Gris The open window, 1921, 65x100 cm, M. Meyer Collection, Juan Gris (1887-1927)

The composition presents a fragmented view through what appears to be an open window, establishing a distinct separation between interior and exterior spaces. The artist has constructed a scene that is simultaneously contained and expansive. A dark, undefined space frames the left side of the canvas, acting as a backdrop against which the architectural elements are set. These elements – the window itself – are rendered in angular planes, suggesting a deliberate deconstruction of perspective.
Within this interior space, a table holds an assortment of objects: a vessel with a long neck, a bowl filled with what seem to be fruit or vegetables, and a folded cloth or blanket. The arrangement is not one of naturalistic display; instead, the items are positioned in a manner that emphasizes their geometric forms and spatial relationships. They appear flattened, almost as if pressed against the table surface.
Beyond the window lies a landscape – a body of water stretches to the horizon, punctuated by distant hills or mountains under a sky with scattered clouds. This exterior scene is rendered in muted tones of blue and grey, creating a sense of distance and tranquility that contrasts with the more structured and fragmented interior. The light source appears diffused, casting soft shadows and minimizing harsh contrasts.
The subtexts within this work revolve around themes of perception, confinement, and the relationship between inner and outer worlds. The open window serves as a symbolic portal, suggesting a yearning for connection or escape from an enclosed environment. However, the fragmented nature of both the interior space and the landscape implies that direct access to these realms is obstructed or mediated. The objects on the table could be interpreted as symbols of domesticity or everyday life, but their stylized representation diminishes their conventional significance, transforming them into formal elements within a larger compositional structure.
The overall effect is one of quiet contemplation, inviting the viewer to consider the complexities of observation and the subjective nature of experience. There’s an underlying sense of melancholy, perhaps stemming from the disconnect between the interior and exterior spaces, or from the inherent limitations imposed by perspective and representation.