Compote and Lemons 1916

Curator: Ah, yes, Juan Gris’s “Compote and Lemons,” held here at the Harvard Art Museums. The drawing dates from 1916. Editor: It has such a melancholic feel, doesn’t it? The starkness of the pencil really emphasizes the geometric forms. Curator: Consider this work within the context of World War I. Gris, though Spanish, lived in France. The lemons, a simple subject, transcend mere still life. They become emblems of resilience. Editor: I'm more drawn to how he deconstructs the forms. The compote dish becomes almost architectural, a study in planes and angles. Curator: The choice of lemons, so closely associated with health and vitality, perhaps comments on the fragility of life amid conflict. Editor: It's all about the interplay of light and shadow, how it defines volume and space, a pure formal exercise. Curator: Indeed. It is a powerful statement, layered with meaning. Editor: A potent exploration of form. I see the elegance of its construction.