A classic example of Synthetic Cubism, this 1915 still life by Juan Gris uses geometric planes and a balanced palette to reassemble a violin and glass.

Juan Gris, born José Victoriano González-Pérez, was a central figure in the development of Synthetic Cubism. In this 1915 composition, Violin and Glass, Gris employs his characteristic method of geometric construction. Unlike the earlier, more fragmented Analytic Cubism, this work presents a clear, architectural arrangement of forms. The objects are flattened and reassembled, yet they remain identifiable through their essential shapes and textures. The painting features a violin and a glass, common motifs in the still-life tradition of the period. Gris uses a structured grid to organise the space, allowing the overlapping planes of colour to create a sense of depth without relying on traditional perspective. The wood grain of the violin is rendered with a decorative, almost graphic quality, contrasting with the solid, opaque forms of the glass and the surrounding surfaces. The palette is carefully balanced, utilising muted earth tones alongside sharper blues and greens to guide the eye across the canvas. Musical notation is integrated into the composition, a frequent device in Cubist works to suggest the passage of time and the auditory experience of the objects depicted. The edges of the table and the background are treated with the same geometric rigour as the primary subjects, creating a unified surface where the distinction between object and environment is intentionally blurred. This approach reflects the artist's interest in the mathematical precision of painting, where the canvas is treated as a flat surface to be organised rather than a window to be looked through. The work demonstrates the artist's ability to maintain a sense of order while deconstructing the visual world into its fundamental components.