where can u find georges braque paintings museum
Braque‘s paintings of 1908–1912 reflected his new interest in geometry and simultaneous perspective. He conducted an intense study of the effects of light and perspective and the technical means that painters use to represent these effects, seeming to question the most standard of artistic conventions. In his village scenes, for example, Braque frequently reduced an architectural structure to a geometric form approximating a cube, yet rendered its shading so that it looked both flat and three-dimensional by fragmenting the image. He showed this in the painting Houses at l’Estaque.
Beginning in 1909, Braque began to work closely with Pablo Picasso who had been developing a similar proto-Cubist style of painting. At the time, Pablo Picasso was influenced by Gauguin, Cézanne, African masks and Iberian sculpture while Braque was interested mainly in developing Cézanne’s ideas of multiple perspectives. “A comparison of the works of Picasso and Braque during 1908 reveals that the effect of his encounter with Picasso was more to accelerate and intensify Braque’s exploration of Cézanne’s ideas, rather than to divert his thinking in any essential way.”  Braque‘s essential subject is the ordinary objects he has known practically forever. Picasso celebrates animation, while Braque celebrates contemplation.  Thus, the invention of Cubism was a joint effort between Picasso and Braque, then residents of Montmartre, Paris. These artists were the style’s main innovators. After meeting in October or November 1907,  Braque and Picasso, in particular, began working on the development of Cubism in 1908. Both artists produced paintings of monochromatic color and complex patterns of faceted form, now termed Analytic Cubism.
In 1907 Braque visit’s Picasso‘s studio and views Picasso’s ground-breaking artworks. An instant friendship is struck between the two that will lead to a creation of groundbreaking art!
Georges Braque – metamorphoses-sculpture
How is the painting different from what you imagined? Are there any ways that it is similar to what you expected?
1. Picasso, in Herschel B. Chipp, Theories of Modern Art: A Source Book by Artists and Critics. Berkeley: University of California Press, 1996, p. 263.
In-Gallery Extra: Take the Audio Tour
Enhance your exhibition experience and discover additional aspects about the artwork. You may purchase the optional audio tour at the admissions desks.
The MFAH is the only U.S. venue for Georges Braque: A Retrospective, which premiered at the Grand Palais in Paris and has been organized to mark the 50th anniversary of the French artist’s death. The exhibition draws on the deep collections of Braque’s work at the Centre Pompidou in Paris, with additional loans gathered from public and private art collections across Europe and the United States. Works from the MFAH collections are also included.
Pablo Picasso, Man with a Pipe, 1911, oil on canvas, Kimbell Art Museum. Photo © MegaVision. © 2011 Estate of Pablo Picasso / Artists Rights Society (ARS), New York
I was delighted to have the opportunity to examine Braque’s Still Life with Bottles and Glasses from the DMA in the Kimbell conservation studio. Fortunately, this gem of a painting is unlined, which is rare for a cubist painting from this period. As a result, the impastoed (thickly textured) surface has never been flattened through lining. As one of my teachers wisely advised, think about a painting as a sculpture in low relief. If you look at the Braque in this way, you quickly begin to appreciate the rich variety in the artist’s application of paint—from thin areas where the paint is more fluid to thicker areas of impasto where he applied paint with a heavily loaded brush. Then, in the upper left, you might notice that the paint has a crusty texture that seems totally unrelated to the composition. With the permission of the DMA curators, I x-rayed the painting, which quickly revealed that Braque completely reworked the composition of Still Life with Bottles and Glasses during the course of painting. The texture of the underlying paint layers, later covered over, can still be seen on the surface. I was fascinated to discover this, because between Picasso and Braque, I always believed that Picasso had a greater tendency to radically rework his paintings (as he did with the Kimbell’s Man with a Pipe). Braque painted the Kimbell’s Girl with a Cross without making a single revision.