About This Artwork

Juan Gris
Spanish, 1887–1927

Portrait of Pablo Picasso, January–February 1912

Oil on canvas
36 3/4 x 29 5/16 in. (93.3 x 74.4 cm)
Signed and inscribed, l.r.: "Hommage á Pablo Picasso/Juan Gris"

Gift of Leigh B. Block, 1958.525

In 1906 Juan Gris traveled to Paris, where he met Pablo Picasso and Georges Braque and participated in the development of Cubism. Just six years later, Gris too was known as a Cubist and identified by at least one critic as "Picasso’s disciple." 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. 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. 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. The inscription, "Hommage à Pablo Picasso," at the bottom right of the painting demonstrates Gris’s respect for Picasso as a leader of the artistic circles of Paris and as an innovator of Cubism. At the same time, the inscription helped Gris solidify his own place within the Paris art world when he exhibited the portrait at the Salon des Indépendants in the spring of 1912.

Exhibition, Publication and Ownership Histories

Exhibition History

Paris, Société des Artistes Indépendants, 28th Exposition, March 20–May 16, 1912, p. 145, cat. 1426, as Figure.

Dresden, Internationale Kunstausstellung, June–September 1926, cat. 378.

Paris, Galerie Simon, Exposition Retrospective Juan Gris, June 4–16, 1928, cat. 4.

Berlin, Galerie Alfred Flechtheim, In Memoriam: Juan Gris, February 1930, cat. 2.

Paris, Galerie Georges Petit, Cent ans de Peinture Française, June 15–30, 1930, n.p., cat. 41, as Hommage à Picasso.

Amsterdam, Gemeentemuseum, Tentoonstelling van Fransche Kunst: Ecole de Paris, April 1932, cat. 103.

Zurich, Kunsthaus Zurich, Juan Gris, April 2–26, 1933, p. 5, cat. 33 (ill.), as from “M. Etienne Bignou, Paris.”

Buffalo Fine Arts Academy, Albright Art Gallery, The Art of Today, January 3–31, 1936, p. 7, cat. 47, as “Collection Etienne Bignou Gallery.”

New York, Museum of Modern Art, Cubism and Abstract Art, March 2–April 19, 1936, pp. 29, 42, 48, and 211, cat. 94, fig. 33.

London, Alex Reid and Lefevre, L’Ecole de Paris, November 1938, cat. 21 (ill.), as Hommage à Picasso.

Freiburg im Breisgau, Friedrichsbau, Die Meister Französischer Malerei der Gegenwart, October 20–November 23, 1947, p. 48, cat. 13 (ill.).

Basel, Kunsthalle, Juan Gris, Georges Braque, Pablo Picasso, February 26–March 24, 1948, cat. 5.

Bern, Kunsthalle, Georges Braque, Juan Gris, Pablo Picasso, April 2–29, 1948, cat. 41.

New York, Buchholz Gallery, Cubism, April 5–30, 1949, cat. 7 (ill.), as Hommage à Pablo Picasso, 1911.

New York, Sidney Janis Gallery, Cubism 1910–1912, January 3–February 4, 1956, cat. 15 (ill.).

New York, Saidenberg Gallery, Hommage à Kahnweiler, May 13–June 8, 1957, no. cat..

New York, Museum of Modern Art, Juan Gris, April 9–June 1, 1958, pp. 18, 20, 28, and 117 (ill.); traveled to the Minneapolis Institute of Arts, June 24–July 24, 1958; San Francisco Museum of Art, August 11–September 14, 1958; and Los Angeles County Museum, September 29–October 26, 1958.

Boston, Institute of Contemporary Art, The Image Lost and Found, May 14–August 28, 1960, p. 48, cat. 9 (ill.).

Dortmund, Germany, Museum am Ostwall, Juan Gris, October 23–December 4, 1965, n.p., cat. 7 (ill.); traveled Cologne, Wallraf-Richartz Museum, December 28, 1965–February 13, 1966, as 1911/12.

Buffalo, Albright-Knox Art Gallery, Painters of the Section d’Or: The Alternatives to Cubism, September 27–October 22, 1967, pp. 13, 24, 25, 27, and 45, cat. 9 (ill.), as 1911-12.

Los Angeles County Museum of Modern Art, The Cubist Epoch, December 15, 1970–February 2, 1971, pp. 200–201, no. 108, pl. 225; traveled to New York, Metropolitan Museum of Art, April 7–June 7, 1971.

Paris, Orangerie des Tuileries, Juan Gris, March 14–July 1, 1974, pp. 11, 21, and 76, cat. 8 (ill.).

University Art Museum, University of California, Berkeley, Juan Gris, February 7–April 8, 1983, pp. 24–25, 152, and 177, cat. 6 (ill.); traveled to Washington D. C., National Gallery of Art, October 15–December 31, 1983; and New York, Solomon R. Guggenheim Museum, May 18–July 15, 1984.

Madrid, Spain, Ministry of Culture, Juan Gris [1887–1927], September 20–November 24, 1985, pp. 26, 94, fig. 4, and 122–123, cat. 8 (ill.).

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. 198–199 and 341 (ill.), as Hommage à Pablo Picasso.

Madrid, Museo Nacional del Prado, The Spanish Portrait: From El Greco to Picasso, October 20, 2004–February6, 2005, pp. 306, 320, and 379–380, cat. 85 (ill.), as Homage to Pablo Picasso.

Paris, Centre national d'art et de culture Georges Pompidou, Le Futurisme et Paris, October 15, 2008–January 26, 2009.

Publication History

Vauxcelles, Louis, “Au Salon des Indépendants,” Gil Blas (March 19, 1912), as Hommage à Piccasso.

Apollinaire, Guillaume, L’Intransigeant (March 25, 1912)

Allard, R., La Revue de France (March 1912), p. 72.

Gris, Juan, “Uber die Möglichkeiten der Malerei,” trans. by B. Schiratzki, Der Querschnitt V: (January 1925), p. 33 (ill.), as 1910.

Grohmann, Will, “Die Kunst der Gegenwart auf der Internationalen Kunstausstellung Dresden, 1926,” Der Cicerone XVIII (June 1926), p. 400 (ill.).

Einstein, Carl, Die Kunst des 20 Jahrhunderts (Berlin: Im Propyläen, 1926), pp. 84, 329, and 563 (ill.), as 1911.

Vézelay, Paul, “Juan Gris,” Artwork IV:16 (Winter 1928), p. 259 (ill.), as “Flechtheim Collection.”
Der Querschnitt VIII:7 (July 1928), p. 506 (ill.).

Henry, Dan, Juan Gris (Junge Kunst, Band 55) (Leipzig: Klinkhardt and Biermann, 1929), n.p. (ill.), as “Sammlung Alfred Flechtheim, Berlin.”

Transition: An International Quarterly for Creative Experiment 19–20 (June 1930), n.p. (ill.), as “Gal. Flechtheim, Berlin.”

Das Berliner Programm (Berlin, 1930) (ill.), as from “Gal. Flechtheim, Berlin.”

Galerie Georges Petit, Cent Ans de Peinture Française, exh. cat. (Paris: Galerie Georges Petit, 1930), n. p., cat. 41, as Hommage à Picasso.
“Juan Gris,” Cahiers d’Art 5–6 (1933), n.p. (ill.).

Saiko, George, “The Tragic Position of Abstract Art,” The London Studio 5 (January 1933), pp. 47–48 (ill.).

Cogniat, Raymond, Les Créateurs du Cubisme, exh. cat. (Paris: Gazette des Beaux-Arts, 1935), n. p..

Buffalo Fine Arts Academy, Albright Art Gallery, The Art of Today, exh. cat. (Buffalo, N. Y.: Buffalo Fine Arts Academy, Albright Art Gallery 1936), p. 7, cat. 47.

Bulletin of the Minneapolis Institute of Art XXV:33 (December 5, 1936) (ill.).

“Modern Museum Opens Show Despite Ignorance of U. S. martinets,” The Art Digest X:12 (March 15, 1936), p. 10 (ill.).

Zervos, Christian, Histoire de l’Art Contemporain (Paris: Éditions Cahiers d’Art, 1938), p. 236 (ill.).

Transition 19–20 (June 1930) (ill.), as Hommage à Picasso, 1911.

Les Créateurs du Cubisme, exh. cat. (Paris: Beaux-Arts et de La Gazette des Beaux-Arts, 1935), n. p..

“Modern Museum Opens Show Despite Ignorance of U. S. Matinets,” The Art Digest X:12 (March 15, 1936), p. 10 (ill.).

Wheeler, Monroe, 20th Century Portraits, exh. cat. (New York: Museum of Modern Art, 1942), p. 50 (ill.), as from “Bignou Gallery, New York.”

Apoliinaire, Guillaume, I Pittori Cubisti, trans. by Franca Minoia (Milan: Il Balcone, 1945), p. 141 (ill.), as Omaggio a Picasso, 1911.

Kahnweiler, Daniel-Henry, Juan Gris: Sa Vie, Son Oeuvre, Ses Écrits (Paris: Gallimard, 1946), pp. 15, 164, 172, 299, 305, and 313, pl. VI.

Severini, Gino, Tutta la vita di un pittore (Milan: Gazanti, 1946), p. 149.

Juan Gris et Foredrag (Copenhagen: Wivels Forlag, 1946), fig. 3.

Jardot, Maurice, and Kurt Martin, Die Meister Französischer Malerei der Gegenwart, exh. cat. (Baden-Baden: Woldemar Klein, 1948), pp. 48 and 56, pl. 13.

Reed, Judith Kaye, “Cubism Reviewed,” Art Digest 23:14 (April 15, 1949), p. 16 (ill.), as Homage to Picasso.

Fels, Florent, L’Art Vivant de 1900 à nos Jours I (Geneva: Pierre Cailler, 1950), p. 235 (ill.).

Kahnweiler, Daniel-Henry, Les années héroiques du Cubisme (Paris: Braun, 1950), fig. 43.

Gray, Christopher, Cubist Aesthetic Theories (Baltimore, Md.: The Johns Hopkins Press, 1953), p. 97, as 1911, as from “Bignou collection, Paris.”

Musée National d’Art Moderne, Le Cubisme (1907–1914), exh. cat. (Paris: Musée National d’Art Moderne, 1953), p. 37, as Hommage à Picasso.

Sabartes, Jaime, Picasso: Documents Iconographiques, trans. by Félia Leal and Alfred Rosset (Geneva: Pierre Cailler, 1954), pl. 102.

Aznar, Jose Camon, “Juan Gris y sus Etapas,” Goya 3 (November–December 1954), p. 156, fig. 1.

Golding, John, “Shorter Notices: Juan Gris at Berne,” The Burlington Magazine XCVII:633 (December 1955), p. 385, as Hommage à Picasso.

Aznar, Jose Camon, Picasso y el Cubismo (Madrid, 1956), pp. 196–197, fig. 123.

Penrose, Roland, Portrait of Picasso (London: Lund Humphries, 1956), p. 39, fig. 87.

Kunstmuseum Bern, Juan Gris, exh. cat. (Bern: Kunstmuseum Bern, 1956), n. p..

Fosca, François, Bilan du Cubisme (Paris: La Bibliothèque des arts, 1956), p. 40

“Picasso: The First Fifty Years,” Vogue 129:10 (June 1957), p. 97 (ill.).

Schmidt, Goerg, Juan Gris und die Geschichte des Kubismus (Baden-Baden: Woldemar Klein, 1957), p. 18.

Vicente, Esteban, “Gris: Reality Cubed,” Art News 57:3 (May 1958), p. 33, fig. 4.

Kahnweiler, Daniel-Henry, Der Weg zum Kubismus (Stuttgart: Gerd Hatje, 1958), p. 94 (ill.).

10th Anniversary Exhibition, exh. cat. (New York: Sidney Janis Gallery, 1958) (ill.).

Mock, Jean Yves, “Notes from Paris and London: Juan Gris, A Retrospective Exhibition, at the Marlborough Gallery,” Apollo LXVII:397 (March 1958), p. 88.

Clark, Elliot, “New York Commentary,” The Studio 156:787 (October 1958), p. 122.

Golding, John, Cubism: A History and an Analysis, 1907–1914 (New York: George Wittenborn, 1959), pp. 21, 96–97, and 99, pl. 43, as 1911-12.

Habasque, Guy, Cubism, trans. by Stuart Gilbert (Geneva: Skira, 1959), pp. 9, 64, and 66 (ill.), as Homage to Picasso.

Art Institute of Chicago Quarterly LIII:3 (October 1959), pp. 10–11 (ill.).

Rosenblum, Robert, Cubism and Twentieth-Century Art (New York: Harry N. Abrams, 1960), pp. 112, 113, and 320, fig. 67.

Art Institute of Chicago, Paintings in The Art Institute of Chicago (Chicago: Art Institute of Chicago, 1961), p. 207.

Berger, John, The Success and Failure of Picasso (Baltimore, Md.: Penguin Books, 1965), p. 58, fig. 32, as 1911-12.

Keller, Horst, “Sieg der Malerei über die Welt: Juan Gris,” Köln 4:65 (December 1965), n.p. (ill.).

Speyer, A. James, “Twentieth-Century European Painting and Sculpture,” Apollo LXXXIV (September 1966), p. 222.

Juan Gris (I Maestri del Colore, no. 177) (Milan: Fratelli Fabbri Editori, 1967), n.p., pl. I.

Martini, Alberto, Picasso e il Cubismo (Milan: Fratelli Fabbri, 1967), pp. 48 and 92, pl. XXII, as Omaggio a Pablo Picasso.

Instituto de Arte de Chicago (El Mundo de los Museos) (Buenos Aires: Editorial Codex, 1967), pp. 14 and 71, no. 59 (ill.).

Wertenbaker, Lael, The World of Picasso (New York: Time Life Books, 1967), pp. 72–73 (ill.).

Chefs-d’Oeuvre de l’Art, Grands Peintres: Juan Gris (France: Hachette, 1967), n. p., pl. I.

Arnason, H. H., History of Modern Art: Painting, Sculpture, Architecture (New York: Harry N. Abrams, 1968), pp. 185, 19–194, fig. 345.

Cooper, Douglas, The Cubist Epoch (London: Phaidon, 1970), pp. 200–201, no. 108, pl. 225.

Maxon, John, The Art Institute of Chicago (New York: Harry N. Abrams, 1970), pp. 114–115 (ill.).

Grung, Sandra, Supplement to Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1971), p. 47.

Rosenberg, Charles, “Cubist Object Treatment: A Perceptual Analysis,” Artforum IX:8 (April 1971), pp. 35 and 36, fig. 6.

Leymarie, Jean, Picasso: Métamorphoses et unité (Geneva: Skira, 1971), p. 226 (ill.).

Cooper, Douglas, “Gertrude Stein and Juan Gris,” Apollo XCIII:107 (January 1971), p. 29.

Warnod, Jeanine, Washboat Days, trans. by Carol Green (New York: Orion Press, 1972), p. 222–223 (ill.).

Morin, Isabelle , Analyse Raisonnee des Catalogues d’Exposition des Peintres Cubistes (1907–1914) (Paris: Institut d'art et d'archéologie, 1972), p. 23.

Nishimura, Toshio (editor), Braque et le Cubisme (Les Grands Maitres de la Peinture Moderne, 18) (Tokyo: Chuokoron-Sha, 1973), p. 122, pl. 53.

Mosele, Franz, Die kubistische Bildsprache von Georges Braque, Pablo Picasso und Juan Gris unter besonderer Berücksichtigung der Entwicklung der Farbe (Zurich: Juris Druck, 1973), pp. 151, 179–181, and 291, no. G.9, as 1911/12.

Duval, Jean-Luc, Journal de l’Art Moderne 1884–1914 (Geneva: Skira, 1973), p. 248 (ill.), as Hommage à Picasso.

Gordon, Donald E., Modern Art Exhibitions 1900–1916, vol. I (Munich: Prestel-Verlag, 1974), p. 560.

Juan Gris, exh. cat. (Baden-Baden, Germany: Kunsthalle Baden-Baden, 1974), pp. 14–15, fig. 1.

Gaya-Nuño, Juan Antonio, Juan Gris (Barcelona: Ediciones Polígrafa, 1974), pp. 31, 32, 78, 81 and 240, no. 49 (ill.).

Peppiatt, Michael, “Summer riches,” Artnews 73:6 (Summer 1974), p. 76.

The Burlington Magazine CXVI:835 (June 1974), p. 357.

Pantheon XXXII:III (July–September 1974), p. 318 (ill.).

Courthion, Pierre, “Juan Gris, le logicien du cubisme,” XXe XXXVI:43 (December 1974), p. 38, as Hommage à Picasso.

Cabanne, Pierre, Le siècle de Picasso, vol. I 1881–1937 (Paris: Denoël, 1975), p. 255, as Hommage à Picasso.

The Burlington Magazine CXVIII:885 (December 1976), p. 878, fig. 122.

O’Brian, Patrick, Pablo Ruiz Picasso (New York: G. P. Putnam’s Sons, 1976), p. 196, as Hommage à Picasso.

Cooper, Patrick, Juan Gris (Paris: Berggruen, 1977), pp. 26–27, cat. 13 (ill.), as Hommage à Picasso.

Galería Theo, Juan Gris, exh. cat. (Madrid: Galería Theo, 1977), n. p..

Caroli, Flavio, Primitivismo e Cubismo (Milan: Fratelli Fabbri, 1977), pp. 86–87, fig. 2.

Art Institute of Chicagoi, Art Institute of Chicago: 100 Masterpieces (Chicago: Art Institute of Chicago, 1978), p. 128, no. 79 (ill.).

Kondo, Y. and H. Miyajima, Braque/Léger (The Book of Great Masters, 33) (Japan: Shogakukan, 1978), n. p., pl. III.

Speyer, A. James and Courtney Graham Donnell, Twentieth-Century European Paintings (Chicago, 1980), p. 44–45, pl.2A7.

“Two New Cubist Paintings by Juan Gris and Pablo Picasso,” The Bulletin of the Cleveland Museum of Art LXVIII:2 (February 1981), pp. 41–42, fig. 9.

Museum Bochum, Hommage à Picasso Kubismus und Musik, exh. cat. (Bochum, Germany: Museum Bochum, 1981), n.p. (ill.).

Rosenthal, Mark, Juan Gris, exh. cat. (New York: Abbeville Press, 1983), pp. 24–25, 152, and 177, cat. 6 (ill.).

Frascina, Francis, Cubism: Picasso and Braque (Great Britain: The Open University, 1983), pp. 81 and 83, pl. 90, as Hommage à Pablo Picasso.

Parinaud, Andre, “Les Independants, La Critique et la Presse, L’affirmation de la modernité 1884-1914,” Un siècle d’art moderne: L’Histoire du Salon des Independants 1884-1984 (Paris: Éditions Denoël, 1984), p. 105, as Hommage à Picasso.

Silver, Kenneth, “Eminence Gris,” Art in America (May 1984), p. 154 (ill.).

Larson, Kay, “The Genius of Gris,” New York Magazine (June 11, 1984).

Roskill, Mark, The Interpretation of Cubism (Philadelphia: The Art Alliance Press, 1985), p. 64.

The Burlington Magazine CXXVII:992 (November 1985), p. 832, as Hommage à Pablo Picasso.

Musée Municipal de Boulogne-Billancourt, Juan Gris: et les dimanches de Boulogne, exh. cat. (Boulogne-Billancourt: Musée Municipal de Boulogne-Billancourt, 1987), p. 54, as Un Hommage.

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.

Wood, James N. and Katharine C. Lee, Master Paintings in The Art Institute of Chicago (Chicago: The Art Institute of Chicago, 1988), p. 117 (ill.).

Steinberg, Leo, “La fin de partie de Picasso,” Les Cahiers du Musée national d’art moderne 27 (Spring 1989), pp. 14–15, fig. 4, as Hommage à Pablo Picasso.

Rubin, William, Picasso and Braque: Pioneering Cubism, exh. cat. (New York: Museum of Modern Art, 1989), p. 389.

Juan Gris: Cartas, Dibujos 1915–1921, exh. cat. (Valencia, Spain: IVAM Centre Julio González, 1990), p. 19, as Hommage à Picasso.

Los Genios de la Pintura Expañola: Juan Gris (Spain: Onix de Communicaciones, 1991), p. 84, no. 4 (ill.).

Rossi, Laura Mattioli, Boccioni 1912 Materia, exh. cat. (Milan: Mazzotta, 1991), p. 58 (ill.).

Green, Christopher, Christian Derouet and Karin von Maur, Juan Gris, exh. cat. (London: Whitechapel Art Gallery, 1992), pp. 14–18, 25, 29–30, 43, 45, 115, 118–119, 120, 172 and 302, pl. 10, as Homage to Pablo Picasso.

Bréon, Emmanuel, Juan Gris à Boulogne (Paris; Herscher, 1992), p. 17 (ill.), as Hommage à Picasso.

Museo Nacional de Bellas Artes, Juan Gris en Buenos Aires, exh. cat. (Buenos Aires, Argentina: Museo Nacional de Bellas Artes, 1992), p. 93.

Die Kunst der Frühen Jahre Freiburg 1945–60, exh. cat. (Freiburg: Städtische Museen Freiburg Museum für Neue Kunst, 1992), p. 46 (ill.).

Zienderogen kunst voor de basisvorming (Malmberg den Bosch: Onderbouwdeel VBO/MAVO, 1993), p. 62, fig. 15.4.

Wood, James N., Treasures of 19th-and 20th-Century Painting: Art Institute of Chicago (New York: Abbeville Press, 1993), p. 208 (ill.).

___, Teri J. Edelstein, and Sally Ruth May, The Art Institute of Chicago: The Essential Guide (Chicago: Art Institute of Chicago, 1993), p. 249 (ill.).

Cooper, Philip, Cubism (London: Phaidon, 1995), pp. 5657, pl. 13.

Daix, Pierre, Dictionnaire Picasso (Paris: Robert Laffont, 1995), p. 419.

Ferreira, Paulo, Amadeo de Souza Cardoso: Peintre Portugais 1887–1918 (Lisbon, Portugal: Fundação Calouste Gulkenkian, 1995), p. 83, as Hommage à Picasso.

Richardson, John, A Life of Picasso, Volume II: 1907–1917 (New York: Random House, 1996), pp. 178 and 472, note 41 (ill.), as Hommage à Picasso.

Musée Cantini, Juan Gris: Peintures et dessins 1887–1927, exh. cat. (Marseilles, France: Musée Cantini, 1998), pp. 14, 16–20, and 129 (ill.).

Cottington, David, Cubism (Cambridge: Cambridge University Press, 1998), pp. 54, fig. 40.

Hattendorff, Caudia, Künstlerhommage: Ein Bildtypus im 19. und 20. Jahrhundert (Berlin: Reimer, 1998), pp. 9 and 63–114, pl. 3, as Hommage à Picasso.

Les chemins du cubisme, exh. cat. (Saint-Tropez, France: Musée de Saint-Tropez, 1999), p. 181, as Hommage à Picasso.

Giménez Blanco, Dolores, Juan Gris (Madrid: Electa, 1999), pp. 16–17 and 63 (ill.).

Juan Gris: Correspondances avec Léonce Rosenberg, 1915-1927 (Paris: Éditions du Centre Pompidou, 1999), p. 13, as Hommage à Picasso.

Centre Georges Pompidou, Les années cubistes: Collections du Centre Georges Pompidou (Paris: Centre Georges Pompidou, 1999), p. 138, as Hommage à Pablo Picasso.

Juan Gris: Peintures et dessins 1887–1927, exh. cat. (Marseille, France: Musées de Marseille, 1999), p. 14, 16–20 and 129 (ill.).

Musée D' Art Moderne de la Ville de Paris, L'Ecole de Paris, 1904–1929: la part de l’Autre, exh. cat. (Paris: Musée D' Art Moderne de la Ville de Paris, 2000), pp. 198–199 and 341 (ill.), as Hommage à Pablo Picasso.

Cox, Neil, Cubism (London: Phaidon, 2000), pp. 205–207, 215, and 222, fig. 113, as Homage to Pablo Picasso.

Twentieth-Century American Art: The Ebsworth Collection, exh. cat. (Washington D. C.: The National Gallery of Art, 2000), p. 87, fig. 1.

Immenga, Silke,Picasso und Spanien: Kulturelle Identität als Strategie (Frankfurt am Main: Peter Lang, 2000), pp. 190, 320, and 342, fig. 67, as Hommage à Picasso.

Wood, James N. and Debra N. Mancoff, Treasures from The Art Institute of Chicago (Chicago: The Art Institute of Chicago, 2000), p. 246 (ill.).

Green, Christopher, Art in France 1900–1940 (New Haven, Conn.: Yale University Press, 2000), pp. 22–23, 25, 92, 94, and 252, fig. 31, as Homage to Pablo Picasso.

Cabanne, Pierre, Cubism (Paris: Pierre Terrail, 2001), pp. 65–67 (ill.).

van Adrichem, Jan, De ontvangst van de moderne kunst in Nederland 1910-2000: Picasso als pars pro toto (Amsterdam: Prometheus, 2001), p. 188 (ill.).

Juan Gris 1887–1927, exh. cat. (Madrid: Museo Nacional Centro de Arte Reina Sofía. 2001), p. 91, 104, and 106 (ill.), as Homenaje a Picasso.

McCully, Marilyn and Michael Raeburn, Il Cubismo: Rivoluzione e tradizione, exh. cat. (Ferrara, Italy: Ferrara Arte, 2004), pp. 28–29, fig. 8, as Omaggio a Pablo Picasso.

Cottington, David, Cubism and Its Histories (Manchester, England: Manchester University Press, 2004), pp. 144–145 and 149, fig. 5.1, as Homage to Pablo Picasso.

Apollinaire, Guillaume, The Cubist Painters, trans., with commentary by Peter Read (Berkeley, Calif.: University of California Press, 2004), p. 169, as Homage to Picasso.

Staphanie D'Alessamdro, Matisse:Ratical Invention 1913-1917. Exh. cat (Art Institute of Chicago, 2010), p. 237-238, fig. 30i.

Ownership History

Daniel-Henry Kahnweiler (1884–1979), Paris. Sold, Hôtel Drouot, Paris, June 13–14, 1921, Kahnweiler sequestration sale, lot 49, to Grassat for Galerie Simon [letter from Kahnweiler of December 2, 1975 in curatorial file]. Galerie Alfred Flechtheim, Dusseldorf and Berlin, by June 1926–at least February 1930 [Dresden 1926; Berlin 1930]. Etienne Bignou (1891-1950), Paris and Bignou Gallery, New York, by April 1933–at least April 1936 [Zurich 1933; New York 1936]. Alex, Reid and Lefevre, London, by November 1938 [London 1938]. Galerie Louise Leiris, Paris, by February 1948 [Basel 1948]; sold to Buchholz Gallery, New York, by April 1949 [New York 1949; letter from Kahnweiler of October 21, 1975 in curatorial file]. Mr. and Mrs. Leigh Block, Chicago, by 1956 [New York 1956]; given to the Art Institute, 1958.

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