Still Life with Musical Instruments In his Violin and Jug, begun at the end of 1909, and finished early in 1910, with its juxtaposed planes, overlapping volumes, straight lines contrasting with curves, cones, cylinders, inverted perspective, and sober colouring, it is easy to see both how much George Braque owes to Cézanne and how far he has outstripped him. The 1918 is the period of musical instruments and scores, tables and bowls of fruit. He now abandoned landscapes for still-life, which satisfied his growing desire for simple forms and sharply-defined volumes. He admitted himself:” I was Cubist without know it”. George Braque did not consciously choose to paint in the Cubist manner as other artists have painted in the Symbolist or Abstract manner. Yet would be wrong to accuse him of deliberate distortion. In short, the artist makes the appearance of the natural world conform to the own geometrical conception of it. The planes are reduced to their simplest possible forms and volumes vigorously defined. The main movement in these pictures is vertical the trees are mere trunks, and the house little more than polyhedral shapes the only colours, apart from brown, black and grey, are dull blues and greens.
#GEORGES BRAQUE CUBISM SERIES#
The Cubist vision is already expressed with masterly skill in a series of landscapes he painted at l’Estaque in 1908, and at La Roche-Guyon and in Normandy in 1909. It is generally believed that the first Cubist painting was Picasso’s Young Ladies of Avignon (1907), but the same claim might be made for George Braque’s Tall Man, Nude, which belongs to the same year. The whole of the greatest of Cubism, until the outbreak of the First World War, was dominated by their experiments, undertaken concurrently or in collaboration. The two artists, who first met in 1907, at the Apollinaire’s home, soon became life-long friends. The art critic Vauxcelles saw them, and complained that George Braque had reduced everything to ‘ geometrical diagrams and little cubes “, thereby unwittingly inventing a name for the new movement of which George Braque and Pablo Picasso were the founders and remain the truest representatives. The composition becomes more rigid and the colours darker and the George Braque’s Fauve period is over. Soon the stokes become longer and less angular, as in the ample arabesque of the House behind the trees, but these graceful curves in turn give way to a severer, more angular style. Suddenly a few splashes of colour short strokes and dots applied thickly and heavily, the outlines firmly drawn with the brush a few unpainted patches of white canvas here and there to rest the eyes all these combine to make a unified and coherent whole.
Many of these works are almost monochromes by using different shades of single colour, he endows is with an unsuspected power of evocation.įor a Fauve, he was singularly moderate and discreet. He is not trying to extend the limits of his art, but to define them not to multiply the means at his command, but to use them more economically, and with greater effect. In Braque’s Fauve pictures, the pure colors are less violent, the objects are more clearly defined, the construction more careful and the close connection between the colouring and the drawing characteristic of his later style is already evident. He appreciated the revolutionary nature of the movement, particularly the categorical and long overdue rejection of the traditional, linear perspective, chiaroscuro and modelling, but he was far too lucid and reflective an artist to give way to delirious enthusiasm, like Derain and Vlamink, or to sacrifice form to colour like Henri Matisse. George Braque Fauve’s period was of short duration, and his represented by no more than a score of paintings. Fauvism had burst upon an astonished world the year before, when Henri-Émile-Benoît Matisse (Le Cateau-Cambrésis 1869 – Nice 1954) exhibited his first landscapes of Collioure and Saint-Tropez, with their large patches of pure colour.ĭuring the Autumn Salon of 1905 which excited the fury of the diehard supporters of academic tradition and the protests of the last stalwarts of Impressionism.
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