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Georges BraqueUntitled (Fleur Tombe), 19621962
1962
About the Item
The rich blue color bursts from the page in Georges Braque Untitled (Fleur Tombe), 1962, overtaking the black lettering and white background. Drawn onto the title page of the book “Braque Le goût de notre temps” by Albert Skira this hand applied watercolor is striking. In several strong stokes, a flower is presented with its blue petals seeming to float down the page until almost reaching the bottom. The delicate blue touches the page which in turn lights up with brilliant flowers. The petals are slightly smudged, and you can see the brushstrokes that Braque applied to the page. PArt of what makes this unique watercolor so wonderful is that the viewer can so clearly see and feel the hand of the artist. Caught in between the flower and falling petals is the black hand-written dedication that reads, “Pour Louis Broder, Le 22 Mars 1962.”
Louis Broder was an art publisher and collaborator to many of the greatest artists of the 20th century. He commissioned artists such as Pablo Picasso, Jean Art, Jacques Villon, Andre Masson, and of course Georges Braque to create interpretations of literary works, poems, or conceptual ideas through a variety of mediums.
Dated to March 22, 1965, this unique original watercolor drawing by Georges Braque (Argenteuil, 1882- Paris, 1963) is featured in the book “Braque Le goût de notre temps” by Albert Skira with text by Jean Leymarie, published by editions d’Art Albert Skira, 1961. There is a hand written dedication in ink, in the upper left that reads, “Pour Louis Broder Le 22 Mars 1962.” This work only contains the title page and not the entire publication.
About the Framing:
Georges Braque Fleur Tombe (Untitled), 1962 is framed to museum-grade, conservation standards, presented in a complementary moulding and optical grade Plexiglas.
- Creator:Georges Braque (1882 - 1963, French)
- Creation Year:1962
- Dimensions:Height: 7 in (17.78 cm)Width: 6.25 in (15.88 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Palo Alto, CA
- Reference Number:Seller: 40171stDibs: LU156729187282
Georges Braque
Georges Braque was born in Argenteuil, France, in 1882. Braque lived much of his childhood and young adult life in Le Havre. He attended night classes at the art school from 1897–99 and then moved to Paris, where he obtained his license as a master decorator. From 1905–06, after studying at École des Beaux-Arts in Paris and having been influenced by the works of Henri Matisse, he began to paint in the way of Fauvism by using bright colors and taking advantage of the freedom of the composition. Paysage à L'Estaque (1906) was one of the prominent works of art made at this time.
The year 1907 was a significant time in Braque's development, wherein he visited the retrospective on Paul Cézanne and he came into contact with Picasso, who was very engrossed in the realization of Les Demoiselles d'Avignon at the time. At this point, Braque began nurturing a considerable interest in primitive art. After the First World War, Braque worked autonomously and developed a more personal style, which was characterized by vivid colors and textured surfaces. Braque painted still life, interior views, and ocean scenes. The Ateliers (1948–55) and Birds (1955–63) series were painted during this period. In 1948, he obtained his first award for painting at the XXIV Biennial in Venice.
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Coming back to its nest and hatched egg, a great black bird is hardly visible against the dark green of its home and the brown leaves behind. Rather than spend time on the details, Braque emphasizes the spatial arrangement of the scene. Everything is compressed down to one level; the curtain of heart-shaped leaves blends together as it falls toward the nest. Braque sees how the tree, nest and bird interrelate, and this entwined relationship is what he chooses to show.
Created circa 1950, this original color etching is hand-signed by Georges Braque (Argentueil, Val-d'Oise, 1882 - Paris, 1963) in pencil in the lower right margin and numbered 281/300 in pencil in the lower left margin. The edition was printed by Atelier Krommelinck, Paris on Rives paper, and published by Maeght, Paris.
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