By Darren Hartley
Georges Braque paintings were at the forefront of the revolutionary art movement of Cubism. They focused on still lives and on means of viewing objects from various perspectives through color, line and texture. Georges is best known for Cubist works done in collaboration with Pablo Picasso. However, Georges himself has a long painting career that continued beyond Cubism.
Georges stencilled letters onto his Georges Braque paintings. He also blended pigments with sand as well as copied wood grain and marble. All these he did for the achievement of dimension in his paintings. His still life depiction is so abstract. It actually borders on becoming patterns of expression of an essence in the object views instead of direct representations.
At age seventeen, Georges moved from Argenteuil to Paris in 1899, accompanied by his friends, Othon Friesz and Raoul Dufy. The earliest Georges Braque paintings were made in the Fauvist style. After giving up his work as a decorator in his father's decorative painting business, Georges pursued painting full time from 1902 to 1905.
Understanding Pablo Picasso's goals, Georges aimed to strengthen the constructive elements in his Georges Braque paintings while foregoing of the expressive excesses of Fauvism. It was from his landscape paintings of scenes distilled into basic shapes and colors, that French art critic, Louis Vauxcelles, drew inspiration from, to coin the term Cubism, to describe Georges' work as bizarreries cubiques.
Georges Braque paintings returned to focus on still life, by 1918, when Georges felt he had s
At age seventeen, Georges moved from Argenteuil to Paris in 1899, accompanied by his friends, Othon Friesz and Raoul Dufy. The earliest Georges Braque paintings were made in the Fauvist style. After giving up his work as a decorator in his father's decorative painting business, Georges pursued painting full time from 1902 to 1905.
Understanding Pablo Picasso's goals, Georges aimed to strengthen the constructive elements in his Georges Braque paintings while foregoing of the expressive excesses of Fauvism. It was from his landscape paintings of scenes distilled into basic shapes and colors, that French art critic, Louis Vauxcelles, drew inspiration from, to coin the term Cubism, to describe Georges' work as bizarreries cubiques.
Georges Braque paintings returned to focus on still life, by 1918, when Georges felt he had s
Understanding Pablo Picasso's goals, Georges aimed to strengthen the constructive elements in his Georges Braque paintings while foregoing of the expressive excesses of Fauvism. It was from his landscape paintings of scenes distilled into basic shapes and colors, that French art critic, Louis Vauxcelles, drew inspiration from, to coin the term Cubism, to describe Georges' work as bizarreries cubiques.
Georges Braque paintings returned to focus on still life, by 1918, when Georges felt he had sufficiently explored the possibilities offered by the papier colles technique. A more limited palette was noticeable in Georges' first post war solo show in 1919. Regardless of this, Georges steadfastly adhered to Cubist rules in his depiction of objects from multi-faceted perspectives in geometrically patterned ways.
In the 1930s, Georges Braque paintings portrayed Greek horses and deities, stripped of their symbolism and viewed through a purely formal lens. They were exercises in calligraphy because they were not strictly about figures, rather more about sheer lines and shapes.
About the Author:
Georges Braque paintings returned to focus on still life, by 1918, when Georges felt he had sufficiently explored the possibilities offered by the papier colles technique. A more limited palette was noticeable in Georges' first post war solo show in 1919. Regardless of this, Georges steadfastly adhered to Cubist rules in his depiction of objects from multi-faceted perspectives in geometrically patterned ways.
In the 1930s, Georges Braque paintings portrayed Greek horses and deities, stripped of their symbolism and viewed through a purely formal lens. They were exercises in calligraphy because they were not strictly about figures, rather more about sheer lines and shapes.
About the Author:
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