still life (newspaper and lemon) georges braque
Condition Report: Mat burns around all edges; staining upper center; adhesive and adhesive stains …
Condition Report: Mat burns around all edges; staining upper center; adhesive and adhesive stains upper edge on verso; two small foxing spots at lower center on verso; edges showing signs of becoming brittle. Framed, matted and hinged.
from the same year, turned away from the viewer and placed beside an artist’s palette.
Braque’s strong interest in the materials of painting stemmed in part from his early work as a house and decorative painter. The intricate textures, subtle variations of surface, and visible reworking seen in many of the pieces featured in the exhibition indicate Braque’s continued focus on material and process. Conservators from the Phillips and the Harvard Art Museums conducted the first in-depth research of its kind on Braque‘s work from this crucial period in the artist’s career, examining 21 paintings, including four from The Phillips Collection.
The creation of cubism, which is considered to be the greatest revolution in art since the Renaissance, was not a result of a laboratory or structural work. Picasso and Braque had no specific plans or ideas.
Big trees at Estaque by Braque
Duncan Phillips ultimately acquired 11 of Braque‘s oil paintings. Phillips also left his museum another remarkable connection with the artist. In 1959, he received Braque’s permission to have a bas-relief designed after one of the artist’s prints to be used as a decorative entrance element for the museum. This symbol of a bird in flight remains a significant icon of The Phillips Collection’s identity.
Philadelphia Museum of Art, The Samuel S. White 3rd and Vera White Collection, 1967 © 2013 Artists Rights Society (ARS), New York / ADAGP, Paris
It was at this stage in the development of Cubism that Juan Gris came into his own as the poet of the movement. A wonderful example of Gris’ famous still lives is Newspaper and Fruit Dish. Gris has used subtle patterns and repetition of shape to create the illusion of texture in this still life. Brighter colors, ornamental patterns and the overlapping of forms that seemed to be cut out and glued to the canvas very well exemplify not only Gris’s body of work but also overall later development of Synthetic Cubism.
Synthetic Cubism started developing in 1912 as a more colorful than the earlier analytical form of cubism and innovative in it’s use of collage (from the French “coller”, meaning to stick) and papier colles (from the French, meaning pasted paper). If Analytical Cubism was all about the deconstruction of objects, Synthetic Cubism was about their reconstruction or their ‘synthesis’. This process incorporated scraps of everyday materials into the paintings creating more relaxed and playful set of aesthetics. The theory proposed that by introducing physical elements of real life into the artwork, paintings would become more ‘real’. Synthetic Cubism would have notable influence on other important movements such as Dadaism, Surrealism and later, Pop Art.