拍品專文
"The period immediately following the war was the most consistent of Gris' career. During this time he often achieved an utterly fluid interpenetration of pictorial structure with incidents of an observed reality. In so doing, he became the leader, in effect, of a movement known as 'Cubist-Classicism'. Among the Classicists were André Lhote, Jean Metzinger, Gino Severini, Diego Rivera, and Jacques Lipchitz. Most were showing at the gallery of Léonce Rosenberg, along with Gris...Gris continued to prefer the 'poetic' aspect of his work during this period. With the reciprocal relationship of structure to object, his compositions yield a certain lyricism" (M. Rosenthal, Exh. cat., Juan Gris, Washington/Berkeley/New York, 1983-4, p. 101).
Verre et Bouteille has a particularly distinguished provenance. It was intially handled by Léonce Rosenberg, one of the foremost patrons of the Parisian avant-garde, whose Galerie de l'Effort Moderne at 19, rue de la Beaume arranged pivotal early exhibitions by Gris, Léger, Picasso and Severini. On 1 July 1918 Léger signed a contract with Rosenberg, establishing him as his dealer. Shortly afterwards Rosenberg mounted the first post-war exhibition of Léger's work in his gallery, in February 1919.
The present painting was formerly in the collection of Douglas Cooper (1911-1984), the acclaimed art historian and critic, who from 1927 amassed one of the world's most outstanding collections of Cubist painting (see also lot 28). Other still-life paintings by Gris which Cooper owned include Carafe et Verre (C.300) of 1919 and Le Compotier (C.251) of 1918, in the Museum Folkwang, Essen, and Compotier et Guitare (C. 416) of 1923. In 1977 Cooper published the catalogue raisonné of Gris' work (op. cit.) and was fundamental in establishing Gris' reputation: "from his first publication on Gris in 1935, Cooper stressed Gris's role as one of the four major Cubist artists, while also stressing his distinctive character. He characterized Gris as more rational or intellectual in his approach to Cubism...than Braque or Picasso. He found that Gris never fell into a pragmatic approach, but rather, 'he knew how to temper science with intuition'. There was a 'compensatory side of his nature - the lyrical as opposed to the severe'. (D. Kosinki, Douglas Cooper and the Masters of Cubism, Basel, 1987, p. 96).
The painting also once belonged to Roland Penrose, the celebrated English critic who owned a fascinating range of classic modern European pictures including works by Magritte, Picasso and Gris.
Verre et Bouteille has a particularly distinguished provenance. It was intially handled by Léonce Rosenberg, one of the foremost patrons of the Parisian avant-garde, whose Galerie de l'Effort Moderne at 19, rue de la Beaume arranged pivotal early exhibitions by Gris, Léger, Picasso and Severini. On 1 July 1918 Léger signed a contract with Rosenberg, establishing him as his dealer. Shortly afterwards Rosenberg mounted the first post-war exhibition of Léger's work in his gallery, in February 1919.
The present painting was formerly in the collection of Douglas Cooper (1911-1984), the acclaimed art historian and critic, who from 1927 amassed one of the world's most outstanding collections of Cubist painting (see also lot 28). Other still-life paintings by Gris which Cooper owned include Carafe et Verre (C.300) of 1919 and Le Compotier (C.251) of 1918, in the Museum Folkwang, Essen, and Compotier et Guitare (C. 416) of 1923. In 1977 Cooper published the catalogue raisonné of Gris' work (op. cit.) and was fundamental in establishing Gris' reputation: "from his first publication on Gris in 1935, Cooper stressed Gris's role as one of the four major Cubist artists, while also stressing his distinctive character. He characterized Gris as more rational or intellectual in his approach to Cubism...than Braque or Picasso. He found that Gris never fell into a pragmatic approach, but rather, 'he knew how to temper science with intuition'. There was a 'compensatory side of his nature - the lyrical as opposed to the severe'. (D. Kosinki, Douglas Cooper and the Masters of Cubism, Basel, 1987, p. 96).
The painting also once belonged to Roland Penrose, the celebrated English critic who owned a fascinating range of classic modern European pictures including works by Magritte, Picasso and Gris.