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Email to FriendSigné Georges Braque, Lithographie, Still Life with Apples, 1956  |
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| Artiste: | Braque, Georges (1882 - 1963), After |
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| Titre: | Still Life with Apples, 1956 |
| Moyen: | Lithographie |
| Taille d'image: | 13 3/4 in x 9 1/4 in (34.93 cm x 23.5 cm) |
| Taille de feuille: | 20 in x 16 in (50.8 cm x 40.6 cm) |
| Taille encadrée: | 25 1/2 in x 19 1/4 in (64.77 cm x 48.9 cm) |
| Signé: | Hand-signed by George Braque (1882 - 1963) in pencil in the lower right margin. Also signed in the stone in black in the lower right of the work |
| Edition: | Numbered 27/300 in pencil in the lower left margin, featuring publisher Guy Spitzer's blindstamp 'GS' in the lower left as well as his Authentication stamp on the reverse |
| Condition: | Rich colors with a rare textural quality; this work is in great condition |
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Prix
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Article# 1386
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| MFA SALE | 50% Off: $6,000 |
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Mysterious and alluring in both content and execution, this extraordinary lithograph captures the refined and personal style of Braque's later and more intriguing works. Braque displays the beauty in everyday objects, such as this trio of apples that, depicted through Braque's soft strokes and earthy hues, appear to glow with liveliness and vitality. |
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| Description historique: | |
This illuminated, still life scene reflects Braque's appreciation for the nature of the medium and his ability to enhance the beauty of most everyday objects. Muted tones of browns, greys, and black come alive with highlights of bright yellow and blue accents which award the still life with warmth and energy. A trio of ripe apples are so eloquently executed, placed atop a checkered tabletop in a black, scalloped bowl. The background becomes actively involved in the still life, seemingly textured and accented with shadows and silhouettes of other bowls and jars. Still Life with Apples captures the essence of Braque's cubist and abstract point of view to the entire genre, creating a world of his own for all to see. Created in 1956 after an original oil on canvas, this work is hand-signed by Georges Braque (1882 - 1963) in pencil in the lower right margin and also engraved in the stone in black in the lower right of the work. The piece is numbered 27/300 in pencil in the lower left margin. Printed by Guy Spitzer, this piece contains his blindstamp in the lower left. The printing stamp appears on the reverse lower left and features the artist's name and title of the piece. Catalogue Raisonné & COA: 1. Spitzer, Guy. Guy Spitzer, Éditeur d'Art. Illustrated and detailed on pg. 14. 2. Masterworks Fine Art, Inc. Certificate of Authenticity accompanies this work. About the Framing: | |
| Style: | Modern master, cubism |
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La biographie de Georges Braque
Georges Braque (1882 - 1963)
Georges Braque was born on May 13, 1882, in Argenteuil-sur-Seine, France. He grew up in Le Havre and studied evenings at the Ecole 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 Braque's Cubism 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, he also made Braque etchings, lithographs, engravings, prints and sculpture. 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.
