Juan Gris (1887-1927) - Le compotier






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Juan Gris (1887 - 1927)
Le compotier, 1953
Silkscreen in four colors on vélin paper
Print pulled in 1953, after the original painting “Le compotier,” 1923, by Atelier Arcay with the collaboration of Pierre Lacombe in Paris
Published by Éditions Art d'Aujourd'hui, Boulogne-sur-Seine
Paper format: 23.5 x 28.6 cm
Image size: 16.5 x 25.0 cm
Very good condition.
A leading figure of Cubism alongside Picasso and Braque, Juan Gris stands out for a more structured, luminous, and harmonious approach to this revolutionary movement. Where others deconstruct, Gris composes: his works reveal a subtle balance between geometric rigour and chromatic sensitivity, making him one of the most elegant artists of modern art.
The motif of the compotier is central to his oeuvre. A true formal laboratory, it allows him to explore volumes, transparencies, and the interactions between everyday objects. This motif appears in several emblematic canvases, today held by major international institutions, such as Le compotier et la nappe à carreaux (Musée national d’art moderne, Centre Pompidou, Paris), or Nature morte au compotier (private collection). These compositions attest to his unique ability to transform simple objects into sophisticated pictorial architectures.
Juan Gris (1887 - 1927)
Le compotier, 1953
Silkscreen in four colors on vélin paper
Print pulled in 1953, after the original painting “Le compotier,” 1923, by Atelier Arcay with the collaboration of Pierre Lacombe in Paris
Published by Éditions Art d'Aujourd'hui, Boulogne-sur-Seine
Paper format: 23.5 x 28.6 cm
Image size: 16.5 x 25.0 cm
Very good condition.
A leading figure of Cubism alongside Picasso and Braque, Juan Gris stands out for a more structured, luminous, and harmonious approach to this revolutionary movement. Where others deconstruct, Gris composes: his works reveal a subtle balance between geometric rigour and chromatic sensitivity, making him one of the most elegant artists of modern art.
The motif of the compotier is central to his oeuvre. A true formal laboratory, it allows him to explore volumes, transparencies, and the interactions between everyday objects. This motif appears in several emblematic canvases, today held by major international institutions, such as Le compotier et la nappe à carreaux (Musée national d’art moderne, Centre Pompidou, Paris), or Nature morte au compotier (private collection). These compositions attest to his unique ability to transform simple objects into sophisticated pictorial architectures.
