3.2 Georges Braque

Georges Braque, a French painter born in 1882, played a pivotal role in the development of Cubism. His early exposure to painting through his family's business laid the foundation for his artistic journey, which began with Fauvism before evolving into Cubism.

Braque's collaboration with Pablo Picasso revolutionized modern art. Together, they pioneered Analytic and Synthetic Cubism, challenging traditional perspective and representation. Braque's innovative techniques, including papier collé, continued to influence art movements long after his Cubist period.

Early life and training

• Georges Braque was born on May 13, 1882, in Argenteuil, France, a suburb of Paris known for its artistic community
• He grew up in Le Havre, where his father and grandfather operated a successful house-painting business, which exposed Braque to the practical aspects of color and design from a young age
• Braque studied at the École des Beaux-Arts in Le Havre from 1897 to 1899, focusing on traditional academic painting techniques and learning the skills that would later inform his avant-garde work

Fauvist period

Influence of Matisse and Derain

Top images from around the web for Influence of Matisse and Derain

• 

  Paysage à la Ciotat, Georges Braque | Eté 1907 Museum of Mod… | Flickr View original

  Is this image relevant?

• 

  Georges Braque French, 1882–1963 Landscape at L'Estaque, a… | Flickr View original

  Is this image relevant?

• 

  Georges Braque, L'Estaque, 1906 | Sharon Mollerus | Flickr View original

  Is this image relevant?

• 

  Paysage à la Ciotat, Georges Braque | Eté 1907 Museum of Mod… | Flickr View original

  Is this image relevant?

• 

  Georges Braque French, 1882–1963 Landscape at L'Estaque, a… | Flickr View original

  Is this image relevant?

1 of 3

Top images from around the web for Influence of Matisse and Derain

• 

  Paysage à la Ciotat, Georges Braque | Eté 1907 Museum of Mod… | Flickr View original

  Is this image relevant?

• 

  Georges Braque French, 1882–1963 Landscape at L'Estaque, a… | Flickr View original

  Is this image relevant?

• 

  Georges Braque, L'Estaque, 1906 | Sharon Mollerus | Flickr View original

  Is this image relevant?

• 

  Paysage à la Ciotat, Georges Braque | Eté 1907 Museum of Mod… | Flickr View original

  Is this image relevant?

• 

  Georges Braque French, 1882–1963 Landscape at L'Estaque, a… | Flickr View original

  Is this image relevant?

1 of 3

• In 1905, Braque encountered the bold, expressive works of Henri Matisse and André Derain at the Salon d'Automne in Paris, which showcased the emerging Fauvist movement
• The Fauvist emphasis on intense, non-naturalistic colors and loose, spontaneous brushwork had a profound impact on Braque's early artistic development
• Braque adopted Fauvist techniques in his own work, such as the vibrant palette and energetic application of paint, as seen in his landscape paintings of L'Estaque from 1906-1907

Vibrant colors and loose brushwork

• During his Fauvist period, Braque embraced the movement's signature use of bright, expressive colors, often applied in broad, visible brushstrokes
• He explored the emotional and decorative potential of color, using hues like vivid oranges, pinks, and greens to create a sense of heightened reality and visual intensity
• Braque's loose, gestural brushwork emphasized the physicality of the painting process and the artist's hand, breaking away from the smooth, polished surfaces of academic art

Cubist period

Meeting Picasso and developing Cubism

• In 1907, Braque met Pablo Picasso, who had recently painted the groundbreaking work "Les Demoiselles d'Avignon," which introduced elements of abstraction and multiple perspectives
• Braque and Picasso began a close artistic collaboration, working together to develop the principles of Cubism, a revolutionary approach to representing form and space on the two-dimensional surface of the canvas
• The two artists shared ideas, techniques, and motifs, often working in a friendly rivalry to push the boundaries of their new visual language

Analytic Cubism

• From 1909 to 1912, Braque and Picasso pioneered the Analytic Cubist phase, characterized by the breaking down of objects into faceted, geometric planes and the use of muted, monochromatic color schemes
• Analytic Cubist works, such as Braque's "Violin and Candlestick" (1910), presented fragmented, interlocking forms that challenged traditional notions of perspective and representation
• The paintings often depicted still life objects or figures from multiple viewpoints simultaneously, creating a sense of ambiguity and inviting the viewer to actively engage with the composition

Synthetic Cubism

• Around 1912, Braque and Picasso transitioned into the Synthetic Cubist phase, which introduced brighter colors, simpler shapes, and the incorporation of collage elements into their paintings
• Synthetic Cubism marked a shift towards a more playful, decorative approach, with the inclusion of everyday materials like newspaper clippings, wallpaper, and faux wood grain in works such as Braque's "Fruit Dish and Glass" (1912)
• The use of collage and mixed media challenged traditional notions of fine art and blurred the boundaries between painting and sculpture

Still lifes and landscapes

• Throughout his Cubist period, Braque focused primarily on still life subjects, such as musical instruments, bottles, glasses, and fruit, using these everyday objects as vehicles for formal experimentation
• He also produced a series of Cubist landscapes, particularly of the French coastal town of L'Estaque, where he spent summers painting and drawing inspiration from the natural surroundings
• In both his still lifes and landscapes, Braque explored the interplay of form, space, and light, breaking down and reassembling the elements of his compositions to create new, dynamic relationships

Papier collé technique

• In 1912, Braque invented the papier collé (pasted paper) technique, which involved incorporating pieces of cut paper, often with printed or painted patterns, into his drawings and paintings
• The papier collé works, such as "Fruit Dish and Glass" (1912), introduced real-world materials and textures into the realm of fine art, challenging the traditional hierarchy of artistic media
• This technique became a hallmark of Synthetic Cubism and had a significant influence on the development of collage as an artistic practice throughout the 20th century

World War I and beyond

Injury and recovery

• In 1914, at the outbreak of World War I, Braque enlisted in the French Army and served in the infantry
• In 1915, he suffered a severe head injury during the Battle of Carency and underwent a lengthy recovery process, which included a period of temporary blindness and a metal plate being inserted into his skull
• The war experience had a profound impact on Braque's life and art, leading to a more introspective and contemplative approach in his later works

Return to painting

• After his recovery, Braque gradually returned to painting, initially focusing on still life subjects and interiors that reflected a quieter, more intimate mood compared to his earlier Cubist works
• In the 1920s, he began to reintroduce color and a sense of three-dimensional space into his paintings, as seen in works like "The Round Table" (1929), which showcased a more naturalistic style while still maintaining elements of Cubist composition
• Braque also explored other media during this period, such as printmaking and sculpture, expanding his artistic repertoire and experimenting with new forms of expression

Continued exploration of Cubism

• Although Braque's post-war work evolved in style and subject matter, he continued to engage with the principles and techniques of Cubism throughout his career
• He maintained an interest in the fragmentation and flattening of form, the incorporation of multiple perspectives, and the interplay between two-dimensional and three-dimensional space
• Braque's later Cubist works often featured a more subdued color palette and a greater emphasis on texture and surface qualities, as exemplified by his series of "Billiard Table" paintings from the late 1940s and early 1950s

Later works and legacy

Sustained interest in still lifes

• In the later decades of his career, Braque continued to focus on still life subjects, creating increasingly complex and layered compositions that combined elements of painting, drawing, and collage
• His late still lifes, such as the "Studio" series from the 1940s and 1950s, showcased his ongoing fascination with the formal properties of everyday objects and his mastery of texture, color, and form
• These works often featured a restricted color palette, emphasizing subtle tonal variations and the interplay of light and shadow on surfaces

Influence on Abstract Expressionism

• Although Braque is primarily associated with the development of Cubism, his later works had a significant impact on the emerging Abstract Expressionist movement in the United States
• American artists like Willem de Kooning and Jackson Pollock were drawn to Braque's emphasis on the physical act of painting, his use of gestural brushwork, and his exploration of the inherent qualities of his materials
• Braque's example helped to pave the way for the Abstract Expressionists' embrace of spontaneity, improvisation, and the primacy of the artistic process over representational content

Recognition and exhibitions

• In the post-war years, Braque received increasing recognition for his contributions to modern art, with major exhibitions of his work held in Paris, London, and New York
• He was awarded the Carnegie Prize in 1937 and the Venice Biennale Grand Prize for Painting in 1948, cementing his status as one of the most influential artists of the 20th century
• Braque's legacy continues to be celebrated through ongoing exhibitions, scholarship, and the presence of his works in major museum collections around the world

Artistic style and techniques

Muted color palette

• Throughout his career, Braque often favored a muted, earthy color palette, particularly during his Cubist period and in his later still life paintings
• He frequently used shades of brown, gray, and green, creating subtle tonal variations and a sense of unity within his compositions
• Braque's restrained use of color allowed him to focus on the formal properties of his subjects, emphasizing the interplay of shape, line, and texture

Fragmented and flattened forms

• One of the defining characteristics of Braque's Cubist work is the fragmentation and flattening of form, as he broke down objects into geometric planes and facets
• By presenting multiple viewpoints simultaneously and compressing three-dimensional space onto the two-dimensional surface of the canvas, Braque challenged traditional notions of perspective and representation
• The fragmented, overlapping forms in his paintings create a sense of ambiguity and encourage the viewer to actively engage with the composition, piecing together the various elements to form a cohesive whole

Incorporation of mixed media

• Braque was a pioneer in the use of mixed media, incorporating elements like sand, sawdust, and metal filings into his paint to create unique textures and surface qualities
• He also frequently used collage techniques, pasting pieces of paper, fabric, and other materials onto his canvases to introduce real-world elements and challenge the traditional boundaries between painting and sculpture
• The incorporation of mixed media allowed Braque to explore the inherent properties of his materials and to create works that blurred the lines between representation and abstraction

Emphasis on structure vs representation

• Throughout his artistic career, Braque prioritized the formal structure and composition of his paintings over the accurate representation of his subjects
• He sought to create a new visual language that emphasized the two-dimensional nature of the picture plane and the inherent qualities of the medium itself
• By focusing on the arrangement of shapes, lines, and colors, rather than the literal depiction of objects or scenes, Braque helped to lay the foundation for the development of abstract art in the 20th century

Key works and analysis

Houses at l'Estaque (1908)

• "Houses at l'Estaque" is one of Braque's early Cubist landscapes, painted during a summer spent in the French coastal town of L'Estaque
• The painting features a series of angular, geometric forms that represent the houses and buildings of the town, set against a muted background of green and gray
• Braque breaks down the architectural elements into simplified planes and facets, creating a sense of flattened space and multiple perspectives that challenges traditional notions of perspective and depth
• The composition emphasizes the formal structure of the landscape, with the interlocking shapes and lines creating a sense of rhythm and unity

Violin and Candlestick (1910)

• "Violin and Candlestick" is a seminal work from Braque's Analytic Cubist period, showcasing the artist's innovative approach to still life painting
• The composition features a fragmented and abstracted representation of a violin and a candlestick, broken down into a series of overlapping, geometric planes
• Braque uses a limited, monochromatic color palette of browns and grays, emphasizing the formal properties of the objects rather than their literal appearance
• The painting challenges the viewer to mentally reconstruct the objects from the disparate elements, engaging them in an active process of perception and interpretation

Man with a Guitar (1911-1912)

• "Man with a Guitar" is a prime example of Braque's exploration of the human figure within the context of Analytic Cubism
• The painting depicts a seated musician, his form fragmented and merged with the surrounding space and the guitar he holds
• Braque breaks down the figure and instrument into a series of interlocking, geometric shapes, creating a complex, multi-faceted composition that challenges traditional notions of representation
• The muted color palette and emphasis on structure over likeness reflect Braque's ongoing interest in the formal properties of painting and the relationship between form and space

The Round Table (1929)

• "The Round Table" marks a shift in Braque's style during the post-war period, as he began to reintroduce elements of color and three-dimensional space into his work
• The painting depicts a still life arrangement on a round table, with objects like a compote dish, a pipe, and a newspaper rendered in a more naturalistic style compared to his earlier Cubist works
• Braque employs a brighter color palette and a greater sense of depth and volume, while still maintaining a focus on the formal structure and composition of the painting
• The work reflects Braque's ongoing engagement with the still life genre and his ability to adapt his style and techniques to new artistic challenges and contexts

Relationship with Picasso

Friendship and artistic dialogue

• Braque and Picasso developed a close friendship and artistic partnership that lasted from their initial meeting in 1907 until the outbreak of World War I in 1914
• The two artists engaged in a constant dialogue and exchange of ideas, often working in close proximity and sharing studio spaces
• Their friendship was characterized by a spirit of collaboration and friendly rivalry, as they pushed each other to explore new artistic frontiers and challenge established conventions
• The intellectual and creative bond between Braque and Picasso played a crucial role in the development and evolution of Cubism

Differences in temperament and approach

• Despite their close collaboration, Braque and Picasso had distinct personalities and approaches to their art
• Braque was known for his more reserved and introspective nature, often focusing on the formal properties of his subjects and the inherent qualities of his materials
• Picasso, on the other hand, was more outgoing and experimental, constantly seeking new ways to challenge and subvert traditional artistic norms
• These differences in temperament and approach led to a productive tension in their relationship, as they each brought unique perspectives and ideas to their shared exploration of Cubism

Mutual influence and rivalry

• Throughout their Cubist period, Braque and Picasso continually influenced and inspired each other, pushing the boundaries of their new visual language
• They often worked on similar subjects and motifs, such as still lifes and musical instruments, and exchanged ideas about composition, technique, and materials
• At the same time, their relationship was marked by a sense of friendly rivalry, as each sought to outdo the other and stake their claim as the leading innovator of the Cubist movement
• This combination of mutual influence and competition fueled their artistic growth and helped to establish Cubism as one of the most significant developments in the history of modern art

Philosophical and theoretical underpinnings

Interest in perception and reality

• Braque's Cubist work was informed by a deep interest in the nature of perception and the relationship between art and reality
• He sought to challenge traditional notions of representation and explore the ways in which the human mind constructs and interprets visual information
• By breaking down objects into fragmented, geometric forms and presenting multiple perspectives simultaneously, Braque questioned the idea of a single, objective reality and emphasized the subjective nature of perception
• His paintings invite the viewer to actively engage with the work and construct their own understanding of the subject, blurring the boundaries between the real and the abstract

Challenge to traditional perspective

• One of the key philosophical underpinnings of Braque's Cubist work was a rejection of the traditional system of linear perspective that had dominated Western art since the Renaissance
• Braque and Picasso sought to create a new visual language that more accurately reflected the complex, multi-faceted nature of human perception
• By presenting objects from multiple viewpoints and flattening the picture plane, they challenged the idea of a single, fixed perspective and emphasized the two-dimensional nature of the canvas
• This radical break with traditional perspective opened up new possibilities for the representation of form and space in art and laid the groundwork for the development of abstraction in the 20th century

Exploration of multiple viewpoints

• Central to Braque's Cubist philosophy was the idea of depicting objects from multiple viewpoints simultaneously, creating a more comprehensive and dynamic representation of the subject
• By combining different angles and perspectives within a single composition, Braque sought to capture the essence of an object or scene, rather than simply reproducing its outward appearance
• This exploration of multiple viewpoints reflected a broader interest in the nature of perception and the ways in which the human mind processes and synthesizes visual information
• The resulting paintings challenge the viewer to actively engage with the work, piecing together the various fragments and perspectives to form a cohesive understanding of the subject

Influence of Cézanne and Primitivism

• Braque's Cubist work was heavily influenced by the late paintings of Paul Cézanne, who had begun to break down forms into simplified, geometric shapes and emphasize the inherent structure of his subjects
• Cézanne's approach to composition and his interest in the relationship between form and space provided a key foundation for the development of Cubism
• Braque and Picasso were also influenced by the art of non-Western cultures, particularly African and Oceanic art, which they encountered in ethnographic museums and collections in Paris
• The simplified, geometric forms and powerful expressiveness of these "primitive" artworks inspired Braque and Picasso to move away from traditional Western notions of representation and explore new ways of depicting form and space
• The incorporation of elements from non-Western art into their Cubist works reflects a broader interest in the universal qualities of human perception and experience that transcend cultural boundaries