Juan Gris The Spanish painter Juan Gris (1887-1927) is one of the major cubist painters. His work is distinguished by its lucidity and austerity. Juan Gris, whose real name was Jos#xE9; Victoriano Gonzalez, was born in Madrid on March 23, 1887. He studied engineering at Madrids School of Arts and Sciences. He also took painting lessons with the minor academic artist Jos#xE9; Maria Carbonero and sold humorous drawings to local newspapers.Gris arrived in Paris in 1906 and remained in France the rest of his life. He had skipped military service, so he could not return to Spain. He settled in the Bateau Lavoir, a tenement that housed many painters, critics, and poets, and there he met Pablo Picasso, Georges Braque, Guillaume Apollinaire, Max Jacob, and Maurice Raynal. Gris produced his first cubist paintings in 1911-1912; they were in the analytical cubist vein of Braque and Picasso but characterized by a metalliclike sheen, as in the Guitar and Flowers (1912) and the Portrait of Picasso (1912), in which Picassos Napoleonic attitude is cleverly caught. The year 1913 marks the beginning of Griss synthetic cubism, a cubist approach in which the object was no longer faceted into smaller parts but was recombined with other objects or parts of objects to form a new esthetic totality.Gris and his wife spent the summer of 1913 with Picasso at Ceret, and that year Gris began to use collage consistently in his work. Griss early collages are frequently richer in detail and bolder in color than contemporary collages of Picasso and Braque, as in the Guitar, Glasses, and Bottle (1914).
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In 1931 Dorothy L. Sayers opened her novel Five Red Herrings, with an amused gazetteer of Kircudbrights many artists studios: There are large and stately studios, panelled and high, in strong stone houses filled with gleaming brass and polished oak. There are little homely studios gay with blue and red and yellow curtains and odd scraps of pottery, tucked down narrow closes and adorned with gardens where old fashioned flowers riot in the rich and friendly soil. There are painters in oils, painters in watercolours, painters in pastel, etchers, and illustrators, workers in metal; artists of every variety, having this one thing in common–that they take their work seriously and have no time for amateurs. This proliferation owed everything to the inspiration of the painter E.A. Hornet (1864-1933) (Fig. 1), whose own studio-house in the towns High Street, Broughton House, became the responsibility of the National Trust for Scotland in 1997 and reopened in 2005 (Fig. 2). The restoration of its interiors is proving one of the most challenging, as well as rewarding, projects undertaken by the NTS, because of the paucity of documentation about these rooms original appearance. (1) Broughton House was established as a Public Art Gallery and Library under the terms of a trust established by Hornel in 1920. He died in 1933, but the trust did not come into effect until 1950, following the death of his sister, Elizabeth, known as Tizzy, who had lived there with him and was left the use of the house during her lifetime. The house was opened to the public in 1951. Hornels intention was to ensure the preservation of Broughton House with its furnishings, Library, curios, works of art and other articles therein. for the benefit of the inhabitants of the Stewartry of Kircudbright and visitors thereto. He intended that the contents should be viewed as a nucleus and added to under the absolute guidance of the Scottish National Gallery. Unfortunately, Hornel left no documentary key to help us unlock the histories of his collections, whose provenances and significance died with him and Tizzy. The only inventory in survive–although earlier ones are known to have existed–was made by Thomas Love and Sons of Perth in October 1974 to guide sales at a time when the trustees were being forced to realise their assets in the face of financial difficulties. Hornels trustees were representative local worthies of Kircudbright but their duties cannot have been easy to discharge. His vision for the future of Broughton House included the creation of an outstanding library, built-up with great thoroughness on the basis of a comprehensive bibliography of all the books pertaining to the locality, as well as an art gallery and museum which incorporated important archaeological collections. Broughton House, which has–in the main–a diminutive 18th-century scale and a complexity” of levels that stretches further back into the towns past, was not an ideal choice of building for this new public role. Hornel had clearly forseen this because he included in his gift the large house next door, to allow for future breathing space that has become ever more necessary since the trustees were obliged to sell it during their financial difficulties. The trustees were perhaps more comfortable with carrying forward the library ambitions and in 1952 established a branch library in the dining room. (2) It is impossible to read through their minute books without sympathy for their plight in the face of the financial pressures in staffing and regularly opening a particularly quaint old house in an increasingly popular tourist resort. A body of Friends was formed in 1979 to give a focus for fundraising, but also to supply the volunteer staff that allowed for extended visitor hours in the summer. The trustees, in common with most Institutions at this time, had rearranged the rooms in accordance with post-war notions of taste, so that in the hall Hornels dense arrangements, which included taxidermy, gave way to a thin, watered-down selection from his eclectic possessions that conformed to the most conventional norms. The more important Wedgwood vases forced out the folk-art pottery in his china cabinets, and white paint dispelled his carefully cultivated penumbral aesthetic. The Friends, surely rightly, wanted a new emphasis on Broughton as an artists house, a rather novel concept in Scotland, to show how it had functioned as the home of one of the countrys leading artists. The branch library had already been given its marching orders and Hornels dining room re-established, although, sadly, by then nobody could remember how it was meant to look. The Friends continued this revisionism by adding Hornels studio to the tour, with a dummy dressed as Hornel as its centrepiece.
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