Enhanced descriptions from Syndetics:

This book presents a study of Juan Gris and Cubism. It is published to coincide with an exhibition at the Whitechapel Art Gallery in London on 18th September."

Reviews provided by Syndetics

Library Journal Review

Juan Gris, the cubist painter whose career ended with early death in 1927, has been considered the most rational of the cubists. This volume, coinciding with a recent European exhibition of Gris's work, reexamines earlier scholarship to propose a view of him as a more complex and varied artistic personality. Green's substantial essays are written at a level suitable for readers already familiar with the historical period and relevant critical theory. There are also essays by Karin von Maur on Gris's relation to music and theater and by Christian Derouet on Gris's letters. A nice selection of color and black-and-white reproductions completes the volume. Recommended for research collections or other large collections with an interest in the field.-- Kathryn W. Finkelstein, M.Ln., Cincinnati (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

CHOICE Review

Published as an accompaniment to an exhibition of the artist's works at the Whitechapel Gallery, London, this study presents a fine and thorough series of analyses of Gris's paintings qua paintings; in other words, any discussion of phenomenon or ideas outside of the actual artistic effect of the work is secondary. A major exception to this predominantly formal approach is the contextualization of Gris's works within the Cubist circle of which he was a part. For example, Gris's personal and professional relationship with fellow countryman (and Cubist) Picasso is a particularly fascinating thread, which runs throughout the volume. As might also be expected of a kind of exhibition catalog, the book is beautifully produced and lavishly illustrated. If there is any problem with this volume, it might lie with the artist rather than the author. Gris is not the most productive catalyst for a discussion of the heady episode of Cubism--or art in general from 1910 to 1930. Strictly as a volume on Gris, however, it is the definitive study, best read in concert with other volumes on the Cubist epoch for fabric, richness, and context. D. J. Johnson; Providence College