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(after) Georges BraqueCiel Gris II (Grey Sky II)1959
1959
About the Item
Ciel Gris. 1959. Lithograph printed in colors. Vallier, Dora. Braque. The Complete Graphics, London 1988, page 294, No. 1033. 9 x 3 3/8 (sheet 15 x 10 3/4). One of about 3000 impressions from the unsigned edition. In addition, 275 impressions on wove paper with full margins were pulled and pencil-signed by the artist. As published in issue No. 115 of the periodical Derrière le miroir, published on the occasion of a major Braque exhibition at the Maeght gallery in 1959, where 19 paintings and 8 gouaches by the artist were shown. Published by Maeght, Paris; printed by Mourlot, Paris. With text on the verso, as published. Initialed "GB" in the stone. Housed in a 20 x 16-inch archival mat.
This is N O T a mass-produced reprint (photomechanical reproduction such as offset lithographs or giclée prints) but the lithograph from 1959, lithographed and printed by Mourlot after a painting by the artist.
In contrast to "Ciel gris I", in this work the sky is not bluish-gray but lead-gray, like in a thunderstorm. However, we assume that Braque wanted to convey more than ordinary forces of nature. There appear to be three letters BIO, spread out over the work like design elements., possibly"BIO" for the French word "biologique" or "la biologie"
French painter, collagist and sculptor Georges Braque is, along with Pablo Picasso, renowned as the co-founder of Cubism, which revolutionized 20th-century painting. In his work, objects are fragmented and reconstructed into geometric forms, fracturing the picture plane in order to explore a variety of viewpoints.
- Creator:(after) Georges Braque (1882 - 1963, French)
- Creation Year:1959
- Dimensions:Height: 9 in (22.86 cm)Width: 3.38 in (8.59 cm)Depth: 0.5 in (1.27 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Storrs, CT
- Reference Number:1stDibs: LU33525849392
(after) Georges Braque
Braque began his artistic career painting in a Fauvist style, strongly influenced by friends Raoul Dufy and Henri Matisse. In 1907, however, after befriending Pablo Picasso, Braque began focusing on Cubist compositions and a more muted color palette. He and Picasso would work closely until 1914 when Picasso began focusing on symbolism and portraiture, while Braque sought to explore “pure composition” void of meaning and symbolism. A 1922 exhibition at the Salon d’Automne in Paris launched Braque further into fame. He won several important prizes over the next few decades, including First Prize at the Carnegie International and the main prize for painting at the Venice Biennale. In 1961, Braque became the first living artist to ever have his work displayed at The Louvre. Throughout the 1930s and 40s, Braque created many works featuring Greek and Roman mythological imagery such as this print, though his hope was to use the images simply as visual objects stripped of their histories, lore, and symbolism.
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