Hommage to J.-S. Bach (V. p. 293; Maeght 1019)

View Similar Items

Sonia Delaunay - "Grand Carré Rouge" Modern Geometric Abstract Orphism Lithograph Edition 9/25

Pablo Picasso - The Eye, from Carmen

Pablo Picasso - Monogram J (Plate II), from Carmen

Pablo Picasso - Abstract Design (Plate VI), from Carmen

Pablo Picasso - The Eye (Plate XXXVIII), from Carmen

Pablo Picasso - Monogram "L" with Landscape (Plate XXXIII), from Carmen

Pablo Picasso - Monogram "J" with Design (Plate VII), from Carmen

Philippe Dereux - Large 1960s French Art Brut Lithograph Bold Black & White Op Art Philippe Dereux

About the Item

Signed limited edition, cubist, mid century lithograph, etching after Georges Braque. Hommage to J.-S. Bach (V. p. 293; Maeght 1019) Etching in colours, on BFK Rives paper (with watermarks), signed in pencil, inscribed 'E.A..' aside from the edition of 300. With full margins, framed under glass (please forgive the light spots and reflections in the photo.) Exceptional and rare quality engraving. An edition commissioned from Braque by Aime Maeght in the 1950's with the engraver Georges Visat. Georges Braque Hommage à J.S. Bach, c. 1950s is a masterpiece of the Cubist style. The original painting was created during a time when Braque was deep into Analytical Cubism, of which many of the elements are seen here. First, this lithograph has a very beige color palate, made mostly of tans and greys. Secondly, there is little depth to the image. Appearing out of the cubist shapes are some of the parts of a violin – in the left hand side you see some strings, and towards the right, the gentle curl of the end of the instrument. Letters like the ones that say ‘BACH J.S.’ are also often included in Cubist works. Braque truly masters the style in this lithograph, implying the shadow of a violin that is almost completely masked by other shapes. The intention comes through strongly, helped by the graphic ‘BACH J.S.’ Created in the 1950’s after an oil painting of the same title created in 1911-1912, this etching and aquatint in colours on Rives BFK paper is signed in pencil in the lower right corner marked 'EA' in pencil outside from the edition of 300 in the lower left corner; published by Maeght, Paris. The engraver Georges Visat (the edition is signed by him 'in the plate') was commissioned by Aime Maeght to work with Braque on this edition. Visat became one of the great engravers of the 20th century working with Leger, Miro, Chagall, and Bezaine as well as Max Ernst and Matta. He was later commissioned to work for the Musee du Louvre in Paris and for the French State. The original work from 1912 is in the collection of MOMA, New York. The painting is a relatively early cubist piece from this artist, who had originally been working as a fauvist painter with similarities to the work of Matisse and Delaunay. He was now set on a course where colour was not key, but instead it was the fractured form of cubism on which he would concentrate. Immediately, we notice the alternative colour scheme with relatively drab tones of grey and a sort of dirty mustard colour, far removed from the tones of purple and yellow found in his fauvist pieces such as Landscape at La Ciotat, Yellow Seacoast and L'Estaque. The landscapes were now a thing of the past, and cubist still life was the way to go, with some influence from Cezanne but also from contemporary artists, most notably Picasso, with whom Braque worked very closely in order to formulate this new artistic movement. Braque had initially worked a number of trades before becoming a professional artist, which perhaps explains his modest behaviour. Whilst there he learnt several techniques that he would later make use of within his own art, such as the faux-wood grain effect that we find in the lower left hand side of this painting, as well as the stencilled lettering which produced the musician's name. Interestingly, he was also a musician of some note himself, and so would have been particularly knowledgeable about the achievements of Bach, one would expect. This connection of music and art will remind some of the Swiss artist Paul Klee, whose work included this abstract form of music. Klee himself would also derive colour from sound and looked into various theories around that during his own career. Braque was clearly proud of his work here, as well as his love of Bach, as he signs this piece in fairly large lettering, which was unusual for him at this time. It was produced in oil on canvas, typical for him, and is 73cm wide by 54cm, which is again fairly consistent within his overall career. The piece has changed hands on a number of occasions, via exchanges between different private collections. If we study the piece itself, we see elements of the violin from time to time, mostly merged into the items that surround it. We can certainly make out the bottom left and bottom right elements of the instrument, along with the top. Much is reduced to high levels of abstraction, though.

Creator:
(after) Georges Braque (1882 - 1963, French)
Creation Year:
1950's
Dimensions:
Height: 23 in (58.42 cm)Width: 30.5 in (77.47 cm)
Medium:
Archival Paper,Lithograph
Movement & Style:
Cubist
Period:
Mid-20th Century
Condition:
Gallery Location:
Cotignac, FR
Reference Number:
Seller: LG1stDibs: LU143027007132