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The Smoker

Хуан Грис, 1913

Ime Razred Datum
Хуан Грис, The Smoker (1913), Музеј Принђес. Javno dobro. Pogledajte ovo platno pod promenljivim svetlom: crtež, pravu boju ispod vernica, čisti pigment

Činjenice

Umetnik
Хуан Грис originaluniqueart.com/sr/artists/khuan-gris_sr/
Datumi umetnika
1887 – 1927
Slikano
1913
Medijum
Acrylic On Paper
Prvobitne dimenzije
130 x 96 cm
Pokret
Synthetic Cubism Objects broken apart and shown from several viewpoints at once, all flattened onto one surface.
Održano na
Музеј Принђес originaluniqueart.com/sr/museums/muzej-prindjes-madrid_sr/
Artistic style
Synthetic Cubism
Influences
Picasso, Matisse
Notable elements
Fragmented forms
Subject or theme
Smoking man

Autorska prava Ovo delo je u javnom vlasništvu. Хуан Грис je preminuo/la 1927. godine; autorska prava traju 70 godina nakon smrti umetnika, pa su prestala 1997.

Izvor: OriginalUniqueArt.com — pristup dato 10. октобар 2026.

The Smoker — Хуан Грис Deo 1 · Ovo umetničko delo

U kontekstu

The Smoker — Хуан Грис

Koje su dimenzije?

Originalne dimenzije su 130 × 96 cm (visina × širina), prikazane ovde pored odrasle osobe prosečne visine.

Kada je ovo naslikano?

  1. 1880
  2. 1890
  3. 1900
  4. 1910
  5. 1920

Gornji red: godine. Donji red: starost umetnika na početku i na kraju svakog perioda — 0 u rođenju, 40 u smrti.

Naslikano kada je umetnik imao 26 godina. Umetnik je doživeo 40. 27 od ukupno 310 datiranih dela ovog umetnika u našem katalogu nastalo je ranije.

Osenčeno: životni vek umetnika Хуан Грис (1887–1927) ▲ ovo delo, 1913 svaka datirana slika, deceniju po deceniju

Uporedi sa

Izaberite jedno od gore navedenih dela: navedite dve stvari koje su mu zajedničke sa ovim i jednu stvar koja ga razlikuje.

Još dela koja se mogu postaviti pored ovog: originaluniqueart.com/sr/art/similar/juan-gris-the-smoker-8YDVBA-en/

Boje

Izmereno na osnovu slike

    Glavna boja

    Phthalo Green #1a2c1e

    Katalogizovana paleta

    • #1A2C1E
    • #C1CDD8
    • #CA5714
    • #2237A4

    Ove boje unutar cele umetnikove palete Pronađite druge slike prema boji

    Paleta
    Dark Dominantna grupa boja na slici.
    Naziv primarne boje
    Phthalo Green
    Intenzitet
    Balanced Koliko su boje zasićene i raznolike, od jedne prigušene nijanse do mnoštva jarkih tonova.
    Kontrast
    Bold Razlika u svetlini i zasićenosti boja širom slike.
    Harmonija
    Discordant Palette Koliko se dobro boje uklapaju, od kontrastnih do potpuno ujedinjenih.
    Osvetljenost
    Deep_shadow Koliko je slika u celini svetla ili tamna, od dubokih senki do najsvetlijih tonova.
    Zasićenost
    Clear Color Presence Koliko su boje čiste i snažne, od skoro sivih do potpuno živopisnih.

    Gde u svetu se posmatra ova slika?

    • manje od 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% i više
    Ova slika sama po sebi ima premalo zabeleženih posetilaca da bi se napravila mapa, pa ploča prikazuje svaki rad koji je kreirao Хуан Грис tokom poslednjih dvanaest meseci — ukupno u 30 zemalja. Izvor ovih podataka

    Deset vodećih zemalja

    1. 1 Кина 46,6%12.500 poseta
    2. 2 Сједињене Америчке Државе 9,3%2.500 poseta
    3. 3 Сингапур 7,8%2.100 poseta
    4. 4 Хонг Конг 5,6%1.500 poseta
    5. 5 Данска 4,5%1.200 poseta
    6. 6 Шпанија 3,4%900 poseta
    7. 7 Бразил 2,2%600 poseta
    8. 8 Ujedinjeno Kraljevstvo 2,2%600 poseta
    9. 9 Грчка 2,2%600 poseta
    10. 10 Аргентина 1,9%500 poseta
    11. · 20 ostalih zemalja 14,3%3.800 poseta

    Pronađite tri najtamnije zemlje na mapi. Da li se muzej u kojem se čuva ova slika nalazi u bilo kojoj od njih? Navedite jedan razlog zbog kojeg bi je ljudi sa dalekih mesta mogli posmatrati.

    20 najposećenijih dela umetnika Хуан Грис

    1. 1 Портрет Жозети Грис, 1916 4,8%1.800 poseta
    2. 2 Still Life with a Guitar, 1913 4,8%1.800 poseta
    3. 3 Jošivot pre otvorenog prozora (Mjesto Ravignan), 1915 3,5%1.300 poseta
    4. 4 Guitar on a Table, 1915 2,4%900 poseta
    5. 5 The painters window - -, 1925 2,4%900 poseta
    6. 6 Still Life with Flowers, 1912 2,1%800 poseta
    7. 7 Šljive i grožđe na stolu, 1913 1,9%700 poseta
    8. 8 Landscape with house at Ceret, 1913 1,9%700 poseta
    9. 9 breakfast, 1914 1,9%700 poseta
    10. 10 Bottle, Newspaper and Fruit Bowl, 1915 1,9%700 poseta
    11. 11 Doručak, 1915 1,6%600 poseta
    12. 12 Harlequin with guitar - -, 1919 1,6%600 poseta
    13. 13 Glass and Ace of Clubs, 1917 1,6%600 poseta
    14. 14 Landscape with Houses at Ceret, 1913 1,6%600 poseta
    15. 15 Woman With Basket, 1927 1,6%600 poseta
    16. 16 The Sunblind, 1914 1,3%500 poseta
    17. 17 The Checkerboard, 1915 1,3%500 poseta
    18. 18 Landscape at Beaulieu, 1918 1,3%500 poseta
    19. 19 Violin and Guitar, 1913 1,1%400 poseta
    20. 34 The Smoker, 1913 ova slika 0,8%300 poseta

    Zajedno, ova dela zauzimaju 41,4% ukupne pažnje koju su slike ovog umetnika privukle tokom poslednjih dvanaest meseci. Katalog sadrži 340 dela ovog umetnika, od kojih je 151 pregledano barem jednom. Ova slika zauzima 34 mesto na listi, sa 0,8% te pažnje (300 poseta). Isto važi i za pojedinačne mesece

    Barovi mere pažnju, ne kvalitet. Odaberite rad na vrhu i ovaj: navedite jednu stvar koja bi sliku mogla učiniti slavnom pored toga koliko je dobro naslikana.

    Izvor: OriginalUniqueArt.com — pristup dato 10. октобар 2026.

    The Smoker — Хуан Грис Deo 2 · U kontekstu

    O ovom umetničkom delu

    The Smoker — Хуан Грис

    The Smoker: A Fragmented Portrait of Modern Life

    Juan Gris’s “The Smoker,” painted in 1913, isn't merely a depiction of a man enjoying a cigarette; it’s a meticulously constructed meditation on perception, fragmentation, and the burgeoning anxieties of early 20th-century modernity. Created during his pivotal period as a pioneer of Synthetic Cubism alongside Pablo Picasso, this work embodies the movement’s radical departure from traditional representation, offering instead a fractured, multi-faceted view of its subject – a Spanish painter and sculptor named Juan Gris himself.

    The painting immediately draws the eye with its dynamic composition. A man, identified through preparatory sketches as Frank Haviland, an American patron of the arts, is presented in a series of interlocking planes and geometric shapes. He’s captured mid-action, puffing on a cigarette, yet his form is simultaneously broken down into its constituent parts – a sharp nose, a tilted head, a fragmented shirt collar – all arranged within a vibrant, almost chaotic, space. This deliberate fragmentation reflects the Cubist principle of depicting objects from multiple viewpoints at once, challenging the viewer’s ability to grasp a single, unified image. The use of papier collé, or collage elements—newspaper clippings and other fragments—further enhances this sense of deconstruction, layering textures and visual information onto the canvas.

    A Symphony of Color and Technique

    Gris masterfully employs a carefully calibrated palette of greens, blues, reds, and oranges to create a visually arresting effect. These bold colors aren’t simply decorative; they contribute significantly to the painting's dynamism and sense of movement. Notice how the smoke itself is rendered in swirling bands of color, adding another layer of complexity to the composition. The technique is equally sophisticated: Gris utilizes short, broken brushstrokes—a hallmark of Synthetic Cubism—to build up the forms and create a palpable sense of depth. The interplay between hard-edged geometric shapes and softer, more organic elements generates a fascinating tension within the painting.

    Historical Context and Artistic Significance

    “The Smoker” was created during a period of intense artistic experimentation and intellectual ferment in Paris. The rise of Cubism—and its subsequent iterations like Synthetic Cubism—represented a fundamental shift away from traditional representational art, reflecting a broader cultural questioning of established norms and values. Gris’s work stands as a crucial bridge between the analytical rigor of early Cubism (exemplified by Picasso and Braque) and the more expressive, collage-based approach that would characterize the movement's later stages. It was painted during a period when Gris was deeply engaged with his circle of artistic friends—Picasso, Matisse, Apollinaire—and exploring new ways to represent reality through abstraction.

    Symbolism and Emotional Resonance

    Beyond its formal innovations, “The Smoker” is rich in symbolic meaning. The act of smoking itself can be interpreted as a metaphor for contemplation, introspection, or even the anxieties associated with modern life. The fragmented figure suggests a sense of alienation and detachment—a feeling that resonates powerfully within the context of an increasingly complex and rapidly changing world. The inclusion of Haviland’s attire – a bow tie and top hat – adds a touch of social commentary, hinting at the formality and conventions of the era while simultaneously undermining them through the painting's fractured perspective. Ultimately, “The Smoker” is not simply a portrait; it’s a poignant exploration of human experience in the face of modernity.

    This captivating artwork is now housed at the Thyssen-Bornemisza Museum in Madrid, Spain, offering art enthusiasts a chance to witness firsthand this seminal piece of modern art. Reproductions are available through WahooArt.com and other reputable sources, allowing you to bring this iconic image into your own space.

    Izvor: OriginalUniqueArt.com — pristup dato 10. октобар 2026.

    The Smoker — Хуан Грис Deo 3 · O ovom umetničkom delu

    Umetnik i muzej

    Umetnik

    Хуан Грис

    Rođen/a u Madrid, Španija

    Početak Putovanja: Život i Rani Radovi Huana Grisa

    Rođen kao Hose Viktorijano Gonzales-Perez u Madridu 1887. godine, umetnik koji će svetu postati poznat kao Huan Gris započeo je putovanje koje će ga postaviti među najznačajnije figure ranog dvadesetovekovne umetnosti. Njegov početni put nije bio onaj koji direktno vodi platnu i kistu; studirao je inženjerstvo na Školi za umetnost i nauku, demonstrirajući analitički um koji će kasnije duboko uticati na njegov umetnički pristup. Čak i tokom ovih formativnih godina, kreativna iskra je plamtela – doprinos crteža lokalnim periodičnim publikacijama nagoveštavao je rastući vizuelni talenat. Upravo 1905. godine usvaja pseudonim Huan Gris, ime koje odjekuje novoosnovanim smislom identiteta i svrhe dok započinje formalne studije slikarstva pod vođstvom Hosea Morena Carbonera. Ovo je označilo ključnu promenu, postavljajući ga na put umetničke inovacije.

    Parisko Buđenje i Prihvatanje Kubizma

    Godina 1906. svedočila je transformativnom preseljenju u Pariz, grad koji je tada pulsirao umetničkom energijom. Gris se uronio u ovo živahno okruženje, sklapajući prijateljstva sa prosvetljenim umovima poput Henrija Matisa, Žorža Braka i Fernanda Legera. U početku se angažovao u satiričnoj ilustraciji za publikacije kao što je L'Assiette au Beurre, usavršavajući svoje veštine posmatranja i razvijajući oštar osećaj vizuelnog duha. Međutim, magnetna privlačnost Pabla Pikasa se pokazala posebno uticajnom. Oko 1910. godine, Gris počinje da se ozbiljno posvećuje slikarstvu, udaljavajući se od karikature i krećući se ka novom jeziku kubizma. Ovo nije bila puka imitacija; krenuo je u potragu za destilacijom suštine oblika i prostora, tražeći novi vizuelni poredak. Njegova rani istraživanja obeleženo je namernim odstupanjem od tradicionalne reprezentacije, prihvatanjem apstrakcije kao sredstva za hvatanje osnovne strukture stvarnosti.

    Geometrija Percepcije: Stil i Ključna Dela

    Umetnički rad Huana Grisa karakteriše izuzetna jasnoća i intelektualni rigor. On nije samo dekonstruisao objekte; rekonstruisao ih je sa namernom preciznošću, naglašavajući geometrijske oblike i pažljivo razmotrenu paletu boja. Ovaj pristup ga je doveo do onoga što je postalo poznato kao njegova „kristalna perioda”, exemplifikovano remek-delima poput Natura mrtva ispred otvorenog prozora i Place Ravignan (1915). Ova dela pokazuju izvanrednu interakciju ravni i uglova, stvarajući osećaj dubine i solidnosti istovremeno izazivajući konvencionalne predstave o perspektivi. Nakon 1913. godine, Gris je prihvatio sintetički kubizam, pionirski koristeći papier collé – kolaž – ugrađujući stvarne materijale poput izrezaka novina i teksturiranih papira u svoje kompozicije. Ova tehnika dodaje još jedan sloj kompleksnosti i taktilnosti njegovom radu, zamućujući granice između slikarstva i skulpture. Vredna dela uključuju Gitara ispred mora (1925), svedočanstvo o njegovim pojednostavljenim oblicima i poštovanju kubističkih principa, i Počast Pablu Pikasu (1912), što je signaliziralo njegov rastući ugled u avangardnom svetu umetnosti.

    Nasleđe i Trajni Uticaj

    Huan Grisov doprinos kubizmu seže dalje od same stilističke inovacije; doneo je jedinstvenu intelektualnu dubinu i strukturnu jasnoću pokretu. Prešao je iz analitičke faze, ka organizovanijem i sintetičkom pristupu, naglašavajući red i preciznost. Njegov rad je snažno uticao na puristički stil koji su zagovarali Amade Ozenfant i Šarl Eduar Žanere (Le Korbuzije), pozivajući se na povratak klasičnim principima oblika i kompozicije. Grisova naglašena geometrijska forma, harmonične palete boja i integracija svakodnevnih predmeta u njegovu umetnost uspostavile su ga kao ključnu figuru dvadesetovekovne umetnosti. Njegovo nasleđe nastavlja da inspiriše umetnike danas, demonstrirajući trajni uticaj kubizma i vizionarski genij Huana Grisa – španskog majstora koji je ponovo oblikovao naše razumevanje percepcije i reprezentacije.

    Umetnički pokret ili stil: Kubizam, Sintetički kubizam

    Umetnici ili pokreti koje je ovaj umetnik uticao: Purizam, Amade Ozenfant, Le Korbuzije

    Umetnici koji su uticali na ovog umetnika: Pablo Pikaso, Henri Matis, Žorž Brak

    Datum rođenja: 23. mart 1887.

    Datum smrti: 11. maj 1927.

    Puno ime: Hose Viktorijano Gonzales-Perez

    Nacionalnost: Španac

    Značajna dela: Gitara ispred mora, Počast Pablu Pikasu, Mlinar, Portret gospođe Žozete Gris

    Mesto rođenja: Madrid, Španija

    Muzej

    Музеј Принђес

    Izložbeno mesto Madrid, Španija

    A Legacy of Passion: Unveiling the Thyssen-Bornemisza Museum

    Nestled within the heart of Madrid’s vibrant cultural landscape, alongside the grandeur of the Prado and the revolutionary spirit of the Reina Sofía, lies the Thyssen-Bornemisza National Museum – a truly exceptional institution born from a singular vision. More than simply a collection of masterpieces, it represents a deliberate act of preservation, a passionate defense of European artistic heritage against the tides of exile following World War I, and a testament to the discerning eye of Heinrich Baron Thyssen-Bornemisza. The museum’s story begins not in Spain, but in Lugano, Switzerland, where the Baron embarked on his ambitious quest to assemble a collection that would encompass the entirety of European artistic achievement – a conscious decision to safeguard its legacy within Europe's borders.

    Heinrich Thyssen-Bornemisza, driven by an almost obsessive desire for completeness, tirelessly pursued works spanning centuries and styles. From the Byzantine icons shimmering with otherworldly light, hinting at ancient mysteries, to the bold Surrealist sculptures challenging conventional forms, and crucially, the groundbreaking canvases of Pablo Picasso – his collection became a breathtaking tapestry of artistic expression. The relocation to Madrid in 1943 wasn’t merely a logistical shift; it was a profound statement of commitment, a desire to share this extraordinary inheritance with Spain and foster a deeper appreciation for art on a global scale. This move solidified the museum's place within the “Golden Triangle of Art,” creating a synergistic experience for visitors exploring these three iconic institutions.

    Architectural Harmony: A Palace of Reflection

    The Thyssen-Bornemisza resides within a beautifully restored neoclassical palace, originally designed as a royal residence for Alfonso XIII and his family – a space intended to embody grandeur and inspire artistic contemplation. This building, conceived by Narciso III Ortiz y Montenegro, stands as a harmonious counterpoint to the more modern structures of its neighbors, offering visitors an immediate sense of serenity and beauty. The soaring ceilings, adorned with intricate stucco decorations, and the expansive windows flooding the galleries with natural light create an environment perfectly suited for showcasing the museum’s treasures. The proportions are meticulously considered, reflecting a deep understanding of classical aesthetics – a subtle yet powerful reminder of the enduring influence of artistic tradition. The integration with Parque del Buen Retiro further enhances the experience, providing a tranquil backdrop and panoramic views that complement the art within.

    A Chronological Journey Through European Art

    Visitors embark on a chronological journey through European painting, beginning with early Renaissance works by Duccio and Luca di Tommè – delicate beauty and spiritual depth. The collection then progresses through the vibrant hues of the Italian Primitives: Giotto, Masaccio, Botticelli, and Bellini, offering a profound insight into the foundations of Western art. A significant section is dedicated to Dutch Masters – Rembrandt’s dramatic portraits and self-portraits alongside Vermeer, Hals, and Frans Hals, revealing the nuances of light and color. The Spanish Masters showcase Goya's later works, including his iconic “Saturn” series, providing a glimpse into the artist’s turbulent life and artistic vision. The museum culminates in its impressive holdings of Impressionist and Post-Impressionist art – featuring Monet’s luminous landscapes, Renoir’s intimate portraits, Degas’ captivating dancers, and Van Gogh’s emotionally charged brushstrokes.

    Beyond the Permanent Collection: A Dynamic Experience

    What truly distinguishes the Thyssen-Bornemisza is its remarkable ability to complement and enrich the collections of the Prado and Reina Sofía. While the Prado champions Spanish artistic tradition – showcasing the mastery of Velázquez, Goya, and El Greco – and the Reina Sofía celebrates modern innovation with Picasso’s “Guernica” and Warhol’s vibrant prints, the Thyssen fills historical gaps with an astonishing breadth of European painting. The museum is renowned for its dynamic programming of exhibitions that delve into specific themes and artists, fostering intellectual engagement and broadening perspectives on art history. These temporary exhibits often draw upon international collaborations, ensuring that visitors encounter cutting-edge scholarship and innovative interpretations – a testament to the museum’s commitment to remaining relevant in an ever-evolving cultural landscape. Notably, the ongoing loan of Carmen Cervera’s personal collection further expands the museum's offerings, guaranteeing its continued appeal for generations to come.

    Highlights & Artistic Treasures

    Early Renaissance:

    A stunning array of works by Duccio, Fra Angelico, and Piero della Francesca, showcasing the delicate beauty and spiritual depth of this era.

    Italian Primitives:

    Masterpieces by Giotto, Masaccio, Botticelli, and Bellini, offering a profound insight into the foundations of Western art.

    Dutch Masters:

    Rembrandt’s dramatic portraits and self-portraits, alongside works by Vermeer, Hals, and Frans Hals, revealing the nuances of light and color.

    Spanish Masters:

    A significant collection of Goya's later works, including his iconic “Saturn” series, providing a glimpse into the artist’s turbulent life and artistic vision.

    Impressionist & Post-Impressionist:

    Featuring Monet’s luminous landscapes, Renoir’s intimate portraits, Degas’ captivating dancers, and Van Gogh’s emotionally charged brushstrokes – showcasing the revolutionary techniques and emotional intensity of these movements.

    The Thyssen-Bornemisza Museum stands as a vibrant testament to the power of art and the enduring legacy of one man's passionate pursuit of beauty.

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    QR kod koji vodi na stranicu za preuzimanje The Smoker

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    Citiranje ovog umetničkog dela

    MLA
    Грис, Хуан. The Smoker. 1913, Музеј Принђес. https://originaluniqueart.com/sr/art/juan-gris-the-smoker-8YDVBA-en/
    APA
    Грис, Хуан (1913). The Smoker [Painting]. Музеј Принђес. https://originaluniqueart.com/sr/art/juan-gris-the-smoker-8YDVBA-en/
    Chicago
    Хуан Грис. The Smoker. 1913. Музеј Принђес. https://originaluniqueart.com/sr/art/juan-gris-the-smoker-8YDVBA-en/
    Harvard
    Грис, Хуан (1913) The Smoker. Музеј Принђес. Available at: https://originaluniqueart.com/sr/art/juan-gris-the-smoker-8YDVBA-en/

    Izvor: OriginalUniqueArt.com — pristup dato 10. октобар 2026.

    The Smoker — Хуан Грис Deo 4 · Umetnik i muzej

    Pogledajte pažljivije

    The Smoker — Хуан Грис

    Pogledajte pažljivije

    Odgovorite svojim rečima. Ovde nema netačnih odgovora — postoje samo odgovori koje možete objasniti.

    1. Šta vam prvo privuče pažnju i zašto?
    2. Koje boje ili oblici stvaraju atmosferu — i kakva je to atmosfera?
    3. U našem katalogu ovo delo je klasifikovano pod: cubism, smoking, portrait. Da li se slažete? Šta biste dodali ili uklonili?
    4. Vratite se na Портрет Жозети Грис (1916), koji ste ranije videli u ovom vodiču. Navedite dve zajedničke karakteristike ovog i prethodnog dela, kao i jednu koja ih razlikuje.
    5. Synthetic Cubism: Objects broken apart and shown from several viewpoints at once, all flattened onto one surface. Gde se to može uočiti u ovom delu?

    Vaš odgovor

    Napišite kratak pasus o ovom umetničkom delu. Koristite činjenice iz prethodnih delova ovog vodiča i svoje odgovore navedene iznad.

    Izvor: OriginalUniqueArt.com — pristup dato 10. октобар 2026.

    The Smoker — Хуан Грис Deo 5 · Pogledajte detaljnije

    Kviz o umetnosti

    The Smoker — Хуан Грис

    Koliko dobro poznajete ovo umetničko delo?

    Označi jedan tačan odgovor za svako od poniženih 5 pitanja. Svako pitanje ima samo jedan tačan odgovor.

    1. 1. What artistic movement is Juan Gris most closely associated with?

      • A Surrealism
      • B Cubism
      • C Impressionism

    2. 2. In 'The Smoker,' what is the primary technique used to create a sense of depth and multiple viewpoints?

      • A Linear perspective
      • B Fragmented forms and geometric shapes
      • C Blending colors seamlessly

    3. 3. What year was 'The Smoker' painted?

      • A 1907
      • B 1913
      • C 1927

    4. 4. According to the description, where was 'The Smoker' painted?

      • A Madrid
      • B Paris
      • C Céret

    5. 5. Which of the following best describes the style of Synthetic Cubism evident in 'The Smoker'?

      • A Emphasis on realistic representation and naturalistic color
      • B Breaking down objects into geometric shapes and reassembling them with collage elements
      • C Focusing solely on monochromatic tones and abstract forms

    Moj rezultat: ____ od ukupno 5

    Rešenja kviza — za nastavnike

    Ovo započinje novu štampanu stranicu, pa se prilikom kopiranja može jednostavno izostaviti.

    1A · 2A · 3A · 4C · 5A

    Proverite tačnost odgovora upoređujući ga sa katalogom za ovu sliku

    Izvor: OriginalUniqueArt.com — pristup dato 10. октобар 2026.

    The Smoker — Хуан Грис Deo 6 · Kviz o umetnosti

    Pitanja i odgovori

    Šta prikazuje „The Smoker”, autor Хуан Грис i kakvo je raspoloženje dela?

    „The Smoker“ prikazuje cubism, smoking, portrait, geometric, collage, paris, 1913, a njegovo dočarano raspoloženje je Elegant.

    Gde se "The Smoker" nalazi u okviru opusa umetnika Хуан Грис?

    „The Smoker“ deli sa ostalim delima umetnika Хуан Грис svoj Synthetic Cubism stil i prepoznatljive teme: picasso’s cubist influence, parisian avant-garde scene, geometric abstraction explored, friendship, patronage reflected, early synthetic cubism.

    Koliko je popularno delo "The Smoker" unutar pokreta Synthetic Cubism?

    „The Smoker“ je zabeležen/a kao Iconic među delima Synthetic Cubism pokreta u katalogu.