Braque, Georges - Cubismo
Terrace of Hotel Mistral, L'Estaque [and Paris], autumn 1907
Oil on canvas
31 1/2 x 24 in. (80 x 61 cm.)
Private collection
Musical Instruments, Paris, autumn 1908
Oil on canvas
19 3/4 x 24 in. (50 x 61 cm.)
Private collection
Houses at L'Estaque, L'Estaque, [August] 1908
Oil on canvas
28 3/4 x 23 1/2 in. (73 x 60 cm.)
Kunstmuseum, Bern
Viaduct at L'Estaque, Paris, early 1908
Oil on canvas
28 5/8 x 23 1/4 in. (72.5 x 59 cm.)
Musee National d'Art Moderne, Centre Georges Pompidou, Paris
Large Nude, Paris, spring 1908
Oil on canvas
55 1/4 x 39 1/2 in. (140 x 100 cm.)
Collection Alex Maguy, Paris
Fruit Dish, [Paris, winter], 1908-09
Oil on canvas
21 1/4 x 25 1/2 in. (54 x 65 cm.)
Moderna Museet, Stockholm
Harbor in Normandy, Le Havre and Paris, May-June 1909
Oil on canvas
37 7/8 x 37 7/8 in. (96.2 x 96.2 cm.)
The Art Institute of Chicago
Castle at La Roche-Guyon, La Roche-Guyon, summer 1909
Oil on canvas
36 1/4 x 28 3/4 in. (92 x 73 cm.)
Stedelijk van Abbe Museum, Eindhoven
Fishing Boats, 1909
Oil on canvas
36 1/4 x 28 7/8 in. (92.1 x 73.3 cm)
Museum of Fine Arts, Houston, Texas
Violin and Pitcher, Paris, early 1910
Oil on canvas
46 x 28 3/4 in. (117 x 73 cm.)
Kunstmuseum Basel
Violin and Candlestick, Paris, spring 1910
Oil on canvas
24 x 19 3/4 in. (61 x 50 cm.)
San Francisco Museum of Modern Art
Bottle and Fishes, L'Estaque, autumn 1910
Oil on canvas
24 x 29 1/2 in. (61 x 75 cm.)
The Tate Gallery, London
Le Sacré-Coeur, 1910
Oil on canvas
55.5 x 41 cm
Musée d´ Art Moderne du Nord. Villeneuve d´ Asq
Woman with a Mandolin, 1910
Oil on canvas
80,5 x 54 cm
Museo Thyssen-Bornemisza, Madrid
The Glass of Absinth, c. 1910-1911
Oil on canvas
30.1 x 24.5 cm oval
National Gallery of Canada, Ottawa
Man with a Guitar, Ceret, summer 1911
Oil on canvas
45 3/4 x 31 7/8 in. (116.2 x 80.9 cm.)
The Museum of Modern Art, New York
Le Portugais (The Emigrant), Ceret [and Paris], autumn 1911-early 1912
Oil on canvas
46 x 32 in. (117 x 81 cm.)
Kunstmuseum Basel
Man with a Violin, Paris, spring 1912
Oil on canvas (oval)
39 1/2 x 28 3/4 in. (100 x 73 cm.)
Foundation E.G. Buhrie Collection, Zurich
Fruit Dish, "Quotidien du Midi", Sorgues, August-September 1912
Oil and sand on canvas
16 x 13 in. (41 x 33 cm.)
Thomas Ammann Fine Art, Zurich
Fruitdish and Glass, September 1912
Pasted papers and charcoal on paper
Private collection
Still Life with a Violin, Sorgues, autumn 1912
Charcoal and pasted paper
24 1/2 x 18 7/8 in. (62.1 x 47.8 cm.)
Yale University Art Gallery, New Haven, Connecticut
The Fruitdish, 1912
Oil and sand on canvas
Private collection
Still Life with Harp and Violin, 1912
Oil on canvas
116 x 81 cm
Kunstsammlung Nordrhein-Westfalen, Dusseldorf
Still Life BACH, 1912
Pasted paper and charcoal on paper
Kunstmuseum Basel
Fruit Dish, Ace of Clubs, Paris, early 1913
Oil, gouache, and charcoal on canvas
31 7/8 x 23 5/8 in. (81 x 60 cm.)
Musée National d'Art Moderne, Centre Georges Pompidou, Paris
Pedestal Table, Paris, early 1913
Oil and charcoal on canvas
25 3/4 x 36 1/4 in. (65 x 92 cm.)
Kunstmuseum Basel
Bottle, Newspaper, Pipe, and Glass, 1913
Charcoal and various papers pasted on paper
48 x 64 cm (18 7/8 x 25 1/4 in.)
Private collection
Tenora, 1913
Pasted paper, oil, charcoal, chalk, and pencil on canvas
37 1/2 x 47 5/8 in. (95.2 x 120.3 cm)
The Museum of Modern Art, New York
Woman with a Guitar, Sorgues, autumn 1913
Oil and charcoal on canvas
51 1/4 x 28 3/4 in. (130 x 73 cm.)
Musée National d'Art Moderne, Centre Georges Pompidou, Paris
Violin and Pipe: "Le Quotidien", Paris, after December 20, 1913
Chalk, charcoal, and pasted paper
29 1/8 x 41 3/4 in. (74 x 106 cm.)
Musée National d'Art Moderne, Centre Georges Pompidou, Paris
Still Life on a Table: "Gillette, Paris, early 1914
Charcoal, pasted paper, and gouache
Musée National d'Art Moderne, Centre Georges Pompidou, Paris
Glass, Carafe and Newspapers, 1914
Pasted papers, chalk and charcoal on cardboard
62.5 x 28.5 cm (24 5/8 x 11 1/4 in.)
Private collection
Fruit on a Tablecloth with a Fruitdish, 1925
Oil on canvas
51 3/16 x 29 1/2 in. (130 x 75 cm)
Musée National d'Art Moderne, Centre Georges Pompidou, Paris
The Bowl of Grapes (Le Compotier de raisins), 1926
Oil with pebbles and sand on fine linen canvas
39 3/8 x 31 1/4 inches
Guggenheim Museum, New York City
The Blue Mandolin, 1930
Oil with sand on canvas
46 x 35 in. (116.8 x 88.9 cm)
Saint Louis Art Museum, Missouri
Glass and Fruit, 1931
oil with sand on canvas
15 x 18 1/4 in. (38.1 x 46.4 cm)
Saint Louis Art Museum, Missouri
Woman with a Mandolin, 1937
Oil on canvas
51 1/4 x 38 1/4" (130.2 x 97.2 cm)
The Museum of Modern Art, New York City
The Pink Tablecloth, 1938
Oil on canvas
87,5 x 106 cm
Museo Thyssen-Bornemisza, Madrid
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The Studio, 1939
Oil with sand on canvas
H. 44-1/2, W. 57-1/2 in. (113 x 146.1 cm)
The Metropolitan Museum of Art, New York City
Black Fish, 1942
Oil on canvas
33 x 55 cm
Musée national d'Art Moderne, Centre Georges Pompidou, Paris
Interior with Palette, 1942
Oil on canvas
55 5/8 x 77 in.
The Menil Collection, Houston, Texas
Still Life with Palette, 1943
Oil on canvas
23 5/8 x 31 7/8 in. (60 x 81 cm)
Saint Louis Art Museum, Missouri
Woman with Mandolin 1945
La Mandoline
Lithograph on paper
245 x 170 mm
Tate Gallery, London
Helios V, 1948
Lithograph on paper
502 x 425 mm
Tate Gallery, London
Studio I, 1949
Oil on canvas
92 x 73 cm
Private collection
Studio V. 1949-50
Oil on canvas
57 7/8 x 69 1/2" (147 x 176.5 cm)
The Museum of Modern Art, New York City
Poster, 1953
Print poster
60.5 x 41.6cm sheet
Art Gallery of New South Wales, Sydney, Australia
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Em "Fruit Dish, Ace of Clubs, Paris, 1913", um cacho de uvas, cartas de jogare partes de instrumentos musicais parecem ter sido colocados na tela por acaso, embora, na realidade, a composição tenha sido cuidadosamente construída. Braque mostra uma mesa redonda, vista de cima. Contudo, a gaveta parece ter sido pintada de frente, tal como os ases de paus e de copas, em cima. O cacho de uvas pare flutuar na superfície e encontram-se letras espalhadas pela composição. Ao invés de recriar a ilusão de um espaço real na tela plana, através do recurso à perspectiva, luz e sombra, Braque sugeriu tridimensionalidade e profundidade ao mostrar simultaneamente a vista do topo e do lado da mesa. Invluiu também elementos pintados de forma a parecerem madeira sugerindo novamente uma forma real por detrás do plano do quadro. Junto com Picasso, Braque inventou o Cubismo em 1907, um movimento revolucionário que desafiava a abordagem tradicional à representação do espaço numa superfície bidimensional, abrindo caminho para a abstracção. Georges Braque nasceu em Argenteuil-sur-Seine (FR) em 1882 e morreu em Paris em 1963.
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Georges Braque was born on May 13, 1882, in Argenteuil-sur-Seine, France. He grew up in Le Havre and studied evenings at the École des Beaux-Arts there from about 1897 to 1899. He left for Paris to study under a master decorator to receive his craftsman certificate in 1901. From 1902 to 1904 he painted at the Académie Humbert in Paris, where he met Marie Laurencin and Francis Picabia. By 1906 Braque’s work was no longer Impressionist but Fauve in style; after spending that summer in Antwerp with Othon Friesz, he showed his Fauve work the following year in the Salon des Indépendants in Paris. His first solo show was at Daniel-Henri Kahnweiler’s gallery in 1908. From 1909 Pablo Picasso and Braque worked together in developing Cubism; by 1911 their styles were extremely similar. In 1912 they started to incorporate collage elements into their paintings and to experiment with the papier collé (pasted paper) technique. Their artistic collaboration lasted until 1914. Braque served in the French army during World War I and was wounded; upon his recovery in 1917 he began a close friendship with Juan Gris. After World War I Braque’s work became freer and less schematic. His fame grew in 1922 as a result of an exhibition at the Salon d’Automne in Paris. In the mid-1920s Braque designed the decor for two Sergei Diaghilev ballets. By the end of the decade, he had returned to a more realistic interpretation of nature, although certain aspects of Cubism [more] always remained present in his work. In 1931 Braque made his first engraved plasters and began to portray mythological subjects. His first important retrospective took place in 1933 at the Kunsthalle Basel. He won first prize at the Carnegie International, Pittsburgh, in 1937. During World War II Braque remained in Paris. His paintings at that time, primarily still lifes and interiors, became more somber. In addition to paintings, Braque also made lithographs, engravings, and sculptures. From the late 1940s he treated various recurring themes such as birds, ateliers, landscapes, and seascapes. In 1954 he designed stained-glass windows for the church of Varengeville. During the last few years of his life, Braque’s ill health prevented him from undertaking further large-scale commissions, but he continued to paint, make lithographs, and design jewelry. He died on August 31, 1963, in Paris.
Guggenheim Collection - Braque Biography
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