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Georges Braque Artworks

French Painter, Collagist, Draftsman, Printmaker, and Sculptor

Georges Braque Photo
Movement: Cubism

Born: May 13, 1882 - Argenteuil, France

Died: August 31, 1963 - Paris, France

Artworks by Georges Braque

The below artworks are the most important by Georges Braque - that both overview the major creative periods, and highlight the greatest achievements by the artist.

Houses of l'Estaque (1908)

Houses of l'Estaque (1908)

Braque's paintings made over the summer of 1908 at l'Estaque are considered the first Cubist paintings. After being rejected by the Salon d'Automne, they were fortunately exhibited that fall at Daniel-Henri Kahnweiler's Paris gallery. These simple landscape paintings showed Braque's determination to break imagery into dissected parts. The brown and green palette here also predicts a palette that Braque employed in many paintings to come.

Clarinet and Bottle of Rum on the Mantlepiece (1911)

Clarinet and Bottle of Rum on the Mantlepiece is typical of Braque's subject matter, yet is unique as an early example of collage. In this painting, he stenciled the word "valse" to mean "waltz," in continuation with his interest in musical themes and instruments. "RHU" are first three letters for the French word for rum. Again using an exploded perspective, the viewer barely perceives a scroll in the lower right corner, which could allude to a human head, a violin or cello, or the mantelpiece in the title.

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Bottle and Fishes (1910-12)

Braque depicted both bottles and fishes throughout his entire painting career, and these objects stand as markers to differentiate his various styles. Bottle and Fishes is an excellent example of Braque's foray into Analytic Cubism, while he worked closely with Picasso. This painting has the restricted characteristic earth tone palette rendering barely perceptible objects as they disintegrate along a horizontal plane. While there are some diagonal lines, Braque's early paintings tended to work vertically or horizontally.

Violin and Pipe (1913)

Collage helped Braque to realize that, "color acts simultaneously with form but has nothing to do with it,". He made collages to inspire painting compositions, but also as works themselves. In Violin and Pipe, he chooses a stringed instrument as his subject matter. Since there is no concrete evidence that this is a violin, one can understand better how Braque is studying the shapes within the object and pulling them apart to move them around, as if shuffling a deck of cards.

Fruit on a Table-cloth with a Fruit Dish (1925)

The subject matter of this painting commemorates a banquet held in Braque's honor upon returning from the war. Picasso and Gris made headway in Synthetic Cubism, while Braque resumed the development of his own style, still Cubist, but more concentrated on color and texture. Fruit on a Table-cloth with a Fruit Dish shows a table display flattened out in the pictorial plane as Braque had done many times before, but here he replicates the texture of wood and marble, and even shades the fruit.

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Balustre et Crane (1938)

Balustre et Crane predicts a series of still lifes Braque created called Vanitas, in which objects symbolize agony or mental misery. He painted skulls repeatedly following his return from war and during the onset of World War II. In these paintings, Balustre et Crane in particular, Braque uses a bright array of colors to represent emotional reactions to the political discomfort he felt about the war.

Related Artists and Major Works

Table, Napkin, and Fruit (A Corner of the Table) (1895-1900)

Table, Napkin, and Fruit (A Corner of the Table) (1895-1900)

Artist: Paul Cézanne (Read Full Artist Overview, Biography, and Artworks pages)

After studying Dutch and French Old Master still life painting at the Louvre and other Parisian galleries, Cézanne formulated his own semi-sculptural approach to still lifes. Typically strewn across an upturned tabletop, Cézanne's pears, peaches, and other pictorial elements seem at once to rest on a solid, wooden plank and yet float across the surface of the canvas like a new kind of calligraphy. As if to press home that point, Cézanne typically includes chairs, wooden screens, water pitchers, and wine bottles to suggest that the gaze of the viewer rise vertically up the canvas, rather than plunge deep within any implied corner of a real kitchen.

Bathers by a River (1917)

Artist: Henri Matisse (Read Full Artist Overview, Biography, and Artworks pages)

Matisse regarded this picture as one of the most important in his career, and it is certainly one of his most puzzling. He worked on it at intervals over eight years, and it passed through a variety of transformations. The painting evolved out of a commission from Matisse's Russian patron, Sergei Shchuckin, for two decorative panels on the subjects of dance and music, and, initially, the scheme for the picture resembled the idyllic scenes he had previously depicted in paintings such as Joy of Life (1905-06). However, his transformations gradually turned it into more of a confrontation with Cubism, and it is for this reason that the picture has been the subject of intense scrutiny. Although Matisse rejected Cubism, he certainly felt challenged by it, and this picture - along with many he painted from 1913 to 1917 - seems to be influenced by the style, since it is very unlike his previous, more decorative work. It is far more concerned with faithful representation of the structure of the human figure, and its position in space. The painting might be compared to The Backs series (1909-31), which also preoccupied Matisse the years he was working on Bathers, since both address the problem of depicting a three-dimensional figure against a flat background.

The Wave (1870)

The Wave (1870)

Artist: Gustave Courbet (Read Full Artist Overview, Biography, and Artworks pages)

Many early Modernists were influenced by Japanese prints and it is argued that Courbet is one of the first to be affected by this Eastern aesthetic. Likely, taking a cue from the prints, he shows us a slice of water closed off from the view of vast space. The painting epitomizes Courbet's landscapes and seascapes that were always composed of broken patches of paint loaded in both the dark and light areas. Such painterly treatment was inspiration to the budding Impressionists.


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