construction.
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Juan Grey
Guitar and glasses
In row 62, "Guitar and glasses" precisely organizes its space. In work 62, Juan Gris brings together "Guitar and glasses", color and volume. Table 62 then transforms "Guitar and glasses" into readable cubist architecture. Finally, row 62 retains an element of surprise behind its construction.
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Juan Grey
Guitar and pipes
In row 63, "Guitar and pipes" precisely organizes its space. In work 63, Juan Gris brings together "Guitar and pipes", color and volume. Table 63 then transforms "Guitar and pipes" into readable cubist architecture. Finally, row 63 retains an element of surprise behind its construction.
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Juan Grey
Guitar on a table
In row 64, "Guitar on a table" precisely organizes its space. In work 64, Juan Gris compares "Guitar on a table", color and volume. Table 64 then transforms "Guitar on a table" into cubist architecture readable. Finally, row 64 retains an element of surprise behind its construction.
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Juan Grey
Guitar, book and newspaper
At rank 65, "Guitar, book and newspaper" precisely organizes its space. In work 65, Juan Gris brings together "Guitar, book and newspaper", color and volume. Table 65 then transforms "Guitar, book and newspaper" into architecture readable cubist. Finally, row 65 retains an element of surprise behind its construction.
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Juan Grey
Man in a cafe
In row 66, "Man in a Café" precisely organizes his space. In work 66, Juan Gris compares "Man in a Café", color and volume. Table 66 then transforms "Man in a Café" into readable cubist architecture. Finally, row 66 retains an element of surprise behind its construction.
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Juan Grey
Man from Touraine
At rank 67, "Homme de Touraine" precisely organizes its space. In work 67, Juan Gris compares "Homme de Touraine", color and volume. Table 67 then transforms "Homme de Touraine" into readable cubist architecture. Finally, row 67 retains an element of surprise behind its construction.
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Juan Grey
Juan Legua
At row 68, "Juan Legua" precisely organizes his space. In work 68, Juan Gris brings together "Juan Legua", color and volume. Table 68 then transforms "Juan Legua" into readable cubist architecture. Finally, row 68 retains an element of surprise behind its construction.
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Juan Grey
The album
At rank 69, "The album" precisely organizes its space. In work 69, Juan Gris brings together "The Album", color and volume. Table 69 then transforms "The Album" into readable cubist architecture. Finally, row 69 retains an element of surprise behind its construction.
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Juan Grey
The envelope
At row 70, "The envelope" precisely organizes its space. In work 70, Juan Gris brings together "The Envelope", color and volume. Table 70 then transforms "The Envelope" into readable cubist architecture. Finally, row 70 retains an element of surprise behind its construction.
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Juan Grey
The Anise Bottle
In row 71, "La Bouteille d’anis" precisely organizes its space. In work 71, Juan Gris compares "La Bouteille d’anis", color and volume. Table 71 then transforms "La Bouteille d’anis" into readable cubist architecture. Finally, row 71 retains an element of surprise behind its construction.
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Juan Grey
The bottle of Banyuls
In row 72, "The Banyuls bottle" precisely organizes its space. In work 72, Juan Gris brings together "The Banyuls bottle", color and volume. Table 72 then transforms "The Banyuls bottle" into cubist architecture readable. Finally, row 72 retains an element of surprise behind its construction.
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Juan Grey
The Bottle of Bordeaux
At row 73, "La Bouteille de Bordeaux" precisely organizes its space. In work 73, Juan Gris brings together "La Bouteille de Bordeaux", color and volume. Table 73 then transforms "La Bouteille de Bordeaux" into architecture readable cubist. Finally, row 73 retains an element of surprise behind its construction.
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Juan Grey
The bottle of wine
In row 74, "The bottle of wine" precisely organizes its space. In work 74, Juan Gris brings together "The bottle of wine", color and volume. Table 74 then transforms "The bottle of wine" into readable cubist architecture. Finally, row 74 retains an element of surprise behind its construction.
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Juan Grey
The singer
At rank 75, "The singer" precisely organizes her space. In work 75, Juan Gris brings together "The Singer", color and volume. Table 75 then transforms "The Singer" into readable cubist architecture. Finally, row 75 retains an element of surprise behind its construction.
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Juan Grey
The mug
At row 76, "La Chope" precisely organizes its space. In work 76, Juan Gris brings together "La Chope", color and volume. Table 76 then transforms "La Chope" into readable cubist architecture. Finally, row 76 retains an element of surprise behind its construction.
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Juan Grey
Strawberry jam
In row 77, "Strawberry jam" precisely organizes its space. In work 77, Juan Gris compares "Strawberry jam", color and volume. Table 77 then transforms "Strawberry jam" into Cubist architecture readable. Finally, row 77 retains an element of surprise behind its construction.
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Juan Grey
The window to the hills
In row 78, "The window to the hills" precisely organizes its space. In work 78, Juan Gris compares "The window to the hills", color and volume. Table 78 then transforms "The window to the hills" into cubist architecture readable. Finally, row 78 retains an element of surprise behind its construction.
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Juan Grey
The bunch of grapes
In row 79, "The bunch of grapes" precisely organizes its space. In work 79, Juan Gris brings together "The bunch of grapes", color and volume. Table 79 then transforms "The bunch of grapes" into readable cubist architecture. Finally, row 79 retains an element of surprise behind its construction.
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Juan Grey
The guitar (Still life on guitar)
At rank 80, "The guitar (Still life on the guitar)" precisely organizes its space. In work 80, Juan Gris brings together "The guitar (Still life on the guitar)", color and volume. Table 80 then transforms "The guitar (Still life on the guitar)", color and volume. Table 80 then transforms "The guitar (Nature died on guitar)" in readable cubist architecture. Finally, row 80 retains an element of surprise behind its construction.
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Juan Grey
The guitar with the inlays
At row 81, "The guitar with inlays" precisely organizes its space. In work 81, Juan Gris brings together "The guitar with inlays", color and volume. Table 81 then transforms "The guitar with inlays" into readable Cubist architecture. Finally, row 81 retains an element of surprise behind its construction.
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Juan Grey
The guitar in front of the sea
In row 82, "The guitar in front of the sea" precisely organizes its space. In work 82, Juan Gris brings together "The guitar in front of the sea", color and volume. Table 82 then transforms "The guitar in front of the sea" into architecture readable cubist. Finally, row 82 retains an element of surprise behind its construction.
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Juan Grey
The guitar on the table
In row 83, "The guitar on the table" precisely organizes its space. In work 83, Juan Gris brings together "The guitar on the table", color and volume. Table 83 then transforms "The guitar on the table" into cubist architecture readable. Finally, row 83 retains an element of surprise behind its construction.
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Juan Grey
Jealousy
At row 84, "La Jalousie" precisely organizes its space. In work 84, Juan Gris brings together "La Jalousie", color and volume. Table 84 then transforms "La Jalousie" into readable cubist architecture. Finally, row 84 retains an element of surprise behind its construction.
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Juan Grey
The white tablecloth
In row 85, "The white tablecloth" precisely organizes its space. In work 85, Juan Gris brings together "The White Tablecloth", color and volume. Table 85 then transforms "The White Tablecloth" into readable cubist architecture. Finally, the rang 85 retains an element of surprise behind its construction.
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Juan Grey
The pear
At row 86, "The pear" precisely organizes its space. In work 86, Juan Gris brings together "The pear", color and volume. Table 86 then transforms "The pear" into readable cubist architecture. Finally, row 86 retains an element of surprise behind its construction.
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Juan Grey
The rape
At row 87, "La Viole" precisely organizes its space. In work 87, Juan Gris brings together "La Viole", color and volume. Table 87 then transforms "La Viole" into readable cubist architecture. Finally, row 87 retains an element of surprise behind its construction.
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Juan Grey
The view of the bay
In row 88, "The View of the Bay" precisely organizes its space. In work 88, Juan Gris compares "The View of the Bay", color and volume. Table 88 then transforms "The View of the Bay" into readable cubist architecture. Finally, row 88 retains an element of surprise behind its construction.
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Juan Grey
Lamp
At row 89, "Lampe" precisely organizes its space. In work 89, Juan Gris brings together "Lampe", color and volume. Table 89 then transforms "Lampe" into readable cubist architecture. Finally, row 89 retains an element of surprise behind its construction.
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Juan Grey
The music notebook
At row 90, "Le notebook de musique" precisely organizes its space. In work 90, Juan Gris brings together "Le notebook de musique", color and volume. Table 90 then transforms "Le notebook de musique" into readable cubist architecture. Finally, row 90 retains an element of surprise behind its construction.
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Juan Grey
Lemon
At row 91, "The Lemon" precisely organizes its space. In work 91, Juan Gris brings together "The Lemon", color and volume. Table 91 then transforms "The Lemon" into readable cubist architecture. Finally, row 91 retains an element of surprise behind its construction.
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Juan Grey
The compote maker
At row 92, "Le compotier" precisely organizes its space. In work 92, Juan Gris brings together "Le compotier", color and volume. Table 92 then transforms "Le compotier" into readable cubist architecture. Finally, row 92 retains an element of surprise behind its construction.
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Juan Grey
Le Compotier on the blue carpet
At row 93, "The Compotier on the Blue Carpet" precisely organizes his space. In work 93, Juan Gris compares "The Compotier on the Blue Carpet", color and volume. Table 93 then transforms "The Compotier on the Blue Carpet" into readable Cubist architecture. Finally, row 93 retains an element of surprise behind its construction.
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Juan Grey
The checkerboard
At row 94, "The Checkerboard" precisely organizes its space. In work 94, Juan Gris brings together "The Checkerboard", color and volume. Table 94 then transforms "The Checkerboard" into readable cubist architecture. Finally, row 94 retains an element of surprise behind its construction.
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Juan Grey
The Red Book
At rank 95, The Red Book becomes the stable center of a composition that is nevertheless mobile. Juan Gris arranges the work, the colorful plans and the neighboring objects with a clarity that transforms the reading into cubist architecture.
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Juan Grey
The Smoker (Frank Haviland)
At rank 96, "The smoker (Frank Haviland)" precisely organizes his space. In work 96, Juan Gris brings together "The smoker (Frank Haviland)", color and volume. Table 96 then transforms "The smoker (Frank Haviland)", color and volume. Table 96 then transforms "The smoker (Frank Haviland)" into readable Cubist architecture. Finally, row 96 retains an element of surprise behind its construction.
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Juan Grey
The pedestal table
In row 97, "The pedestal table" precisely organizes its space. In work 97, Juan Gris brings together "The pedestal table", color and volume. Table 97 then transforms "The pedestal table" into readable cubist architecture. Finally, row 97 retains an element of surprise behind its construction.
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Juan Grey
The guitarist
At rank 98, "The guitarist" precisely organizes his space. In work 98, Juan Gris brings together "The Guitarist", color and volume. Table 98 then transforms "The Guitarist" into readable cubist architecture. Finally, row 98 retains an element of surprise behind its construction.
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Juan Grey
The garden
In row 99, "The garden" precisely organizes its space. In work 99, Juan Gris brings together "The Garden", color and volume. Table 99 then transforms "The Garden" into readable cubist architecture. Finally, row 99 retains an element of surprise behind its construction.
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Juan Grey
The open book
At rank 100, "The Open Book" precisely organizes its space. In work 100, Juan Gris brings together "The Open Book", color and volume. Table 100 then transforms "The Open Book" into readable cubist architecture. Finally, the rang 100 retains an element of surprise behind its construction.
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