Initially trained in industrial drawing in Madrid, José Victoriano Carmelo Carlos González-Pérez settles at a very young age at the Bateau-Lavoir in Paris. This Spanish creator quickly bathes in the effervescence of the Montmartre avant-garde, rubbing shoulders with poets and mathematicians. His intellectual research and scientific rigor distance him from his early activities as a satirical illustrator. He contributes decisively to the development and theorization of synthetic cubism.

The plastic approach of this theoretician is characterized by a pictorial architecture of great mathematical precision. His technique relies on a subtle geometric mesh, where everyday objects are decomposed according to a strict deductive logic. The artist uses a harmonious palette, favoring muted tones enhanced by luminous flashes, like “Portrait of Pablo Picasso”. His still lifes frequently integrate the papier collé technique to question representation, an approach visible in “The Open Book”. The treatment of light fragments the space, as evidenced by the structure of “The Bottle of Anis”.

The clarity of his theoretical research profoundly marks the evolution of post-cubist aesthetics and the School of Paris. His work is often associated with the purism movement and the reflection on the flatness of the canvas. His intellectual legacy remains fundamental for the history of modern painting.

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