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(after) Georges BraqueLe Repos - Original Lithograph After G. Braque - 19671967
1967
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About the Item
Le Repos is an original lithograph realized by Georges Braque (After) (Argenteuil, 1882 - Paris, 1963) in 1967.
Original Lithograph on paper.
Published by Maeght Editeur, Paris. Credits printed on rear.
Mint Conditions.
Georges Braque (1882-1963) was a French Fauve painter who began to rethink his own painting style after admiring Picasso’s Les Demoiselles. Using the painting’s revolutionary elements as a point of departure, together Braque and Picasso invented Cubism around 1908 in the belief the art of painting had to move far beyond the depiction of visual reality. Most scholars call the first phase of Cubism, developed cooperatively by Picasso and Braque, Analytic Cubism, because essentially it is a painterly study of the structure of form.
- Creator:(after) Georges Braque (1882 - 1963, French)
- Creation Year:1967
- Dimensions:Height: 12.21 in (31 cm)Width: 11.03 in (28 cm)Depth: 0.08 in (2 mm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:Insurance may be requested by customers as additional service, contact us for more information.
- Gallery Location:Roma, IT
- Reference Number:Seller: M-1150661stDibs: LU65037505292
(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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The father of Cubism
Three Cubist that distinguishes art historian periods were initiated and developed by Georges Braque: The Cubist Cézanne (1907-1909), Executive (1909-1912) and synthetic (1912-1922).
Post-Impressionist and fawn, Braque no longer adheres to the contingency of a decorative way or the other. Cézanne’s paintings exhibited at the Grand Palais during the retrospective of 1907 are a revelation: Cézanne sought and invented a pictorial language. In his footsteps, Braque went to the South with the reasons of the Master. He returned with Estaque landscapes and surprising Ciotat it keeps Cezanne geometric model and retains the “passages” continuity from one surface to another to create the sensation of “turning around” of the object represented. But he wants to go after the consequences of the vision of Cezanne. In his paintings Houses in L’Estaque (1908) it simplifies the volumes of houses, neglects detail by removing doors and windows: the plastic rhythm that builds the table. Large Nude , a masterpiece of the period, can be considered the first work of Cézanne cubism .
Systematizing and deepening Braque discoveries open the door analytical cubism. In 1909, his painting became more cerebral than sensual. The pattern is recreated in the two-dimensionality of the canvas, leaving aside any illusionistic perspective. In Still Life with Violin, objects are analyzed facets according to their characteristic elements, each facet referring to a particular view of the object. There are so many facets of points selected view: Table reflects the knowledge of the object and the ubiquity of the eye. Moreover, Braque is looking for the essence of the objects in the world rather than their contingency, which explains the absence of light source and use of muted colors (gray, ocher), contingent aspects of the object . But formal logic has stepped facets, erased any anecdote to the object and ultimately led to his painting a hermetic more marked on the edge of abstraction (see the series of Castle Roche-Guyon ).
Braque, anxious to keep the concrete and refusing at all costs that the logic of Cubism takes the paintings to abstract, reintroduced signs of reality in his paintings in 1912 marks the beginning of Synthetic Cubism. Historians speak of “signs of real” rather than reality because what interests Braque, this is not to put reality into a table, but to create a painting which, by its language, refers to the real. To do this, he invented two major techniques XX th century inclusions and contributions. The inclusions consist of painting objects that have no real depth, materials (wallpaper in Nature morte aux playing cards faux wood is a pictorial inclusion) or letters (calligraphic inclusion in Portuguese ), made first brush and a few months later stencil. Contributions are defined in contrast with the collage on canvas of foreign materials: glued or sand paper, sawdust, etc.. Regarding the collages, Braque used for the first time in September 1912 a piece of adhesive paper imitating faux wood Compote and Glass , then the packet envelope of tobacco Bock in 1912-1913, or an advertisement in Damier , 1913). Inputs and inclusions refer to an external object in the table, without “emulate” this object. Away from their appearances, objects are represented in closest essence of the objects in the real world sense.
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Métamorphoses period(1961-1963).
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