george braque still life with banderialls
The things that Picasso and I said to one another during those years will never be said again, and even if they were, no one would understand them anymore. It was like being roped together on a mountain.
Vauxcelles, on 25 March 1909, used the terms “bizarreries cubiques” (cubic oddities) after seeing a painting by Braque at the Salon des Indépendants. 
The significance of this breakthrough cannot be overestimated because through this technique these artists declared the autonomy of the painted or drawn image, and radically severed it from any attempt at representation. The fragments attached to the picture’s surface rarely followed the contours or silhouettes of the drawn motifs (glasses, bottles, or musical instruments), but, paradoxically, contradicted them. Thus, they countered the conventional devices of modeling and depth perspective, and drew attention to the absolute flatness of the two-dimensional plane.
Still Life with Tenora is a consummate example of Braque’s papier collé (literally, pasted paper) style. The bold geometric fragments of contrasting types of paper interlaced with the figurative motifs drawn in charcoal evoke the structure of a fugue, in which two distinct melodies intertwine in a rich, sonorous composition, each acting as a foil to the other’s reality.
Norton Museum of Art © 2013 Artists Rights Society (ARS), New York / ADAGP, Paris
In fall 1939, the Arts Club of Chicago organized Braque’s first U.S. retrospective, featuring nearly 70 works from many sources, including the Phillips. Duncan Phillips then hosted an adapted version of the exhibition at The Phillips Collection, providing Braque‘s first U.S. museum retrospective. In the exhibition brochure, Phillips suggested his own preference for Braque’s work over Picasso’s: “Time may rank the mellowed craftsmanship and enchanting artistries of the reserved Frenchman higher than the restless virtuosities and eccentric innovations of the spectacular Spaniard.”