Glass, Pitcher, Fruit-Dish

1911

Begins to paint seriously: a Cubism of his own

In 1911, giving up satirical cartooning, he began to paint seriously and developed a personal Cubist style. John Richardson writes that Jean Metzinger’s 1911 work Le goûter (Tea Time) persuaded Gris of the importance of mathematics in painting.

1912

A contract with Daniel-Henry Kahnweiler

That same year he signed a contract that gave Daniel-Henry Kahnweiler exclusive rights to his work.

1912

Shows of 1912: Barcelona, Berlin, Rouen, Paris

In 1912 he exhibited at the Exposició d’art cubista at the Galeries Dalmau in Barcelona, the first declared group exhibition of Cubism anywhere; at the Der Sturm gallery in Berlin; at the Salon de la Société Normande de Peinture Moderne in Rouen; and at the Salon de la Section d’Or in Paris, where he showed with the painters of the Puteaux Group.

1912

Debut at the Salon des Indépendants: “Hommage à Pablo Picasso”

In 1912 he exhibited for the first time, at the Salon des Indépendants, with a painting entitled Hommage à Pablo Picasso.

1912

Meets Josette Herpin

In 1912 Gris met Charlotte Augusta Fernande Herpin (1894–1983), known as Josette. In late 1913 or early 1914 they began living together at the Bateau-Lavoir, where they stayed until 1922; Josette became his second companion and unofficial wife.

1913–1918

From Analytical to Synthetic Cubism

At first Gris painted in the style of Analytical Cubism, a term he himself later coined; after 1913 he converted to Synthetic Cubism, making extensive use of papier collé, or collage, an evolution that ran through 1914–1918. Unlike Picasso and Braque, whose Cubist works were practically monochromatic, he painted in bright harmonious colours in daring, novel combinations, in the manner of his friend Matisse.