Juan GRIS PIPE, TABAC, VERRE ET JOURNAL1919 Juan Gris*, after «mature consideration» - his exact words - «joined» Cubism in 1911, and exhibited a remarkable portrait of Picasso entitled Hommage à Picasso (fig. 1) at the Salon des Indépendants in 1912. The work was saluted by Apollinaire, who wrote in L'Intransigeant March 25th of that year: «Juan Gris has exhibited a Hommage à Picasso in which we can admire a great and disinterested effort. Juan Gris' contribution could be called integral cubism.» Thanks to his famous model, depicted in a fantastic prismatic structure that unites the whole down to the last detail, from the very beginning Juan Gris achieved a reputation with Braque and Picasso, the initiators of the movement. His homage to the painter is far from innocent, as the real subject addressed is his need to position himself with respect to the elder artist, also a Spaniard, while still offering him the recognition due to a precursor. In spite of this brilliant beginning in painting, remarked by two major critics of that time - André Salmon wrote on Gris' exhibit at the Galerie Sagot in January 1912 in Paris-Journal, and Maurice Raynal wrote the longest article on the first exhibit of La Section d'or, in which the painter participated, in Le Journal dated Thursday October 10, 1912, his reputation was not firmly established until the end of the decade. In April 1919 he exhibited some fifty works (dated 1916 to 1918) in the new Galerie de l'Effort Moderne run by Léonce Rosenberg. Juan Gris, who always modestly claimed to «follow after» Picasso, became well-known thanks to the astonishing number of works executed during the war, which did not fail to interest the most important art critics, especially Gertrude Stein who coined the following phrase: « Picasso created it [cubism] and Juan Gris gave it a quality of clarity and joy See continuation