{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://api.smk.dk/api/v1/iiif/manifest?id=KMSr61","type":"Manifest","label":{"da":["Guitarspillersken"]},"rights":"https://creativecommons.org/publicdomain/mark/1.0/","requiredStatement":{"label":{"en":["Attribution"],"da":["Kreditering"]},"value":{"en":["Shared by SMK – the national gallery of Denmark"],"da":["SMK – Statens Museum for Kunst"]}},"provider":[{"id":"https://www.smk.dk","type":"Agent","label":{"en":["SMK – the national gallery of Denmark"],"da":["SMK – Statens Museum for Kunst"]},"logo":[{"id":"https://iip.smk.dk/iiif/jp2/smk_logo.jp2/full/!400,400/0/default.jpg","type":"Image","format":"image/jpeg"}]}],"metadata":[{"label":{"en":["Title"]},"value":{"none":["Guitarspillersken","La joueuse de guitare"]}},{"label":{"en":["Object number"]},"value":{"none":["KMSr61"]}},{"label":{"en":["Acquisition date"]},"value":{"none":["1928-12-31"]}},{"label":{"en":["Creator"]},"value":{"none":["Gris, Juan"]}},{"label":{"en":["Creator B."]},"value":{"none":["1887-01-01T00:00:00.000Z"]}},{"label":{"en":["Creator D."]},"value":{"none":["1927-01-01T00:00:00.000Z"]}},{"label":{"en":["Production start date"]},"value":{"none":["1926-01-01T00:00:00.000Z"]}},{"label":{"en":["Production end date"]},"value":{"none":["1926-12-31T00:00:00.000Z"]}},{"label":{"en":["Type"]},"value":{"none":["Maleri"]}},{"label":{"en":["Technique"]},"value":{"none":["Olie på lærred"]}},{"label":{"en":["Materials"]},"value":{"none":["Lærred"]}},{"label":{"en":["Production dates notes"]},"value":{"none":["Værkdatering: 1926"]}},{"label":{"en":["Dimensions"]},"value":{"none":["{\"part\":\"Netto\",\"type\":\"højde\",\"value\":\"116\",\"unit\":\"centimeter\"}","{\"part\":\"Netto\",\"type\":\"bredde\",\"value\":\"73\",\"unit\":\"centimeter\"}","{\"part\":\"Brutto\",\"type\":\"højde\",\"value\":\"129.8\",\"unit\":\"centimeter\"}","{\"part\":\"Brutto\",\"type\":\"bredde\",\"value\":\"87.2\",\"unit\":\"centimeter\"}","{\"part\":\"Brutto\",\"type\":\"dybde\",\"value\":\"6.2\",\"unit\":\"centimeter\"}"]}},{"label":{"en":["Number of parts"]},"value":{"none":["1"]}},{"label":{"en":["Object history"]},"value":{"none":["Købt af Rump på den retrospektive Gris-udstilling i Galerie Simon, Paris, juni 1928, kat. nr. 60. Skænket museet samme år."]}},{"label":{"en":["Current location"]},"value":{"none":["Sal 214"]}},{"label":{"en":["Labels"]},"value":{"none":["Vi ser kvinden mod lyset fra vinduet bag hende. Den klare blå farve blænder øjet og henlægger rummet i et dunkelt skær. Gennem vinduet ses bjerge, hvis skyggeside bevæger sig umærkeligt ind i rummet og bliver del af kvindens runde former. Bjergene og kvinden bliver ét. På samme måde bliver hun ét med guitaren og bordet bag hende. Baggrund bliver til for grund, og skygge bliver til lys i et maleri, hvor tiden er ophørt med at eksistere som et lineært fænomen. Juan Gris var som andre kubister inspireret af filosoffen André Bergsons nye tidsbegreb. Det betød for malernes vedkommende et opgør med den opfattelse, at tid og rum skal organiseres i overensstemmelse med perspektivkonstruktionens matematiske og geometriske principper. Der er ikke længere ét hovedforsvindingspunkt. Flader og former har hver sit øjepunkt, og forlænger man linjerne, finder man ikke kun ét hovedforsvindingspunkt og én horisontlinje, men mange.","We see the woman up against the light coming in through the window behind her. The clear blue colour blinds our eyes and casts the room into a gloom. Through the window we see mountains whose shadow side seeps imperceptibly into the room, becoming part of the woman's round curves. The mountains and the woman become one. She becomes as one with the guitar and the table behind her. Background becomes foreground and shadow becomes light in a painting where time has ceased to exist as a linear phenomenon. Like other Cubists Juan Gris was inspired by the philosopher André Bergson's new concept of time. As far as those who painted were concerned, the con cept marked a break with the view that time and space should be organised in keeping with the math ematical and geometric principles that govern per spective. There is no longer just a single vanishing point. Planes and shapes each have their separate eye point, and if one were to continue the lines one would not simply find a single main vanishing point and a single horizon, but many."]}},{"label":{"en":["Exhibitions"]},"value":{"none":["Juan Gris. Pinturas y dibujos. (1910-1927)","Bornholmsk med fransk accent","Franske mesterværker fra Matisse til Picasso"]}},{"label":{"en":["Department"]},"value":{"none":["Den Kongelige Maleri- og Skulptursamling"]}},{"label":{"en":["Public domain"]},"value":{"none":["true"]}},{"label":{"en":["Latest internal modification"]},"value":{"none":["2025-12-05T06:51:58Z"]}},{"label":{"en":["Internal ID"]},"value":{"none":["1170091675_object"]}}],"items":[]}