Juan gris’s most famous paintings

Литература

на русском языке

Хуан Грис / Крючкова В. А. // Григорьев — Динамика. — М. : Большая российская энциклопедия, 2007. — С. 22. — (Большая российская энциклопедия :  / гл. ред. Ю. С. Осипов ; 2004—2017, т. 8). — ISBN 978-5-85270-338-5.

на других языках

• Apollinaire G. Juan Gris. // Apollinaire G. Oevres en prose completes. II. — P.: Gallimard, 1991, p. 39-41
• Kahnweiler D. H. Juan Gris, sa vie, son œuvre, ses écrits. — P.: Gallimard, 1946 (переизд. 1969, англ. изд.: Juan Gris, his life and work. — N. Y.: H.N. Abrams, 1946).
• Juan Gris. — N. Y.: Skira, 1958.
• Jackson Martín R. Juan Gris. — Barcelona: Ediciones Polígrafa, 2005.
• Gris, Juan. 1998. Juan Gris: peintures et dessins, 1887–1927. : Musées de Marseille. ISBN 2-7118-2969-3.

Before an Open Window by Juan Gris

Before an Open Window, a Still Life by Juan Gris is a significant illustration of the cubism art movement, which had its start in the late nineteenth century. Before his tragic death in 1926, Gris painted the still-life composition with a mountain in the background in December of that year.

Master of color and composition, Gris manipulated color surfaces to produce an impression of depth in space. In a still-life composition that emphasizes the connection between space and color surfaces, the violin and music book may be seen.

Gris combined indoor and outdoor vistas in the painting by mixing the two viewpoints with delicate color gradations. The still-life composition of items in this artwork includes a newspaper, a book, and a carafe of Medoc wine.

These items are included in the composition because of how the colored light from the open window shines off them. A canopy of leaves encircles the composition’s top.

Reinventing Cubism

The Spanish sculptor Manuel Martinez Hugué once said, “The one who explained Cubism was poor Gris.” The author Gertrude Stein, who was an avid collector of works by both Juan Gris and Picasso, used to say that Gris was the only artist that could annoy Picasso. Perhaps the reason Picasso was so annoyed by him was because Gris was so eager to explain what Picasso saw as inexplicable, or irrelevant.

Ironically, by the early 1920s, Picasso embraced the formal explanation Juan Gris made of Cubism, agreeing that all along it had been about abstract things like line, form and color. But perhaps that apparent flip-flop should not be seen as a reversal of opinion at all. Perhaps instead that statement could be interpreted as a demonstration of what both Picasso and Gris would likely agree is the most important abstract aspect of Cubism: that there are many different ways of looking at everything.

Portrait of Josette Gris by Juan Gris

The second unofficial wife of Juan Gris, Josette Gris, is shown in a painting. The portrait was painted in the fall of 1916 and measures 24 inches wide by 36 inches tall. It is similar to Picasso’s work and is regarded as a companion piece to Woman with Mandolin. After quitting his profession as a sarcastic cartoonist in 1911, Gris started taking his painting seriously.

He displayed his art in several galleries in 1912. In Paris’ Salon des Independants, he held his first solo show. Gris combined the foreground and background into one plane by using color rhythms. His paintings lack the identifiable metric quality of those by Picasso and Cezanne instead the parts are divided into pictorial elements.

«Натюрморт с гитарой», Хуан Грис, 1924 г.

Изображение опубликовано под лицензией Creative Commons CC-BY-NC-ND (3.

Лицензия на это изображение

Художник
Хуан Грис 1887–1919 гг.27

Оригинальное название
Натюрморт на гитаре

Медиум
Бумага, гуашь

Размеры
Изображение: 197 × 155 мм подставка: 236 × 184 мм 9Рамка 0003: 416 × 338 × 33 мм

Коллекция
Тейт

Приобретение
Завещано Элли Канвейлер в 1991 г. как часть дара Густава и Элли Канвейлер, присоединено в 1994 г.

Артикул
T06815

Резюме

Завещано Элли Канвейлер в 1991 г. в качестве части дара Густава и Элли Канвейлер и присоединено в 1994 г. T06815

1924 (T06813) и Натюрморт, гитара и графин 1924 (T06815).

К 1924 году Грис добился известности как среди публики, так и в обществе и начал пользоваться значительным коммерческим успехом. Его репутация была дополнительно укреплена в том году успехом лекции под названием «О возможностях живописи», которую он прочитал студентам Сорбоннского университета в Париже. Впоследствии это было опубликовано и переведено на английский, испанский и немецкий языки (Kahnweiler, стр.

и домино Ваза с фруктами Натюрморт, гитара и графин

Цвета, используемые в этих работах, в основном теплые коричневые, зеленые и серые, а картины представляют собой настольные сцены с небольшим количеством предметов домашнего обихода, а также фрукты, музыкальные инструменты и игры. Историк искусства Кристофер Грин заметил, что «Гри» этого периода «часто можно рассматривать как в высшей степени условные живописные драмы, застывшие в неподвижности картин, где персонажи являются объектами, а действующие лица ограничены несколькими легко узнаваемыми типами персонажей, установленными традицией. .’ (Зеленый, стр. 156.) Хотя ни одна из гуашей, по-видимому, не связана с конкретной картиной маслом того времени, скромность всех трех работ по размеру предполагает, что они могли быть сделаны как предварительные исследования формальных идей.

Визуальные отражения и рифмы изобилуют во всех трех картинах. Выпуклое тело графина из набора Ваза с фруктами перекликается как с яблоком в центре, так и с круглым краем стакана справа, в то время как геометрические края самой вазы с фруктами, кажется, отражаются в складках скатерти. В Трубка и Домино пятна домино, чаша трубки и обод маленького блюда образуют расширяющуюся серию кругов. В Натюрморт, гитара и графин , гулкие овалы горловины графина и отверстия гитары компенсируют линейные узоры нот и гитарных струн. Кроме того, преднамеренное пространственное противоречие позволяет фрукту уютно устроиться в изгибе гитары, словно в вазе с фруктами, создавая сенсорную связь между зрением, вкусом и звуком.

Дополнительная литература: Даниэль-Генри Канвейлер, Хуан Грис: его жизнь и работа , перевод Дугласа Купера, Лондон, 1947 Дуглас Купер, Хуан Грис: Каталог-резоне живописных работ , Париж, 1977 г. Кристофер Грин, Хуан Грис , каталог выставки, Художественная галерея Уайтчепел, Лондон, 1992 г.

Софи Ховарт июнь 2000 г.

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В лекции 1924 года Грис описал «своего рода плоскую цветную архитектуру» — концепция, отраженная в структуре этих трех небольших домов, построенных в том же году. Визуальные размышления и рифмы изобилуют во всех трех произведениях. Луковичное тело графина в Ваза с фруктами перекликается как с яблоком в центре, так и с круглым краем стакана справа, в то время как геометрические края самой фруктовой вазы, кажется, отражаются в складках скатерти. В Трубка и Домино пятна домино, чаша трубки и обод маленького блюда образуют расширяющуюся серию кругов. В с гитарой гулкие овалы горлышка графина и отверстия гитары компенсируют линейные узоры нот и гитарных струн. Кроме того, намеренное пространственное противоречие позволяет фрукту уютно устроиться в изгибе гитары, словно в вазе с фруктами, создавая сенсорную связь между зрением, вкусом и звуком.

Натюрморт с гитарой — Художественный музей Сент-Луиса

1921 — 1925 Galerie Simon (Даниэль-Генри Канвейлер и Андре Симон), Париж, Франция, приобретена у художника

1925 — Готлиб Фридрих Ребер (1880–1959), Лозанна, Швейцария, приобретен в Galerie Simon

Поль де Фрассари Адамиди Бей Фрашери, Женева, Швейцария; Ницца, Франция, приобретена у Готлиба Фридриха Ребера

Galerie Moos (Georges Moos), Женева, Швейцария

Galerie Alfred Poyet, Париж, Франция

— 1940 Теодор Шемпп, Бродхед, Висконсин, США, приобретено в Galerie Alfred Poyet

1940– Художественный музей Сент-Луиса, куплен у Теодора Шемппа

Примечания: Основным источником этого происхождения является резюмированный каталог Купера, кат.

Согласно архивам Канвейлера, Galerie Simon приобрела картину непосредственно у Гриса в 1921 и продал ее Готлибу Фридриху Реберу в 1925 году. Картина имела инвентарный номер K6734 и упоминалась как «Гитара и бутылка» .

См. примечание . За десятилетие до Первой мировой войны немецкий бизнесмен и коллекционер Готлиб Фридрих Ребер посвятил свою деятельность коллекционированию картин старых мастеров и произведений французской школы от Мане до Гогена. В 19В 1919 году он уехал из Германии в Швейцарию, а в 1920-х годах начал собирать произведения кубизма. Он избавился от некоторых картин, приобретенных до войны, и купил большое количество работ Брака, Леже, Гри и Пикассо.

Поль де Фрассари Адамиди Бей Фрашери был сыном министра финансов султана Османской империи Абдул Хамида II. Адамиди был хорошим другом Готлиба Фридриха Ребера, который, возможно, повлиял на интерес Адамиди к кубизму. Ребер, скорее всего, продал несколько своих картин Гриса Адамиди примерно в 1930 году (но до 1938 года), поскольку Адамиди был частым гостем в замке Ребера в Лозанне в то время, согласно гостевой книге Лозанны .

Согласно счету от Теодора Шемппа, картина находилась в коллекции г-на Адамиди, а позже принадлежала Galerie Alfred Poyet, у которой Шемпп приобрел работу [счет-фактура от 8 января 1940 г.

См. примечание .

Протокол Правления Контрольного городского художественного музея от 4 января 1940 г.

Portrait of Pablo Picasso by Juan Gris

In 1912, Juan Gris displayed his portrait of Pablo Picasso at the Salon of Independent Artists. Picasso is portrayed in the painting holding a palette as a painter. The aesthetics of Analytical Cubism, which gained popularity from 1908 to 1912, are referenced in the portrait’s design. Sweeping, diagonal lines and prism-like shapes define analytical cubism, which stresses the deconstruction of subject matter.

One of the best cubist portraits ever created is Juan Gris’ Portrait of Pablo Picasso. Picasso had an impact on Gris, and the portrait demonstrates how important of a part the artist played in the development of his style.

Many of the most prominent painters and critics of the day were introduced to Gris by Picasso. In 1910, Gris started painting professionally. He had fully committed himself to the art form by 1911. His output swiftly caught up to that of his more experienced contemporaries.

The Illustrator Juan Gris

Juan Gris arrived in Paris in 1906, at the age of 19. Although he had studied painting in his hometown of Madrid, he was not necessarily intent on becoming a painter. He was a skilled illustrator, and both in Madrid and Paris he made a living submitting drawings and cartoons to various publications. The content of some of those cartoons, especially the ones he drew leading up to the onset of World War I, have been used to suggest that Gris was an anarchist or a left-wing radical. But his personal letters suggest instead that he was a stoic intellectual who wanted to be left completely out of politics. That he was mistaken in his passions is testament to his talent as an illustrator of the ideas of others.

That exact talent served Gris well on his journey to Cubism. Soon after moving to Paris, Juan Gris moved into the same building as Picasso. He visited his countryman frequently and witnessed firsthand many of the artistic advancements Picasso made. Unlike Gris, Picasso was proudly anti-war and commonly included political statements in his work. Although that passion perhaps evaded Gris, the formal aspects of what Picasso was doing made a tremendous impact. Around 1910, inspired by its aesthetic qualities, Gris began painting Cubist images of his own. His ability to take in a lot of information, analyze it quickly and then explain it served him well in this effort, as it allowed him to focus on and enhance the specific abstract aesthetic elements that made Cubism unique.

Still Life with a Guitar by Juan Gris

The Still Life with a Guitar is currently kept in the collection of the Metropolitan Museum of Art. 

He created his own unique kind of cubism during this time, utilizing vibrant, calming colors. Additionally, he played out with «synthetic cubism,» a school of Cubism in which painters started to include texture into their pieces.

The beautiful geometric arrangement in Juan Gris‘ painting alludes to depth. The guitar, the music sheet, the grapes, and the table are all colored in patches. The abstracted shapes in this painting exhibit the cubist aesthetic by maintaining volume through light. The color splotches allude to three dimensions as well.

Absoluteness vs. Relativity

Another major element of Cubism was that it was the first Modernist art movement to incorporate elements of collage. Both Picasso and Gris incorporated collage elements into their work, and in particular they both commonly used newspaper clippings in their compositions. Again, this was one of the key ways that Picasso used a Cubist technique to express something larger in a painting, but Gris used a Cubist technique to illustrate the abstract concepts of Cubism itself. For example, juxtapose the 1912 Picasso collage, La Bouteille de Suze, with the 1914 Gris collage, Breakfast.

Both contain collage newspaper elements. In the Picasso collage, the newspaper clippings contain actual news of war. In the Juan Gris collage, the newspaper clipping features an altered headline stating his name. Picasso was making a political statement with his work, as the news of war interjected itself into the experience of everyday life at the café; the very real threat of violence is, so to say, right there on the surface. Gris was making a different statement. The scene is not at a café; it is in a home, a private world. The news is not of society, it is of himself. 

Pablo Picasso — La Bouteille de Suze, 1912. Pasted papers, gouache, and charcoal. 25 3/4 x 19 3/4 in.  University purchase, Kende Sale Fund, 1946. WU 3773. Kemper Art Museum Estate of Pablo Picasso / Artists Rights Society (ARS), New York (Left) / Juan Gris — Breakfast (Le Petit déjeuner), 1914. Gouache, oil, and crayon on cut-and-pasted printed paper on canvas with oil and crayon. 31 7/8 x 23 1/2″ (80.9 x 59.7 cm). Acquired through the Lillie P. Bliss Bequest (by exchange). 248.1948. MoMA Collection. 2019 Artists Rights Society (ARS), New York / ADAGP, Paris (Right)

Still Life with Checked Tablecloth by Juan Gris

One of Juan Gris’s works from the early 20th century is Still Life with Checked Tablecloth. It is an oil and graphite painting on canvas that shows a table that has various items on it. To add color to his canvas, the artist decided to put a checkered tablecloth.

A set of objects, a hidden image, and a checkered tablecloth are all included in his Still Life with Checked Tablecloth. Although the work appears to be a standard Cubist painting, it actually conveys a message that is highly particular to Gris’ home country of Spain.

For instance, the tablecloth’s depiction of a bull’s head alludes to the artist’s Spanish ancestry and the Cubist movement. Additionally, the black and white coaster alludes to a similar coaster. The traditional definition of a still life is disregarded in Gris’ Still Life with Checked Tablecloth.

Paintings About Cubism

In addition to his use of hard lines, Juan Gris also dealt differently with the issue of light than did Picasso and Braque. In their paintings, they addressed light as they perceived it from each of the various viewpoints they captured, a choice that often resulted in the presentation of an unintelligible multitude of light sources spread across an equal number of different planes. Gris maintained one light source uniformly illuminating multiple points of view. That change gave his paintings a more clearly defined, illustrative quality that highlighted the idea that the image was intentionally abstracted, purely for aesthetic purposes.

Juan Gris also used a bright, vivid color palette that was much different than that of Picasso and Braque, making his compositions more lucid and easily understandable for the general public. In a lecture he delivered in 1924, he stated that all of these formal choices were intentional for the way that they were demonstrative of the theories of Cubism. He wanted the focus to be on style. He said he was not attempting to convey a sense of reality. Rather, the focus should be on craft. In other words, while Picasso and Braque made Cubist paintings, Gris was making paintings about Cubism.

Juan Gris — The Sideboard, 1917. Oil on plywood. 45 7/8 x 28 3/4″ (116.2 x 73.1 cm). Nelson A. Rockefeller Bequest. 957.1979. MoMA Collection 2019 Artists Rights Society (ARS), New York / ADAGP, Paris (Left) / Juan Gris — Guitar and Pipe, 1913. Oil and charcoal on canvas. 64.7 x 50.1 cm. 25.5 x 19.7 in. Dallas Museum of Art (Right)

Harlequin with Guitar by Juan Gris

An early 20th-century piece of art is Juan Gris’ Harlequin with a Guitar. This piece, an oil painting on a panel, is now held in the Metropolitan Museum of Art’s collection. One of Juan Gris’ most well-known pieces of art is Harlequin with a Guitar.

It is a masterwork of visual art from the 20th century, painted in an abstract style. It has a harlequin sitting there playing the guitar.

The harlequin’s right hand also serves as the shape of the guitar. Harlequin is a recurring motif in Gris’ work. The figure appears in more than 40 of his paintings between 1917 and 1925. Gris used a variety of mediums to depict the character.

Биография и творчество

Ателье на Рю дю ДепарРисунок Маревны, 1916, Париж. Слева направо: Ривера, Эренбург, Грис.

Учился в Мадридской школе искусств и ремёсел, сотрудничал с юмористическими журналами. В ранних работах ощутимо влияние модерна. В 1906 году, сразу после окончания учёбы в Мадриде переехал в Париж, долгое время жил на Монмартре в Бато-Лавуар; познакомился с Матиссом, Модильяни (который написал его портрет, 1915), Леже, Пикассо и Браком, а также с поэтом Максом Жакобом.

Основной жанр его живописи — натюрморт. Первая и одна из наиболее удачных живописных работ Гриса — «Оммаж Пикассо» — была выставлена в 1912 году в Барселоне.

В 1914—1918 годах эволюционировал от к . Первая персональная выставка Гриса состоялась в 1919 году в Париже, затем последовали экспозиции в Берлине (1923) и Дюссельдорфе (1925).

В 1922—1924 годах сотрудничал с Сергеем Дягилевым и его балетной труппой, занимался книжной иллюстрацией (книги Аполлинера, Реверди, Уидобро). Использовал гуашь и акварель, экспериментировал с техникой коллажа (с 1913 года). Дружил с Пьером Реверди, Гертрудой Стайн, которая старалась всячески поддерживать художника и продвигать его на арт-рынке. В 1924 году Стайн пишет заметку о Хуане Грисе для журнала Little Revue. По мнению Гертруды Стайн, Пикассо стал основателем кубизма, а Грис «пропитал кубизм ясностью и экзальтацией». Несмотря на то, что Грис считал Пикассо своим учителем, в книге «Автобиография Алисы Б. Токлас» Стайн пишет, что Пикассо стал относиться к нему с нескрываемым раздражением. По воспоминаниям Стайн, он был единственным человеком, «которого Пикассо не выносил». Поначалу о Грисе говорили лишь как о последователе Пикассо, но, когда он стал не просто самостоятельным художником, но одним из лидеров кубизма, Пикассо стал ревновать его.

В 1923 и 1925 году в галереях Флехтхайм в Берлине и Дюссельдорфе прошли самые крупные персональные выставки Гриса. К этому времени художник уже создал свои наиболее выдающиеся работы: «Стол художника» (1925) и «Голубой ковёр» (1925).

В середине 1920-х годов Грис много работает над теорией искусства. В 1924 году Грис выступил перед студентами философского факультета Сорбонны с лекцией Despossibilitésdelapeinture («Возможности живописи»). В своем выступлении Хуан Грис высказал мысль о том, что ни одна работа, которой суждено стать классической, не может выглядеть как предшествующая классика. «В искусстве, как и в биологии, существует преемственность, но отсутствует схожесть с предками

Художники наследуют характеристики предшественников; вот почему никакое важное произведение искусства не может принадлежать никакой другой эпохе, кроме своей собственной…».

Drawing Hard Lines

One of the most important aesthetic traits Juan Gris focused on was the use of hard, solid lines. Pablo Picasso and Georges Braque were both endeavoring to capture a sense of something. They wanted to portray a heightened realistic impression of a visual experience in which a viewer sees something from multiple different simultaneous viewpoints. They wanted their images to capture the movement and multiplicity inherent to how people truly experience reality. To that end, not only did they divide their images up into different planes to represent different viewpoints, but they also merged those planes, fading the lines and blending the colors in order to add to the sense of dynamism.

Juan Gris abandoned that search for dynamism, instead using hard lines and well-defined shapes. He focused purely on the idea of showing different viewpoints, embracing that aesthetic element for its own abstract qualities. Rather than suggesting movement, Gris painted static compositions divided up into sections; he analyzed each section from a new viewpoint and painted it in a precise, two-dimensional way. This aesthetic choice highlighted one of the purely formal elements of Cubism, and it also completely flattened the architecture of the picture plane. It is the most distinct difference between his work and that of Pablo Picasso and Georges Braque.

Juan Gris — Still Life with Checked Tablecloth, 1915. Oil and graphite on canvas. 45 7/8 x 35 1/8 in. (116.5 x 89.2 cm). Leonard A. Lauder Cubist Collection, Purchase, Leonard A. Lauder Gift, 2014. The Met Museum Collection. (Left) / Juan Gris — Guitar and Glasses, 1914. Pasted papers, gouache, and crayon on canvas. 36 1/8 x 25 1/2″ (91.5 x 64.6 cm). Nelson A. Rockefeller Bequest. 956.1979. MoMA Collection 2019 Artists Rights Society (ARS), New York / ADAGP, Paris (Right)

Juan Gris Paintings

José Victoriano Carmelo Carlos González-Pérez ( 1887-1927), better known as Juan Gris, was a Cubist painter from Madrid. He studied at the Escuela de Artes y Manufacturas and he learned to paint with José Maria Carbonero. After his studies, Gris moved to Paris and began to establish himself among the local artists. He became friends with famous painters such as Henri Matisse, Georges Braque, Fernand Léger and Jean Metzinger. His distinct style of Cubism was apparent by 1912, which was the same year he began to show is work in galleries.

Paintings by Juan Gris in Chronological Order:

Portrait of Maurice Raynal, 1911	Three Lamps, 1910-1911	Bottles and Knife, 1911-1912
Guitar and Glass, 1912	Guitar and Glasses (Banjo and Glasses), 1912	Man in the Cafe, 1912
Portrait of Pablo Picasso, 1912	Still Life with Flowers, 1912	Still Life with Oil Lamp, 1911-1912
Bullfighter, 1913	Grapes, 1913	Guitar and Pipe, 1913
Guitar on a Chair, 1913	Guitar on the Table, 1913	Landscape at Ceret, 1913
Pears and grapes on a table, 1913	Photograph of Violin and Checkerboard, 1913	Saint Matorel, 1913
The Book, 1913	The Bull Fighter, 1913	The Siphon, 1913
Violin and ink bottle on a table, 1913	Violine and glass, 1913	A man in a cafe, 1914
Breakfast, 1914	Flowers, 1914	Fruit Bowl with Bottle, 1914
Guitar, Bottle and Glass, 1914	Musician’s table, 1914	Still Life, 1914
Still Life with Bottle and Glass, 1914	Tea Cups, 1914	The Bottle of Anis del Mono, 1914
The Bottle of Banyuls, 1914	The Glass ( The Fruit Bowl), 1914	The guitar, 1914
The Packet of Coffee, 1914	The Sunblind, 1914	The Violin, 1914
Tobacco, Newspaper and Bottle of Wine, 1914	A Pot of Geraniums, 1915	Fantomas, 1915
Guitar on a Table, 1915	Newspaper with Coffee Mill, 1915	Still Life (dedicated to Andre Salmon), 1915
Still Life before an Open Window (Place Ravignan), 1915	Still Life with Checked Tablecloth, 1915	The Checkerboard, 1915
The Bordeaux bottle, 1915	Violin and glass, 1915	Water bottle, Bottle, and Fruit dish, 1915
Fruit Dish, Glass and Newspaper, 1916	Lamp, 1916	Newspaper and Fruit Dish, 1916
Playing Cards and Siphon, 1916	Portrait of Madame Josette Gris, 1916, YEAR	Still Life with Newspaper, 1916
Still Life with Newspaper, 1916	Still Life with White Tablecloth, 1916	The Coffee Grinder, 1916
The Garden, 1916	The Packet of Tobacco, 1916	The Pipe, 1916
Woman with a Mandolin (after Corot), 1916	Bottle of Beaune and a Fruit Dish, 1917	Newspaper, Glass and Pear, 1917
Seltzer Bottle and Glass, 1917	Still Life on a Chair, 1917	Strawberry Jam, 1917
The Sideboard, 1917	Guitar and Fruit Bowl on a Table, 1918	Harlequin at Table, 1918
Landscape at Beaulieu, -1918	Man from Touraine, 1918	Seated Peasant Woman, 1918
Photograph of The Guitar, 1918	Pipe and Fruit Dish with Grapes, 1918	Still Life with Fruit Bowl, 1918
Still Life with Newspaper, 1918	The Miller, 1918	Violin and Glass, 1918
Clown, 1919	Harlequin at a Table, 1919	Harlequin with Guitar, 1919
Pierrot, 1919	Still Life with Lamp, 1919	Still life with fruit bowl and mandolin, 1919
Carafe and Book, 1920	Guitar and Clarinet, 1920	Harlequin, 1920
Still Life with Guitar, 1920	Pierrot, 1921	Portrait Daniel Henry Kahnweiler, 1921
The Bay, 1921	The Cloud, 1921	The mountain ‘Le Canigou’, 1921
The Open Window, 1921	The Table in Front of the Window, 1921	View across the Bay, 1921
Harlequin, 1922	Pierrot, 1922	Pierrot with Guitar, 1922
Still life, 1922	Still Life in Front of the Wiindow, 1922	The Book of Music, 1922
The Dice, 1922	Two Pierrots, 1922	Open Window with Hills, 1923
Portrait of a Man, 1923	Seated Harlequin, 1923	The Three Masks, 1923
Fruit Dish and Glass, 1924	The Bunch of Grapes, 1924	Violin with Fruit, 1924
Book and Guitar, 1925	Pierrot with Guitar, 1925	Still Life at the Open Windowq, 1925
Table Overlooking the Sea, 1925	The Basket of Pears, 1925	The Blue Cloth, 1925
The Guitar with Inlay, 1925	The Open Book, 1925	The Open Book, 1925
The Painter`s Window, 1925	Fruit with Bowl, 1926	The Reader, 1926
The Table in Front of the Picture, 1926	Bowl and Book, 1926-1927	Guitar and Music Paper, 1926-1927
The Goblet, 1927	Woman With Basket, 1927	Beer Glass and Cards
/td>
Book, Pipe and Glasses	Bottle and Pitcher	Bottle, Glass and Newspaper
Compotier, Carafe and Open Book	Figs	Fruit and Book
Fruit Bowl with Bottle	Fruit Bowl, Book and Newspaper	Fruit Bowl, Pipe and Newspaper
Fruit dish, glass and lemon (Still life with nerwspape)	Girl	Glass, Cup and Bottle
Glasses, Newspaper and Bottle of Wine	Guitar and Fruit Dish	Guitar and Fruit Dish
Harlequin	Harlequin with Violin	Still Life with Goblet