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Email to FriendSigné Georges Braque, Lithographie, La Charrue (The Plough), 1960  |
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| Artiste: | Braque, Georges (1882 - 1963) |
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| Titre: | La Charrue (The Plough), 1960 |
| Référence: | Vallier 150 |
| Moyen: | Lithographie |
| Taille d'image: | 12 in x 19 in (30.5 cm x 48.3 cm) |
| Taille de feuille: | 16 1/8 in x 25in (40.9cm x 63.5 cm) |
| Taille encadrée: | 38 in x 31 1/8 in (96.5 cm x 79.5 cm) |
| Signé: | Hand signed by Georges Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) in pencil in the lower right margin. |
| Edition: | Numbered from the edition of 150 in pencil in the lower left margin; printed and published by Maeght, Paris. |
| Condition: | This work is in excellent condition. |
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Prix
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Article# 2784
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| MFA SALE | 50% Off: $3,750 |
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Instilled with a strong sense of contrast, this piece is remarkable for its seamless combination of the organic with the technical. Braque depicts a plough against a background of graphing squares. Experimenting with his artistic style, Braque conveys the plough in his trademark manner of soft, graceful strokes, yet places his subject against a grid of squares, contrasting the symmetrical and defined squares with the loosely undefined form of the plough. |
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| Description historique: | |
| Combining the organic with the technical, Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) depicts a plough against a
background of graphing squares. The plough appears as if in watercolor, composed
of soft, organic strokes in shades of brown and beige. It rests amidst green
and brown splatters, as if lying in a pile of autumn leaves. A loose stroke
of tan encircles the entire composition, yet the grid squares manage to leak
out subtly from the boundaries of this tan line. The plough appears to both
obey and defy reason and order. The handles are linear, as if Braque used the
grid to create straight diagonal lines, yet the wheels do not connect from corner
to corner, defying the repetitious and symmetrical nature of the grid.
Created in 1960, this original color lithograph was printed on Japon nacré. This work is hand-signed by Georges Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) in pencil in the lower right margin and numbered from the edition of 150 in pencil in the lower left margin; printed and published by Maeght, Paris. DOCUMENTED AND ILLUSTRATED IN: About the Framing: | |
| Style: | Picasso Cubism, Cubist 20th Century French Modern Master |
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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.
