8), 123 (ill.), as Retrato de Pablo Picasso (Hommage à Pablo Picasso), 1912. The first major solo exhibition of the work of Juan Gris took place in Paris in 1919. Dr Kubismus isch e Sammelbezeichnig, wo in dr Kunstgschicht bruucht wird, für e zentrali Bewegig vo dr französische Avantgarde, wo sich in dr Moolerei entwicklet und in de Wärk vom Pablo Picasso und vom Georges Braque noch 1907 zeigt het, aber au d Plastik beiiflusst het. General admission tickets are sold out. 122, ill.), as Portrait of Picasso, 1912. 103. Text in German by Georg Schmidt. (London: Alex Reid and Lefevre, 1938), n.p. The work is currently in the … 33 (ill.), as from “M. 1, ill.), as Ritratto di Picasso, 1912. Im synthetischen Kubismus, ab ca. Daniel-Henry Kahnweiler (1884–1979), Paris. 5.1, ill.), 149, as Homage to Pablo Picasso, 1912. (Milan: Mazzotta, 1991), p. 58 (ill.), as Hommage à Pablo Picasso, 1911-1912. Gris considered Picasso an important mentor, but Gertrude Stein wrote that "Juan Gris was the only person whom Picasso wished away.". (New York: Buchholz Gallery, 1949), n.p. ‘Newspaper and Fruit Dish’ was created in 1916 by Juan Gris in Synthetic Cubism style. The outbreak of World War I in 1914 disrupted the life and work of Juan Gris. Mä goht vom sogenannte Frühekubismus us und underscheidet in dr Stilrichdig vom Kubismus im Allgemeine no dr analytisch, dr synthetisch und dr orphisch Kubismus. Wir fertigen Ihr Gemälde genau nach Ihren Wünschen. He was one of the most significant cubist artists. 112, 113 (fig. 10, 11 (ill.), as Portrait of Picasso. 9, ill.), 27, 45, as Portrait of Picasso, 1911-12. Retrieved from https://www.thoughtco.com/juan-gris-4707826. Apollinaire, Guillaume, “Les Salon des Indépendants,” L’Intransigeant (March 25, 1912), as Hommage à Picasso. During the period, Gris contributed satirical drawings to a wide range of Parisian journals. Boston, Institute of Contemporary Art, The Image Lost and Found, May 14–August 28, 1960, p. 48, cat. Kahnweiler, Daniel-Henry, Les années héroiques du cubisme (Paris: Braun, 1950), n.p. 6, ill.), 152, 177, as Portrait of Picasso, 1912. Amsterdam, Gemeentemuseum, Tentoonstelling van Fransche Kunst: Ecole de Paris, April 1932, cat. Juan Gris, Sohn eines wohlhabenden Kaufmanns, wurde am 23. cat. 47, as “Collection Etienne Bignou Gallery.”. 13, 24, 25 (fig. (cat. Galerie Georges Petit, Cent ans de peinture française, exh. 35 (fig. Soby, James Thrall, Juan Gris, exh. 3, ill.), as Hommage à Picasso. cat. Juan Gris (1887-1927) Nature morte à la théière signed and dated 'Juan Gris 1916' (lower right) pencil on paper 15 3/8 x 11 1/8 in. 5. 29, 42, 48 (fig. Unfortunately, Gris' health continued to decline. 20 (cat. Transition 19–20 (June 1930), n.p. (Freiburg: Städtische Museen, Museum für Neue Kunst, 1992), p. 46 (ill.). Sabartes, Jaime, Picasso: Documents Iconographiques, trans. (Saint-Tropez: Musée de Saint-Tropez, 1999), p. 181, as Hommage à Picasso. 8, ill.), 29, as Omaggio a Pablo Picasso, 1912. cat. Dresden, Internationale Kunstausstellung, June–September 1926, cat. Critique art prints and set up an interesting still life. 43, ill.), as Portrait of Picasso, 1911-12. 04.03.2017 - Erkunde Tian Lees Pinnwand „Juan Gris“ auf Pinterest. (ill.), as Hommage à Picasso, 1911. Art Institute, The Art Institute of Chicago: 100 Masterpieces (Chicago: Art Institute, 1978), p. 128 (no. Öl auf Leinwand. Seine Verwendung von Markenlogos und Zeitungspapier antizipierte die Entwicklungen der Pop Art eine Generation später. 33), xx (ill.), as Portait Picasso/Hommage à Pablo Picasso/Portrait de Picasso, 1912. Tinterow, Gary, Juan Gris [1887-1927], exh. "Still Life with Checkered Tablecloth" (1915). (47.8 x 31.5 cm.) Steinberg, Leo, “La fin de partie de Picasso,” Les Cahiers du Musée national d’art moderne 27 (Spring 1989), pp. 9, ill.), 48, as Portrait of Picasso, 1912. Salazar, María José, Juan Gris 1887–1927, exh. Cabanne, Pierre, Le siècle de Picasso, vol. C 13). Rosenberg, Charles M., “Cubist Object Treatment: A Perceptual Analysis,” Artforum 9, 8 (April 1971), pp. cat (Art Institute of Chicago, 2010), p. 237-238, fig. 1912 veränderten Picasso, Braque und in deren Folge auch Juan Gris ihre künstlerische Gestaltungsweise. Open today 10–11 a.m. members | 11 a.m.–6 p.m. public. Designed by Juan Gris (Spanish, Madrid 1887–1927 Boulogne-sur-Seine) 1955 Costume Design for the Shepherdess, for the Ballet 'Les Tentations de la Bergère, premiered at the Théâtre de Monte Carlo, 1924 Caroli, Flavio, Primitivismo e cubismo (Milan: Fratelli Fabbri, 1977), pp. Bill Lamb is a music and arts writer with two decades of experience covering the world of entertainment and culture. V.90, ill.), 83, as Hommage à Pablo Picasso, 1912. Many observers see the technique as the logical extension of developments in cubism. Madrid, Museo Nacional del Prado, The Spanish Portrait: From El Greco to Picasso, October 20, 2004–February6, 2005, pp. Paris, Musée d’Art Moderne de la Ville de Paris, L’Ecole de Paris, 1904–1929: la part de l’Autre, November 30, 2000–March 11, 2001, pp. It outlined his major aesthetic theories. by Franca Minoia (Milan: Il Balcone, 1945), p. 141 (ill.), as Omaggio a Picasso, 1911. Museum am Ostwall, Juan Gris, exh. Jardot, Maurice and Kurt Martin, Die Meister Französischer Malerei der Gegenwart, exh. Maxon, John, The Art Institute of Chicago (New York: Harry N. Abrams, 1970), pp. 15 (ill.). To help improve this record, please email . ), Braque et le cubisme (Tokyo: Chuokoron-Sha, 1973), n.p. Rosenthal, Mark, Juan Gris, exh. 4, ill.), as Hommage à Pablo Picasso, 1912. The artist further ordered the composition of this portrait by limiting his palette to cool blue, brown, and gray tones that, in juxtaposition, appear luminous and produce a gentle undulating rhythm across the surface of the painting.Gris depicted Picasso as a painter, palette in hand. 41), as Hommage à Picasso, 1912. Albright-Knox Art Gallery, Painters of the Section d’Or: the Alternatives to Cubism, exh. His initial works reflect the emerging cubist style. 306, 320, and 379–380, cat. Gris fügte die neuen Gestaltungsprinzipien des Kubismus in ein rationales System ein und war zeit seines Schaffens bemüht, sein künstlerisches Vorgehen auch theoretisch zu vermitteln. Juan Gris (1887-1927) was a Spanish painter who lived and worked in Paris, France, for most of his adult life. (Madrid: Galería Theo, 1977), n.p. Alex Reid and Lefevre, L’Ecole de Paris, exh. (Valencia: IVAM Centre Julio González, 1990), p. 19, as Hommage à Picasso. cat. Jahrhundert (Berlin: Reimer, 1998), pp. Sold by Jacques Seligmann and Co., New York to Leigh Block, Chicago, June 1949 [Block Collection Card in curatorial file]; given to the Art Institute, 1958. Wheeler, Monroe, 20th century Portraits, exh. cat. (Baden-Baden: Woldemar Klein, 1948), pp. Juan Legua is an oil on canvas painting by Spanish cubist Juan Gris created in 1911. no. 29, 42, 48, and 211, cat. 8 (ill.). https://www.thoughtco.com/juan-gris-4707826 (accessed February 14, 2021). 306, 320 (cat. 41, as Hommage à Picasso. Metropolitan Museum of Art / Wikimedia Commons / Creative Commons 1.0. 13), 57 (ill.), as Portrait of Picasso, 1912. Green, Christopher and Christian Derouet, Karin von Maur, Juan Gris, exh. Credit Line Gift of the Estate of Grant J. cat. Gertrude Stein provided him with financial assistance, and he spent time at Henri Matisse's studio in the south of France. cat. 14, 15–18, 25, 29–30, 43, 45, 115, 118–119, 120, 172 (pl. 113), 207 (ill.), 215, 222, as Homage to Pablo Picasso, 1912. 13), n.p. Green, Christopher, Art in France 1900–1940 (New Haven, Conn.: Yale University Press, 2000), pp. Hochwertige Museumsqualität aus österreichischer Manufaktur. Dortmund, Germany, Museum am Ostwall, Juan Gris, October 23–December 4, 1965, n.p., cat. Paris, Orangerie des Tuileries, Juan Gris, March 14–July 1, 1974, pp. cat. Wood, James N. and Katharine C. Lee, Master Paintings in The Art Institute of Chicago (Chicago: Art Institute, 1988), p. 117 (ill.), as Portrait of Picasso, 1912. Rossi, Laura Mattioli, Boccioni 1912 Materia, exh. Instead, he chose to focus on the drawing skills that came naturally. Fort Worth, Kimbell Art Museum, The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, Oct. 6, 2013–Feb. (Baden-Baden: Kunsthalle, 1974), pp. (Paris: Gazette des Beaux-Arts, 1935), n.p. 1, ill.), as Huldigung an Picasso, 1912. cat. Gaya-Nuño, Juan Antonio, Juan Gris (Barcelona: Ediciones Polígrafa, 1974), pp. Galerie Simon, Exposition Rétrospective Juan Gris (1887-1927), exh. His work followed the development of the style through all of its stages. During the period, Gris enjoyed the greatest fame that he would know during his lifetime. 85, ill.), 379–380, as Homage to Pablo Picasso, 1912. (cat. Art Institute, Annual Report 1958-1959 53, 3 (October 1959), pp. cat. Show and discuss segments of a video if available. 2 (Munich: Prestel-Verlag, 1974), p. 560, as Figure. Juan Gris - Sein Leben | Moderne Kunst - verstehen! 151, 179–181, 291 (no. (ill.), as Portrait de Picasso, 1912. Alles Wichtige zu Leben, Werk und Kunststil dieser beeindruckenden Persönlichkeit. Frontisi, Claude, “La peinture lucide de Juan Gris,” in Hommage a Juan Gris (1887–1927): Centenaire de sa naissance (Paris: L’Avenir Graphique, 1987), p. 15, as Hommage à Picasso. cat. Der spanische Maler Juan Gris war ein Zeitgenosse von Picasso und Braque, der ebenfalls für diese Kunstrichtung bekannt ist. The painting is Gris' cubist interpretation of a sitter. Gris, Juan, “Uber die Möglichkeiten der Malerei,” trans. 59, ill.) 71 (fig. Museum Bochum, Hommage à Picasso, Kubismus und Musik, exh. Richardson, John, A Life of Picasso, vol. (Marseille: Musée Cantini, 1998), pp. Roskill, Mark, The Interpretation of Cubism (Philadelphia: Art Alliance Press, 1985), p. 64 (no. 108, pl. 3, ill.), as Retrato de Picasso. Paris, Galerie Simon, Exposition Retrospective Juan Gris, June 4–16, 1928, cat. Ferreira, Paulo, Amadeo de Souza Cardoso: Peintre Portugais, 1887–1918 (Lisbon: Fundação Calouste Gulbenkian, 1995), p. 83, as Hommage à Picasso. 205, 206 (fig. 2, 1907–1917 (New York: Random House, 1996), pp. 9 (ill.), as 1911-12. (cat. 13, 24, 25, 27, and 45, cat. Rubin, William, Picasso and Braque: Pioneering Cubism, exh. 7 (ill.); traveled Cologne, Wallraf-Richartz Museum, December 28, 1965–February 13, 1966, as 1911/12. Paris, Société des Artistes Indépendants, 28th Exposition, March 20–May 16, 1912, p. 145, cat. Arnason, H. H., History of Modern Art: Painting, Sculpture, Architecture (New York: Harry N. Abrams, 1968), pp. 3, ill.), as Portrait of Picasso, 1912. 56 (no. In Paris, he encountered some of the leading artists of the emerging avant-garde scene including Henri Matisse, Georges Braque, and Pablo Picasso, as well as American writer Gertrude Stein, who would become a collector of Gris' work. Robertson, Bruce, Twentieth-Century American Art: The Ebsworth Collection, exh. 41. (New York: Museum of Modern Art, 1942), p. 50 (ill.), as Pablo Picasso, 1912. Habasque, Guy, Le cubisme, (Geneva: Skira, 1959), pp. Lamb, Bill. Blanco, Dolores Jiménez, Juan Gris (Madrid: Electa, 1999), pp. Musée Cantini, Juan Gris: Peintures et dessins 1887–1927, exh. Lamb, Bill. Der synthetische Kubismus geht seinen Weg entgegen seinem stilistischen Vorgänger vom Abstrakten zum Konkreten. cat. Alles Wichtige zu Leben, Werk und Kunststil dieser beeindruckenden Persönlichkeit. Das Stillleben ist ungewöhnlich und malerisch, mit Akkorden der Romantik. Etienne Bignou, Paris.”, Buffalo Fine Arts Academy, Albright Art Gallery, The Art of Today, January 3–31, 1936, p. 7, cat. Closely connected to the innovative artistic genre Cubism, his works are among the movement's most distinctive. Home/ Künstler/ Kubismus / Juan Gris/ Alle Kunstwerke. Duval, Jean-Luc, Journal de l’art moderne, 1884–1914 (Geneva: Skira, 1973), p. 248 (ill.), as Hommage à Picasso, 1912. (fig. Fosca, François, Bilan du cubisme (Paris: Bibliothèque des arts, 1956), p. 40, as Portrait de Picasso, 1912. In 1904, he began to study with the artist Jose Moreno Carbonero, a past instructor of Salvador Dali and Pablo Picasso. Silver, Kenneth, “Eminence Gris,” Art in America (May 1984), p. 154 (ill.), as Portrait of Picasso, 1912. 65, 66 (ill.), 67, as Portrait of Pablo Picasso, 1912. cat. Das in einzelne geometrische Figuren zerlegte Objekt wurde nun zusammengefügt. Morin, Isabelle, Analyse raisonnee des catalogues d’exposition des peintres cubistes (1907–1914) (Paris: Institut d’Art et d’Archéologie, 1972), p. 23, as Figure. In the months following the end of World War I in 1919, Juan Gris became ill from the lung disease pleurisy. Der synthetische Kubismus hielt bis in die Zeit nach dem Ersten Weltkrieg an. The 1915 "Still Life with Checkered Tablecloth" illustrates the change. 26, 94, fig. 24, 25 (cat. Centre Georges Pompidou, Les années cubistes: collections du Centre Georges Pompidou, Musée national d’art moderne et du Musée d’art moderne de Lille Metropole, Villeneuve d’Ascq (Paris: Centre Georges Pompidou, 1999), p. 138, as Hommage à Pablo Picasso. Here he fractured his sitter’s head, neck, and torso into various planes and simple, geometric shapes but organized them within a regulated, compositional structure of diagonals. Apollinaire, Guillaume, The Cubist Painters, translated, with commentary, by Peter Read (Berkeley: University of California Press, 2004), p. 169, as Homage to Picasso. Apollinaire, Guillaume, I Pittori Cubisti, trans. Lamb, Bill. cat. 6, ill.), 36, as Portrait of Picasso. 1, ill.), 157, as Retrato de Picasso, 1912. cat. (pl. Gris’s style draws upon Analytic Cubism—with its deconstruction and simultaneous viewpoint of objects—but is distinguished by a more systematic geometry and crystalline structure. Einen höheren Abstraktionsgrad erreicht der Kubismus bei Robert Delaunay (1885-1941), der Farbakkorde rhythmisch und dynamisch in reiner Abstraktion darstellte, z. Just six years later, Gris too was known as a Cubist and identified by at least one critic as "Picasso’s disciple." 85 (ill.), as Homage to Pablo Picasso. Basel, Kunsthalle, Juan Gris, Georges Braque, Pablo Picasso, February 26–March 24, 1948, cat. Von seinem Atelier im Bateau-Lavoir am Montmartre aus arbeite Gris neben Picasso und Braque an der Weiterentwicklung des aufkommenden Kubismus. Kunsthalle Baden-Baden, Juan Gris, exh. Juan Gris' simplification of the geometrical structure of his paintings in late 1916 is a distilled version of cubism. His use of brand logos and newspaper type anticipated the development of Pop Art a generation later. 15.4, ill.), as Portret van Picasso, 1912. Cogniat, Raymond, Les Créateurs du Cubisme, exh. Orangerie des Tuileries, Juan Gris, exh. Pick Reference Number 1963.402 Extended information about this artwork 5), as Portrait de Pablo Picasso, 1912. O’Brian, Patrick, Pablo Ruiz Picasso (New York: G. P. Putnam’s Sons, 1976), p. 196, as Hommage à Picasso. Los Genios de la Pintura Española: Juan Gris (Spain: Onix de Communicaciones, 1991), n.p. (Madrid: Museo Nacional Centro de Arte Reina Sofía. Wood, James N. and Debra N. Mancoff, Treasures from The Art Institute of Chicago (Chicago: Art Institute, 2000), p. 246 (ill.), as Portrait of Pablo Picasso, 1912. VI (ill.), as Portrait de Picasso, 1912. Wood, James N., Treasures of 19th-and 20th-Century Painting: The Art Institute of Chicago (New York: Abbeville Press, 1993), p. 208 (ill.), as Portrait of Pablo Picasso, 1912. (39 x 28.2 cm.) Kunsthalle Bern, Georges Braque, Juan Gris, Pablo Picasso, exh. 9), 42 (ill.), as Portrait of Picasso, 1912. März 1887 als José Victoriano González Pérez in Madrid geboren. Los Angeles County Museum of Modern Art, The Cubist Epoch, December 15, 1970–February 2, 1971, pp. cat. Fels, Florent, L’art vivant de 1900 à nos jours (Geneva: Pierre Cailler, 1950), p. 235 (ill.), as Portrait de Picasso. 16, 2014, no cat. Saiko, George “The Tragic Position of Abstract Art,” London Studio 5 (January 1933), pp. (cat. Vézelay, Paul, “Juan Gris,” Artwork 4, 16 (Winter 1928), p. 259 (ill.), as Portrait of Picasso, 1912. Cunningham, Charles C. and John Maxon, Anselmo Carini, Instituto de arte de Chicago, El mundo de los museos (Buenos Aires: Éditorial Codex, S.A., 1967), pp. Internationale Kunstausstellung, Internationale kunst ausstellung Dresden, exh. Berner Kunstmuseum, Juan Gris, exh. cat. (cat. 31, ill.), 25, 92, 94, 252, as Homage to Pablo Picasso, 1912. (fig. Demonstrate how to show multiple views of one object, fractured planes, collage techniques, and wood grained textures. Severini, Gino, Tutta la vita di un pittore (Milan: Gazanti, 1946), p. 149. (ill.). Grohmann, Will, “Die Kunst der Gegenwart auf der Internationalen Kunstausstellung Dresden, 1926,” Der Cicerone 18 (June 1926), p. 400 (ill.), as Bildnis Picasso. Carol Green (New York: Orion Press, 1972), p. 222 (ill.), 223, as Portrait of Picasso, 1912. In 1911, Juan Gris began to seriously focus on his painting. 67, ill.), 320, as Portrait of Picasso, 1912. However, within two years, he focused on synthetic cubism, which used collage techniques extensively. McCully, Marilyn and Michael Raeburn, Il cubismo: Rivoluzione e tradizione, exh. 198, 199 (ill.), 341, as Hommage à Pablo Picasso, 1912. Pablo Picasso, Georges Braque, Juan Gris und die Puteaux-Gruppe zählen zu den prominentesten Vertretern, die beiden ersteren gelten als Begründer der Kubismus Kunst. 24–25, 152, and 177, cat. Der analytische Kubismus neigte dazu, expressive Werte aus den Augen zu verlieren, mit Ausnahme von Maßstäben, die zu esoterisch waren, um für jeden, der nicht in die Bewegung einbezogen war, viel zu bedeuten. 49), 32 (ill.), 78, 81, 240, as Retrato de Picasso, 1912. (ill.). 9, 63–65, n.p. 4, ill.), 84 (ill.), as Retrato de Pablo Picasso, 1912. He also participated in the final major exhibit of cubist painters at the Salon des Independents in Paris in 1920. 11, 21, and 76, cat. Kondo, Y. and H. Miyajima, The Book of Great Masters, vol. Wood, James N. and Teri J. Edelstein, Sally Ruth May, The Art Institute of Chicago: The Essential Guide (Chicago: Art Institute, 1993), p. 249 (ill.), as Portrait of Pablo Picasso, 1912. Cooper, Philip, Cubism (London: Phaidon, 1995), pp. Shone, Richard, “Exhibition Reviews: Madrid, Biblioteca Nacional, A Gris retrospective for Spain,” Burlington Magazine 127, 992 (November 1985), p. 832, as Hommage à Pablo Picasso. "Juan Gris, Spanish Cubist Painter." cat. Kahnweiler, Daniel-Henry, Juan Gris: sa vie, son œuvre, ses écrits (Paris: Gallimard, 1946), pp. Buffalo, Albright-Knox Art Gallery, Painters of the Section d’Or: The Alternatives to Cubism, September 27–October 22, 1967, pp. 198–199 and 341 (ill.), as Hommage à Pablo Picasso. Kubistisches Porträt von Pablo Picasso gemalt von Juan Gris im Jahre 1912. Drawn in 1911 Juan Gris Title Still Life Origin Spain Date Made 1919 Medium Watercolor, heightened with lead white, over graphite on ivory wove paper Inscriptions Signed recto, lower left, in graphite: "Juan Gris/1919" Dimensions 272 × 218 mm (max.) Madrid, Spain, Ministry of Culture, Juan Gris [1887–1927], September 20–November 24, 1985, pp. Burlington Magazine 143, 885 (December 1976), p. 878 (fig. 7 (ill.), as Hommage à Pablo Picasso, 1911. Derouet, Christian, Juan Gris: Cartas, Dibujos 1915–1921, exh. Während Pablo Picasso und Georges Braque für die Entwicklung des Kubismus Anerkennung erhalten, ist Juan Gris einer der bedeutendsten Künstler, der seine Karriere der Entwicklung der Theorien dieser Bewegung widmete. B. Schiratzki, Der Querschnitt 5, 1 (January 1925), p. 33 (ill.), as Bildnis Picasso, 1910. cat. He traveled to Bandol on the southeastern coast of France to recuperate. Berger, John, The Success and Failure of Picasso (Baltimore: Penguin Books, 1965), p. 58 (fig. Keller, Horst, “Sieg der Malerei über die Welt: Juan Gris,” Köln 4:65 (December 1965), n.p. cat. “Modern Museum Opens Show Despite Ignorance of U. S. Martinets,” Art Digest 10, 12 (March 15, 1936), p. 10 (ill.), as Portait of Picasso (Hommage à Picasso), 1912. (Boston: Institute of Contemporary Art, 1960), pp. Larson, Kay, “The Genius of Gris,” New York Magazine (June 11, 1984), p. xx, as Portrait of Picasso, 1912. New York, Buchholz Gallery, Cubism, April 5–30, 1949, cat. 9, 64 (ill.), 66, as Homage à Picasso. 41), as Portrait de Pablo Picasso, 1912. Mit oder ohne Gemälderahmen. 144, 145 (fig. cat. New York, Saidenberg Gallery, Hommage à Kahnweiler, May 13–June 8, 1957, no. Nishimura, Toshio (ed. (Paris: Orangerie des Tuileries, 1974), pp. Golding, John, Cubism: A History and an Analysis, 1907–1914 (New York: George Wittenborn, 1959), pp. 7, ill.), as Portrait of Picasso, 1911/12. 22, 23 (fig. Many observers see the technique as the logical extension of developments in cubism. Juan Gris (1887-1927) Bock de bière charcoal on paper 18 7/8 x 12 3/8 in. Artist: Juan Gris (Spanish, Madrid 1887–1927 Boulogne-sur-Seine) Date: Paris, 1914 Medium: Conté crayon, gouache, oil, wax crayon, cut-and-pasted printed wallpapers, printed white wove paper, newspaper, white laid and wove papers on canvas; subsequently mounted to a honeycomb panel
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