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Georges Braque: 1882-1963

May 13, 2016 By Wendy Campbell

Large-Nude-Georges-Braque-1908 Born on May 13, 1882 in Argenteuil-sur-Seine, France, Georges Braque was a major painter, collagist, draughtsman, printmaker and sculptor of the 20th century. Along with Pablo Picasso, Braque was a key figure in the development of Cubism. He was also responsible for the introduction of many collage techniques including stenciling and combed false wood-grain effects.

Braque grew up in Le Havre and, following in his father’s and grandfather’s footsteps, trained to be a house painter and decorator. In the evenings, he studied painting at the École des Beaux-Arts from 1897-1899. He studied in Paris under a master decorator and received his craftsman certificate in 1901. He studied painting at the Académie Humbert in Paris from 1902-04.

Braque’s first works were Impressionist, but by 1906 he was painting in a Fauvist style, successfully exhibiting that year in the Salon des Indépendants. Braque met Pablo Picasso in 1907. Both artists were influenced by Paul Cézanne’s use of geometry in depicting his subjects in his work. Cézanne’s paintings greatly impacted the direction of the Paris avant-garde, and soon after, Cubism.

From 1909 Braque and Picasso worked together daily to develop Cubism. By 1911 their styles were extremely similar and during this time, it was virtually  impossible to distinguish one from the other.  In 1912, the duo began to incorporate elements of collage into their paintings and to experiment with the papier collé (pasted paper) technique. Picasso-vs-BraqueStarting about 1911, Braque began experimenting with other media and techniques, as well as new canvas shapes. He began mixing paint with sand using a house-painter’s comb to introduce areas of imitation wood-grain into his paintings. In 1912, Braque married Marcelle Lapre and rented a house at Sorgues, near Avignon. There, he and Picasso began using pre-existing objects and materials in their paintings.

Braque and Picasso’s artistic collaboration lasted until 1914 when Braque served in the French Army during World War I. He was wounded in the war and temporarily blinded in 1915, but resumed painting in 1916. During his recovery in 1917, Braque began a close friendship with the Spanish artist Juan Gris who was also closely associated with the Cubist movement.

In the 1920s, Braque returned to a more “realistic interpretation of nature, although certain aspects of Cubism always remained present in his work.” He painted landscapes and reintroduced the figure into his work which was characterized by bold colour and textured surfaces. In the mid-1920s Braque also designed the decor for two Sergei Diaghilev ballets.

In 1931 Braque made his first engraved plasters and began to portray mythological subjects. His first retrospective was held in 1933 at the Kunsthalle Basel. In 1937,  he won first prize at the Carnegie International, in Pittsburgh.

From about 1936, Braque’s paintings shifted again from the still-life to wider interior views. “Into ornately decorated rooms he introduced impersonal, flattened figures, such as in Woman with Mandolin or The Duet. The new mood suggested by his use of brighter colours was offset, however, by a series of macabre vanitas still-lifes, linked to the theme of the artist’s studio, that he began in 1938, possibly in despair at the approach of World War II. He also built a sculpture studio near his house at Varengeville and began experimenting with sculpture about this time, producing simple and playful, if rather two-dimensional works.

During World War II Braque remained in Paris. He painted mainly still lifes and interiors that were stark and sombre in colour. During this time, Braque also made lithographs, engravings, and sculptures.

In 1954, Braque designed stained-glass windows for the church of Varengeville. During the last few years of his life, Braque’s poor health prevented him taking on any large-scale work, but he continued to paint, make lithographs, and design jewelry.

Georges Braque died on August 31, 1963, in Paris. He is buried in the church cemetery in Saint-Marguerite-sur-Mer, Normandy, France.

Billiard-table-Georges-Braque-1944
Fruit Dish and Glass - George Braques 1912
Woman-with-a-Guitar-Georges-Braque-1913
Musical-Instruments-Georges-Braque-1908
Violin-and-Pitcher-Georges-Braque-1910
Terrace-of-Hotel-Mistral-Georges-Braque-1907
Still-Life-with-Harp-and-Violin-Georges-Braque-1912
Man-with-a-Violin-Georges-Braque-1912
Fruit-Dish-Georges-Braque-1908-09
Man-with-a-Guitar-Georges-Braque-1911
Le-Portugais--The-Emigrant-Georges-Braque-1911-12
Large-Nude-Georges-Braque-1908
Harbor-in-Normandy-Georges-Braque-1909
La-chaise-Georges-Braque-1947
Glass-Carafe-and-Newspapers-Georges-Braque-1914
Fruit-on-a-Tablecloth-with-a-Fruitdish-Georges-Braque-1925
La-Terrace--Georges-Braque-1948
Castle-at-La-Roche-Guyon-Georges-Braque-1909
Bottle-and-Fishes-Georges-Braque-1910
Black Fish-Georges Braque-1942

Sources: Guggenheim, MoMA

Filed Under: ART, Art History, Collage, Mixed Media, Painting Tagged With: cubism, French Art, Georges Braque, Picasso, Stenciling

Art-e-Facts: 5 Random Art Facts XIII

June 9, 2010 By Wendy Campbell

1. Art Brut (raw art) is a term created by French artist Jean Dubuffet in 1948 to describe art created outside the boundaries of the art world of art schools, galleries, museums. Dubuffet focused particularly on art by insane asylum patients. Outsider Art, coined by art critic Roger Cardinal in 1972 is a synonym for art brut but the term is applied more broadly to include numerous artists creating outside the mainstream art world including Naive art, folk art, intuitive/visionary art, and others.

2. Memento Mori is a Latin phrase translated as “Remember you must die”. It names a genre of artistic creations that vary widely from one another, but which all share the same purpose: to remind people of their own mortality. The phrase has a tradition in art that dates back to ancient Rome. Memento Mori can be seen in religious works, funeral art and architecture around the world. A version of Memento Mori in the genre of still life is more often referred to as a vanitas, Latin for “vanity”. These include symbols of mortality, whether obvious ones like skulls, or more subtle ones, like a flower losing its petals.

3. Bokeh is a term in photography used to describe the blur, or the aesthetic quality of the blur, in out-of-focus areas of an image. Originating from the Japanese word boke (blur), the English spelling bokeh was popularized in 1997 in Photo Techniques magazine. Bokeh occurs for parts of the scene that lie outside the depth of field. Photographers sometimes deliberately use a shallow focus technique to create images with prominent out-of-focus regions.

4. From 1909 – 1914, Georges Braque and Pablo Picasso worked closely together daily to develop Cubism. Both artists produced paintings of monochromatic color and complex patterns now called Analytic Cubism. By 1911 their styles were extremely similar and during this time, it was virtually  impossible to distinguish one from the other.

5. Christina’s World is a work by U.S. painter Andrew Wyeth, and one of the best-known American paintings of the middle 20th century. The woman crawling through the grass was the artist’s neighbor Christina Olson. Aged 55, Christina was crippled by polio, and “was limited physically but by no means spiritually.” Wyeth explained, “The challenge was to do justice to her extraordinary conquest of a life which most people would consider hopeless.” He recorded the arid landscape, rural house, and shacks with great detail, painting minute blades of grass, individual strands of hair, and nuances of light and shadow.

Sources: Wikipedia (art brut), Wikipedia (memento mori), Silver Based, Wikipedia (bokeh), DAF (Braque), DAF, Christina’s World

Filed Under: ART, Art History, Art-e-Facts, Photography Tagged With: Andrew Wyeth, art brut, bokeh, Christina's World, cubism, Georges Braque, memento mori, Picasso

Georges Braque: 1882-1963

May 13, 2010 By Wendy Campbell

Woman-with-a-guitar-georges-braque-1913

Born on May 13, 1882 in Argenteuil-sur-Seine, France, Georges Braque was a major painter, collagist, draughtsman, printmaker and sculptor of the 20th century. Along with Pablo Picasso, Braque was a key figure in the development of Cubism. He was also responsible for the introduction of many collage techniques including stenciling and combed false wood-grain effects.

Braque grew up in Le Havre and, following in his father’s and grandfather’s footsteps, trained to be a house painter and decorator. He studied in Paris under a master decorator and received his craftsman certificate in 1901. In the evenings, he studied painting at the École des Beaux-Arts from 1897-1899.  He studied painting at the Académie Humbert in Paris from 1902-04.

Braque’s first works were Impressionist but by 1906 was painting in a Fauvist style, successfully exhibiting that year in the Salon des Indépendants. Braque met Pablo Picasso in 1907.  Both artists were influenced by Paul Cézanne’s use of geometry in depicting his subjects in his work . Cézanne’s paintings greatly impacted the direction of the Paris avant-garde, and soon after, Cubism.

From 1909 Braque and Picasso worked together daily to develop Cubism. By 1911 their styles were extremely similar and during this time, it was virtually  impossible to distinguish one from the other.  In 1912, the duo began to incorporate elements of collage into their paintings and to experiment with the papier collé (pasted paper) technique.

From about 1911, Braque began experimenting with other media and techniques, as well as new canvas shapes. He began mixing paint with sand  used a house-painter’s comb to introduce areas of imitation wood-grain into his paintings. In 1912, Braque married  Marcelle Lapre and rented a house at Sorgues, near Avignon. There, he and Picasso began using pre-existing objects and materials in their paintings.

Braque and Picasso’s artistic collaboration lasted until 1914 when Braque served in the French Army during World War I. He was wounded in the war and temporarily blinded in 1915, but resumed painting in 1916. During his recovery in 1917, Braque began a close friendship with the Spanish artist Juan Gris who was also closely associated with the Cubist movement.

In the 1920s, Braque returned to a more “realistic interpretation of nature, although certain aspects of Cubism always remained present in his work.” He painted landscapes and reintroduced the figure into his work which was characterized by bold color and textured surfaces. In the mid-1920s Braque also designed the decor for two Sergei Diaghilev ballets.

In 1931 Braque made his first engraved plasters and began to portray mythological subjects. His first retrospective was held in 1933 at the Kunsthalle Basel.  In 1937,  he won first prize at the Carnegie International, in Pittsburgh.

From about 1936,  Braque’s paintings shifted again from the still-life to wider interior views. “Into ornately decorated rooms he introduced impersonal, flattened figures, such as in Woman with Mandolin or The Duet. The new mood suggested by his use of brighter colours was offset, however, by a series of macabre vanitas still-lifes, linked to the theme of the artist’s studio, that he began in 1938, possibly in despair at the approach of World War II. He also built a sculpture studio near his house at Varengeville and began experimenting with sculpture about this time, producing simple and playful, if rather two-dimensional works.

During World War II Braque remained in Paris. He painted mainly still lifes and interiors that were stark and sombre in colour. During this time, Braque also made lithographs, engravings, and sculptures.

In 1954, Braque designed stained-glass windows for the church of Varengeville. During the last few years of his life, Braque’s poor health prevented him taking on any large-scale work, but he continued to paint, make lithographs, and design jewelry.

Georges Braque died on August 31, 1963, in Paris. He is buried in the church cemetery in Saint-Marguerite-sur-Mer, Normandy, France.

Harbor-in-Normandy-Georges-Braque-1909
Fruit-Dish-Georges-Braque-1908-09
Violin-and-Pitcher-Georges-Braque-1910

Glass-Carafe-and-Newspapers-Georges-Braque-1914
Black Fish-Georges Braque-1942
Man-with-a-Guitar-Georges-Braque-1911

Still-Life-with-Harp-and-Violin-Georges-Braque-1912
Le-Portugais--The-Emigrant-Georges-Braque-1911-12
Billiard-table-Georges-Braque-1944

Musical-Instruments-Georges-Braque-1908
Fruit-on-a-Tablecloth-with-a-Fruitdish-Georges-Braque-1925
Bottle-and-Fishes-Georges-Braque-1910

Large-Nude-Georges-Braque-1908
La-chaise-Georges-Braque-1947
Terrace-of-Hotel-Mistral-Georges-Braque-1907

Man-with-a-Violin-Georges-Braque-1912
Castle-at-La-Roche-Guyon-Georges-Braque-1909
La-Terrace--Georges-Braque-1948

Related Books:
Picasso and Braque: Pioneering Cubism

Georges Braque: A Life
Braque (Great Modern Masters)

Sources: Guggenheim, MoMA

Filed Under: ART, Art History Tagged With: Georges Braque, Georges Braque Birthday

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