 毕加索 静物和吉他 Still Life with a
Guitar 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 suggests
depth with bold colors and sudden changes in perspective. Gris
painted this picture in Céret, a small town in the Pyrenees popular
with artists, most notably Picasso, who spent the summer of 1911
and parts of 1912 and 1913 there.
作品资料
Still Life with a Guitar
Artist:Juan Gris (Spanish, Madrid 1887–1927
Boulogne-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/ Céret
9–13
Provenance
[Galerie Kahnweiler, Paris, 1913–14; stock no. K8914;
sequestered Kahnweiler stock, Paris, 1914–22; third Kahnweiler
sale, Hôtel Drouot, Paris, July 4, 1922, no. 96, sold for Fr 120,
as "La Guitare," to Ohn]; Mme Ohn, Paris (from 1922); [Galerie
Simon, Paris]; [Galerie Louise Leiris, Paris, from July 1953];
[Jacques Lindon, New York, 1953; stock no. JV493; sold on October
8, 1953, for $17,230, as "The Guitar," to Gelman]; Jacques and
Natasha Gelman, Mexico City and New York (1953–his d. 1986);
Natasha Gelman, Mexico City and New York (1986–d. 1998; her bequest
to MMA)
展览历史
Exhibition History
Dortmund. Museum am Ostwall. "Juan Gris," October 23–December
4, 1965, no. 16 (lent by Mr. and Mrs. Jacques Gelman, Mexico
City).
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-Century
Modern Masters: The Jacques and Natasha Gelman Collection,"
December 12, 1989–April 1, 1990, unnumbered cat. (p. 123).
London. Royal Academy of Arts. "Twentieth-Century Modern
Masters: The Jacques and Natasha Gelman Collection," April 19–July
15, 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," February
11–May 4, 1997, extended to August 31, 1997, not in brochure [see
Ref. 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. 2nd
rev. ed. (1st ed., 1959). New York, 1968, p. 132, colorpl. C (1959
ed., ill. front cover), calls it "The Guitar" and dates it summer
1913; erroneously identifies it as one of the paintings cited by
Gris in a September 17, 1913 letter to Kahnweiler [see Douglas
Cooper, 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 des
Tuileries. 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: Catalogue
raisonné 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 to
the end of October 1913 [see Ref. Derouet 1999].
Malcolm Gee. Dealers, Critics, and Collectors of Modern
Painting: 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 the
third 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 Jacques
and 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: The
Jacques 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 Jacques
and 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 York
Times (February 28, 1997), p. C31, notes that this picture was
included in the 1997 exhibition of the Schoenborn collection,
paired with another Gris still life of 1913 (MMA
1996.403.14).
Christian Derouet, ed. Juan Gris: Correspondances avec Léonce
Rosenberg, 1915–1927. Paris, 1999, p. 67, letter no. 104 n. 17,
lists this picture among twelve painted in Céret, referencing
Gris's August 10, 1917 letter to Rosenberg categorizing ten
paintings 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, Everyone
Belongs Together." New York Times (June 15, 2001), p. E37.
María Dolores Jiménez-Blanco, ed. Juan Gris: Correspondencia y
escritos. Barcelona, 2008, p. 182 n. 287.
Douglas Cooper, with Margaret Potter, updated by Alan Hyman,
and Elizabeth Snowden. Juan Gris: Catalogue raisonné de l’oeuvre
peint/ 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 sobre
una Mesa)".
━━━━━━━━━━━━━━━━━━━━━━━━━━━━━
阴山箴言
|
|
|
