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Email to FriendGeorges Braque, Gravure à l'eau-forte Aquatinte, Pichet et Oiseau, c. 1955  |
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| Artiste: | Braque, Georges (1882 - 1963) |
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| Titre: | Pichet et Oiseau, c. 1955 |
| Référence: | MA. 1005 |
| Moyen: | Gravure à l'eau-forte Aquatinte |
| Taille d'image: | 20 1/4 in x 16 3/8 in (51.4 cm x 41.5 cm |
| Taille de feuille: | 30 1/8 in x 21 7/8 in (76.5 cm x 55.4 cm) |
| Taille encadrée: | approx. 40 in x 31 in (101.6 cm x 78.7 cm) |
| Signé: | This work is hand-signed by Georges Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) in pencil in the lower right margin; signed in the plate in black in the lower right. |
| Edition: | Numbered 147 from the edition of 200 in the lower left margin. |
| Condition: | This work is in excellent condition, with a strong plate mark and rich bold colors. |
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Prix
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Article# 2786
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| MFA SALE | 50% Off: $6,000 |
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Expressing the talent and skill of Braque's graphic works, this piece illustrates the artist's remarkable ability to create imaginative abstract still lives. In this sense, Braque has taken familiar objects and modified them to emphasize their symbolic value, encouraging us to use our imaginations to find meaning within this seemingly straightforward artistic genre. |
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| Description historique: | |
| Expressing the talent and skill of Braques (Argenteuil-sur-Seine, 1882- Paris, 1963) graphic works, this piece illustrates
the artist's remarkable ability to create imaginative abstract still lives.
In this sense, Braque has taken familiar objects and modified them to emphasize
their symbolic value. While the innate symbolism of a black bird, pitcher, and
small dining table may not be initially apparent, it is precisely the inexplicability
of this combination that encourages us as viewers to probe our own imaginations
and construct meaning and significance for ourselves. In addition to the importance
of the elements within the work, Braque has also taken great care with his selection
of colors. The artist has employed a rich dark palate that is occasionally interrupted
with splashes of bright yellow, white, and emerald and sea-foam greens. The
application of color is masterfully executed, so as to emphasize a variety of
textures throughout the work. This emphasis on texture similarly accentuates
the layered collage effect-a typical characteristic of Braque's earlier cubist
works.
Created c. 1955, this marvelous color etching and aquatint was printed under the supervision of the artist and published by Maeght Editeur, Paris. This work is hand-signed by Georges Braque (Argenteuil-sur-Seine, 1882- Paris, 1963)in pencil in the lower right margin and signed in the plate in black in the lower right. Numbered from the edition of 200 in pencil in the lower left margin. 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.
