Bütün Makaleleri Göster | Harf İndeksi

Paris, early 1910 (130 Kb); Oil on canvas, 117 x 73 cm (46 x 28 3/4 in); Kunstmuseum Basel; Romilly 59
The move towards a more complex kind of painting reaches a climax in the still lifes that Braque painted late in 1909 and early the follwing year, for example Violin and Pitcher. These paintings give the sensation that Braque has felt his way visually around each object and examined its relationships with the other objects around it from several viewpoints. By rendering the areas between the objects in a tactile, material fashion, Braque succeeds in fusing objects and space into a spatial continuum composed of small, fluid, interpenetrating planes. It is this concrete rendering of the space around the highly fragmented objects that gives these paintings a sensation of almost unprecedented complexity. The intense visual concentration and the technical discipline underlying these paintings transmits itself to the spectator in a feeling of tension, almost of unrest…

Violin and Pipe: “Le Quotidien”
Paris, after December 20, 1913 (100 Kb); Chalk, charcoal, and pasted paper, 74 x 106 cm (29 1/8 x 41 3/4 in); Musee National d’Art Moderne, Centre Georges Pompidou, Paris; M.-F./C. 38

GEORGES BRAQUE
Georges Braque {brahk}, b. May 13, 1882, d. Aug. 31, 1963, in collaboration with Pablo Picasso, was the founder of cubism. After receiving training at the local art school in Le Havre, Braque went to Paris in 1900. There he studied (1902-04) at the Académie Humbert and then at the Ecole des Beaux-Arts in the studio of Léon Bonnat. Braque’s early works (1903-05) were executed in the mood of early impressionism. Greatly influenced by André Derain, Henri Matisse, and Maurice de Vlaminck, Braque entered (1906 or 1907) his Fauve period, in which he used soft, undulating patterns and brilliant colors. Unlike the other Fauves (see Fauvism), however, he showed an interest in architectonic solidity of composition and an emphasis on strongly defined volumes rather than color and brushwork.
A crucial change in Braque’s art came in the fall of 1907, when he rediscovered Paul Cezanne at the memorial exhibitions at the Salon d’Automne and the Bernheim-Jeune Gallery. At this time, he also met Picasso. In the late work of Cezanne, both Braque and Picasso saw a new geometrization of form and new spatial relationships that were to become the basis of cubism. Spurred by his close association with Picasso, whose Les Demoiselles d’Avignon (1906-07) has been called “the first painting of the 20th century,” Braque transformed his style radically. Within three years, Picasso and Braque invented analytic cubism, a new, completely nonillusionistic and nonimitative method of depicting the visual world. Their concerns were so mutual and their association so intense that in many instances only experts can distinguish Braque’s paintings of 1910-12 from those of Picasso. Violin and Pitcher (1910; Kunstmuseum, Basel) is one of the best examples of Braque’s analytic cubism. The paintings of this period are all executed in muted greens, grays, ochers, and browns. The objects are fragmented, as though seen from multiple viewpoints. This multiplicity introduced the element of time into vision. These fragments, or cubes, are organized along a grid, thereby creating a compact pictorial structure.
Braque’s works from the period 1917-20 are derived compositionally from synthetic cubism, the second phase of cubism, which began about 1914. Much flatter and more variegated in color, they include brightly dotted decorative passages. Around 1930-31, Braque moved to the coast of Normandy in France. As a result, he changed the subjects of his paintings; bathers, beach scenes, and seascapes were now his favorite themes. Stylistically, he became increasingly interested in ornamentation and patterned surfaces. During the late 1930s and early ’40s, Braque was drawn to melancholy themes. From 1945, birds were a dominant subject. Braque’s canvases done during the 1950s show a return to the brilliant colors of the Fauve period, as in the Louvre ceiling (1952-53) and the decoration for the villa at Saint Paul-de-Vence (1954). Active until the end of his life, Braque produced an oeuvre that includes sculpture, graphics, book illustration, and decorative art.
iiÖÖçs
Georges Braque
The son of a house-painter, Goerges Braque was born at Argenteuil-sur-Seine, near Paris France. He developed his paintings skills very early in life while assisting his father with interior house painting and decoration.
He moved to Paris in 1900 to study, where he was drawn to the work of the Fauve artists such as Matisse, Derain and Dufy as well as the late lanscapes of Cezanne. His primary drawing and painting education took place at the Academie Humbert, where he met Marie Laurencin and Picabia. Through these affiliations and friendships he began to paint landscapes in the Fauve style which was mainly vibrant “out of the tube” colors and broad shapes that implied only a hint of realism in the objects and/or landscapes that the artist would choose to create.
By 1908, under the influence of Cezanne, Braque started to use a more restrained pallette of mostly browns, greys amd greens, and more simpliflied imagery. A major turning point is when Braque meets Picasso. It is at this time that Braque and Picasso create the first Cubist images. The close friendship with Picasso lead to the joint creation of analytical and synthetic Cubism and collage. They, together, explored the effects of light and perspective and the technical means painters used to represent these effects. Both artists produced paintings of neutralized color and complex, geometric patterns of facted form and collage.
Braque served in WWI from 1914-1916 where he was severely wounded. He would not paint again until 1917. During the years between 1917 and 1939 Braque worked as an engraver, sculptor and lithographer but would always return to painting. Braque created many images that he would then have his fiend Heger de Loewenfeld “metamorphose” into sculptures, jewels, art books and tapestries. Their love for precious stones and gold brought these two creative geniuses together in 1961 after a chance meeting. Both fascinated by the “Metamorphosis” , the idea of changing a two dimensional image into a three dimensional object, chose to collaborate their talents and create more than 100 jewels. These 100 jewels were exhibited at the Apollon Gallery at the Louvre in March of 1963. The exhbition ended on May 13, the day of Braques 81st birthday. He died that same year. Braque was the first artist whose work was shown at the Louve during his lifetime.
iiÖÖçsGEORGES BRAQUE :
A CUBISM PIONEER
Georges Braque (1882-1963) was born in Argenteuil, near Paris and brought up in Le Havre. where he was apprenticed to his father’s painting trade house and studied at the local Ecole des Beaux-Arts.
In 1900 he went to Paris where he befriended Raoul Dufy and Othon Friesz, also from Le Havre and studied at the Ecole des Beaux-Arts under Bonnat before going to the Académie Humbert between 1902 and 1904.
A year later, Friesz who had adhered to the Fauvist movement notably formed by Vlaminck, Derain and Matisse invited him to adopt his style.
Braque accompanied Friesz during the latter’s second sojourn in Antwerp in 1906 and the works he produced there were quite similar to those of his friend.
A year later he went to work again with Friesz in Southern France, notably at La Ciotat and L’Estaque.
Both immediately adopted the new style imposed by Fauvist painters and exhibited with some of them at the Paris Salon d’Automne and the Salon des Indépendants.
Braque, however did not stick with the subjective and impulsive aspects of Fauvism and worked according to his feelings far away from the principles enacted by Gauguin and Symbolist painters. After being deeply impressed by the Cezanne Memorial Exhibition at the Salon d’Automne in 1907, he began painting in a more logical manner of geometrical analysis, which anticipated what was to become Cubism.
After giving up Fauvism in 1907 he met Picasso through the dealer Daniel-H. Kahnweiler. The Spanish painter had started to paint “Les Demoiselles d’Avignon” , a work which arose his interest in quite a new form of painting, and both started to work together with the ultimate aim of launching Cubism. At the start, and until 1910, their paintings were so similar that many people could not tell for sure who produced them.
Braque’s works were however refused at the 1908 Paris Salon and Matisse, who was a member of the Jury, spoke of “little cubes” while examining a painting of l’Estaque. The same year, Kahnweiler organised a private exhibition of his pictures, all but two of which had been rejected by the Salon d’Automne. Louis Vauxcelles (who had coined the word “Fauves”) did not hesitate to recall Matisse’s comments in describing these pictures as being reduced to “cubes” and wrote of Braque’s paintings in the Salon d’Automne of 1909 as “bizarreries cubiques”. Thus the name “Cubism” was born.
In 1911 and 1912 Braque was painting with Picasso at Céret and Sorgues and both reduced their palette to black and white with grey-blue tones and started to paint still-lifes in an attempt to define a new pictorial language able to have some equivalence with reality. In addition they felt classical painting had no longer anything to do with the newly born century, painting, as any other object, being a reality in itself.
Braque was the first to begin the Collages, which heralded Synthetic Cubism. He also introduced real elements, sand and commercial lettering into his pictures. Combining and contrasting the real with the “illusory” picture image, he worked hand in hand with Picasso on Synthetic Cubism until the First World War came to interrupt their experiments. So far they had determined that painting was no longer in tune with photography in the way that it had preceded that new technique during many centuries before living in its shadow after 1860. Painting therefore had to become an activity centering on two dimensions with objects laying flat on the canvas shown in facets, multiplying angles under which they could be seen, interpenetrating themselves, losing their individuality and becoming not identifiable. In this way, Braque and Picasso were thus proving that a painting could be constructed independently to any reference to the reality of the external world.
From 1912, both painters started to apply their own ideas differently. Picasso became more audacious while Braque kept controlling his inspiration.
Braque enlisted in the French army and suffered a severe head wound in 1915. He was discharged from the army and began painting again at the end of 1917. During a long convalescence he pondered the principles of his art, and decided to renew his inspiration in approaching external reality.
Unlike Picasso and Léger . Braque remained entirely uncommitted to any ideology and kept his work aloof from all human or social interests outside it. In this, although he pursued a very different path artistically, he had much to do with Matisse. He once declared that the fundamental principle of Cubism was “the materialisation of a new space” and that the purpose of the Cubist fragmentation of objects was to “establish space and movement in space”. He continued to pursue this aim with single-minded consistency and complete integrity. Even his interest in things was restricted to their existence as “aesthetic objects” for pictorial motives.
He began by continuing the decorative patterning and flattened planes of Synthetic Cubism but through the 1920’s progressed to greater freedom and by the beginning of the 1930’s was internationally hailed as a world master of still lifes of the calibre of Chardin.
His best works of this period were the Canéphores, large paintings of half-nude women carrying baskets of flowers and fruit. Supreme among all his works were, perhaps, the eight Ateliers painted between 1948 and 1955, in which the Cubist inspiration has lost its mannerisms and has been brought to the ultimate excellence of the composed still life.
His graphic work was connected primarily with an interest in Greek themes which began in the 1930’s and includes 16 etchings for an edition by Vollard of the Theogony of Hesiod. From 1950 to 1958 he did a series of Birds in which decorative quality is combined with extreme simplification.
In 1948 Braque was awarded the Venice Biennale Grand Prix for painting. In 1951 he was made Commander of the Legion d’honneur.
Braque was the most consistent of the original Cubist painters and within the strict limitations which he imposed upon himself was one of the greatest painters of the century. His works are now rated between US $ 80,000 and 25 million.

iiÖÖçsGeorges Braque was born in Argenteuil, near Paris in 1882. His father owned a painting trade house. His family moved to Le Havre when he was young. As a youth he went to Art School in Le Havre and also worked as an apprentice in his father’s business.
When he was 18, he went to Paris and studied at another Art School under Bonnat. In 1905, a friend called Friesz invited him to use a style similar to his. Friesz belonged to a group of artists who used a style called Fauvism. Other artists in this group included Vlaminck, Derain and Matisse. Braque took part in some Fauvist exhibitions in Paris.
Braque also admired the art work produced by Cezanne. This encouraged him to change his style of painting to include more geometric shapes.
Braque met Picasso in 1907, this being a major time of change in the way that he painted. Braques and Picasso worked together to establish Cubism. At first Braque and Picasso’s paintings were very similar.
Braque was the first artist to make collages. From 1912 Picasso and Braque started to develop their own style. By the 1930’s Braque was internationally famous.
He died in Paris in 1963, aged 81 years.

iiÖÖçsCubism The Cubist style of painting was developed by Georges Braque and Pablo Picasso at around 1907. This was also around the time of Fauvism and Expressionism. The Cubists admired the work of Post-Impressionists such as Seurat, Gaugin and Cezanne. Their influence encouraged Cubists to include new and unusual objects in their painting. Cubism continued to develop into the 1920’s. It represented a new and dramatic change in art history.
Instead of showing just one view of a subject, the artists showed several different views at one time. For example a painting of a person might show their front and their side at the same time. Some of these artists ‘broke’ their work into different geometric shapes. These artists usually used quieter colours or monochrome colours. Other cubist artists used more decorative shapes and brighter colours.
Cubist artists included: Pablo Picasso, Juan Gris, Georges Braque, Marcel Duchamp and Robert Delaunay. For further information about some of these artists look at he table below.