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Email to FriendGeorges Braque, Gravure à l'eau-forte Aquatinte, Nature Morte à la Pipe (Still Life with Pipe), 1959  |
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| Artiste: | Braque, Georges (1882 - 1963), After |
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| Titre: | Nature Morte à la Pipe (Still Life with Pipe), 1959 |
| Moyen: | Gravure à l'eau-forte Aquatinte |
| Taille d'image: | 18 3/8 in x 7 7/8 in (46.5 cm x 19.9 cm) |
| Taille de feuille: | 25 1/2 in x 15 1/8 in (64.8 cm x 38.4 cm) |
| Taille encadrée: | 42 3/4 in x 32 1/2 in (108.9 cm x 82.6 cm) |
| Signé: | This work is hand-signed in pencil in the lower right margin by Georges Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) and signed in the plate in black in the lower right. |
| Edition: | Numbered from the edition of 100 in pencil in the lower left margin; published by ECG Paris with the inscription ' © 1959 by ECG Paris' in black in the lower left of the plate. |
| Condition: | This work is in excellent condition, with bold and bright colors |
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Prix
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Article# 2952
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| MFA SALE | 50% Off: $6,000 |
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Noteworthy for its rich sense of color and texture, this is one of Braque's boldest still life works. We feel as though we are gazing in on an array of personal belongings as we witness a pipe, a cup, and scattered papers upon a dotted tablecloth. With a few items Braque hints at the type of person that these objects may belong to, providing an indirect narrative to this stunning still life. |
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| Description historique: | |
| Extremely detailed and brilliantly colored, Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) creates this still life full
of vigor and warmth. Adding a unique, organic quality to the composition by
integrating varying shades and hues of earthly tones, this Still Life with Pipe
remains one of Braques finer prints. The nature of the pipe has had an extensive
history dating back to 500 B.C.E. Having been part of several cultures throughout
the world, the pipe has achieved a refined symbol of both the Middle East, Central
Asia, and the Americas, more commonly used by men within a social setting. Here,
Braque has situated the pipe amidst an array of scattered paperwork and seemingly
organized clutter, over a background of muted browns, greys, and marigolds.
Subtle tones and highlights of whites and sky blues centralize the viewer's
focus to the center of the composition and also allow the light to cast shadows
within itself, making way for depth and richness of color.
Created in 1959, this piece features a small inscription in the lower left of the plate, '© 1959 by ECG Paris.' This work is hand-signed by George 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. and numbered from the edition of 100 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.
