Closely associated with synthetic cubism, Juan Gris is mentioned as being the Zeppo, of the Marx Brothers, of Cubism, both being talented and brilliant in their own engineering (Gopnik 81). Even though Gris is regarded as the purest of synthetic painters, his career before arriving in Paris, in 1906, is largely unknown. So much so that none of the articles listed ever date before 1906. Instead they usuall...
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...versa, writer Pierre Reverdy writes, “Les poètes qui ont créé d’abord un art non descriptive, ensuite les peintres en créèrent un art non imitation,” which roughly translates into his belief that it was, “the poets who first creative non-descriptive art, then the painters who created a non-imitative art,” (Green Purity 182). While Gris declares that Reverdy himself is one of the best and most influential of the, “Flowering poets,” who left a lasting impression on the youth and painting community, Gris argues that it was the painters that were being followed by the poets. He claims that he was the one to recommend the title Horrizon Carré in order to establish a defense against the damage the term literary cubism would inflict on the cubist painting movement (Green Purity 183). In fact, if it wasn’t for one poet, Juan Gris may have never had his start in illustration.
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