Georges Braque

The French painter Georges Braque (1882-1967) was, with Picasso, the founder of cubism, one of the most significant movements in Western art.

Georges Braque was born in Argenteuil, the son of a house-painting contractor who was an amateur artist. In 1890 the family settled in Le Havre, where Braque entered the École des Beaux-Arts in 1899. He went to Paris in 1900 and worked as a house painter. From 1902 to 1904 Braque studied at the Académie Humbert. As a result of his friendship with Raoul Dufy and Othon Friesz, both artists from Le Havre, Braque became allied with the Fauve movement in 1906. With Friesz he traveled to Antwerp in 1906, to La Ciotat in 1907, and several times to L'Estaque.

Braque's Fauve period proved transitory, and his Fauve works were relatively restrained. In the Paris version of La Ciotat (1907), for example, the colors, though vivid, are not dazzling, and the brushstrokes are applied in small rectangular units rather than in the broad, quick swatches used, for example, by Maurice Vlaminck.

Initial Cubist Phase, 1908-1909

By 1908 Braque had developed a great admiration for the work of Paul Cézanne, whose influence is discernible in Braque's Houses at L'Estaque (1908). In this protocubist painting the sensuousness and relative abandon of Braque's Fauve period have been cast aside. The houses have been reduced to simple cubes in shades of dull greens and grays. To underscore the geometrical severity, the windows and doors of the houses and details of the foliage have been eliminated. Braque and Pablo Picasso, who met at this time and were practically inseparable until 1914, precipitated the mature development of cubism.

Analytic Cubist Phase, 1909-1911

In cubist painting, planes merge and the distinctions between background and foreground and between one form and another become obliterated, as the object or figure seems to be viewed simultaneously from various angles. A masterpiece of Braque's analytic cubist period is the Man with the Guitar (1911), in which the figure of the musician, painted in somber earth colors and dissected into small fragments, in presented in a static triangular format. Details of the anatomy of the figure and the parts of the instrument seem to be discernible one moment, indiscernible the next. Braque's and Picasso's paintings of 1909-1911 are especially close and in some cases virtually indistinguishable, though Braque's work is more elegant, slightly more restrained, less emotional, and less expressive.

Synthetic Cubist Phase, 1911-1914

From 1911 on Braque became less dependent on physical reality as the starting point for his artistic conception. Instead of showing the object in its totality, though broken into smaller fragments, he took parts of several objects and arranged them in new combinations. From this time, too, he showed an interest in simulating the textures of wood, marble, and other materials in his paintings, and in his collages he incorporated into the composition bits of real cloth or wood. Thus, in addition to the ambiguous spatial effects of his analytic phase, Braque's synthetic phase featured new ambiguities between what was real and what was created by the artist. In his Clarinet (1913), for example, pasted newspaper fragments, charcoal, chalk, and oil paint are so manipulated as to simulate an actual tabletop. The letters from the newspaper clipping function only as decorative or formal elements. The softness of the textures and the oval curves within the rectangular frame produce a delicacy seldom found in Picasso's work of the same period.

Work after 1914

When World War I broke out, Braque was sent to the front and was wounded in 1915. After a long hospital confinement he began to paint again in 1917, adopting a course independent of Picasso. After 1918 Braque largely abandoned collage and the relative austerity of his synthetic cubist phase. A new richness and sensuousness of the painted surface became discernible in his work, but tempered by restraint and refinement. Although cubist devices and passages occasionally occurred, they ceased to be fundamental to Braque's conception.

In the Still Life with Guitar and Fruit (1924) the individual integrity of the richly painted guitar and of the still-life elements is maintained. The objects are clearly placed on a table, but their exact spatial locations are a bit vague. The forms now swell and expand and the paint is handled with a creamy richness, yet the colors are tastefully kept within the orbit of browns and grays. During the 1920s Braque liked to use the human figure, often a female nude, in conjunction with his still-life objects. His Nude (1925) in Chicago displays a sensuous, monumental figure, somewhat in the manner of Pierre Auguste Renoir.

Braque continued to go his own way, unaffected by the latest changes in European painting. But the harmony and containment of his art did not preclude a richness and originality of expression, which was especially evident in the 1930s. His Woman with a Mandolin (1937) is a rich blend of shades of green, citrons, and purples. The woman, sitting before the elegant furnishings of the room, is rendered as a silhouette, reminiscent of the flat forms frequent in the synthetic cubist canvases.

Braque also executed some sculptures in plaster, about 50 lithographs, and etchings for Hesiod's Theogony (1931).

Further Reading

Edwin B. Mullins, The Art of Georges Braque (1968), is a comprehensive study of the artist; over half the book is devoted to Braque's work after 1920. Georges Braque: His Graphic Work, with an introduction by Werner Hofmann (1961), is the authoritative work on Braque's graphics. See also John Russell, G. Braque (1959); Jean Leymarie, Braque (1961); and the chapter on Braque in Janet Flanner, Men and Monuments (1947). Background works on cubism include John Golding, Cubism: A History and an Analysis, 1907-1914 (1959); Guy Habasque, Cubism (1959); and Robert Rosenblum, Cubism and Twentieth-Century Art (1960).

Additional Sources

Zurcher, Bernard, Georges Braque, life and work, New York: Rizzoli, 1988.

Fauchereau, Serge, Braque, New York: Rizzoli, 1987. □

Braque, Georges (1882–1963). French painter, graphic artist, and designer, celebrated as the joint creator (with Picasso) of Cubism. His father and grandfather were skilled painter-decorators, and Braque was brought up to follow their profession (although he was anti-academic, he had a reverence for good craftsmanship and even ground his own pigments). In 1900 he moved from his family home in Le Havre to Paris to complete his professional training, and in 1902–4 he took lessons in painting and drawing at various art schools, including briefly the École des Beaux-Arts. Through friendship with his fellow students Dufy and Friesz (see LE HAVRE GROUP) he was drawn into the circle of the Fauves, and in 1905–7 he painted in their brightly-coloured impulsive manner. In 1907, however, two key events completely changed the direction of his work: first, he was immensely impressed by the Cézanne memorial exhibition at the Salon d'Automne; secondly, the dealer Kahnweiler (with whom he signed a contract in that year) introduced him to Apollinaire, who in turn introduced him to Picasso. In Picasso's studio he saw Les Demoiselles d'Avignon, and although he was initially disconcerted by it, he soon began experimenting with the kind of dislocation and fragmentation of form it had introduced. He and Picasso worked closely together over the next few years—most closely in the period 1910–12—as they created the revolutionary new style of Cubism. At times it is difficult to tell their work apart, but John Golding senses some fundamental differences of outlook: ‘Picasso's approach was predominantly linear and sculptural; it was he who formulated the concept of “simultaneous vision”—that is to say, the concept of combining different viewpoints of a subject into a single, coherent image. Braque's approach was more painterly, more poetic; significantly, of all the major Cubist painters, only he retained an interest in the evocative properties of light. And he was the technician who through patient research was able to solve so many of the pictorial problems which arose in the creation of this supremely complex and sophisticated style’ (Georges Braque, 1966).

In 1914 Braque enlisted in the French army. He served with distinction, twice being decorated for bravery, before being seriously wounded in the head in 1915 and demobilized in 1916. His first important work after recovery was The Musician (Kunstmuseum, Basle, 1917–18), showing the influence of Gris in its use of broad planes of colour. From now on Braque's work diverged sharply from that of Picasso. Whereas Picasso went on experimenting restlessly, Braque's painting became a series of sophisticated variations on the heritage of his pre-war years. His style became less angular, tending towards graceful curves, and he used subtle muted colours, sometimes mixing sand with his paint to produce a textured effect. In 1922 an exhibition of his work at the Salon d'Automne celebrated his 40th birthday, and by this time he was well-established and prosperous. In the 1930s his reputation became international, and thereafter he accumulated an impressive list of prizes and honours, including the main prize for painting at the 1948 Venice Biennale. Still-life and interiors remained his favourite subjects, and many critics regard his Studio series, begun in 1947, as the summit of his achievement. In his final years he also painted numerous landscapes.

In addition to the type of painting for which he is best known, Braque also did much book illustration, designed stained glass and stage sets and costumes, and did some decorative work, notably the ceiling of the Etruscan Gallery in the Louvre, 1952–3. He was made a Commander of the Legion of Honour in 1951, and ten years later had the honour of being the first living artist to have his work exhibited in the Louvre. After this came the final accolade of a state funeral—an occasion that seemed at odds with his life of unassuming dedication to his art.

Braque, Georges (b Argenteuil, 13 May 1882; d Paris, 31 Aug. 1963). French painter, graphic artist, and designer. Initially he followed his father's trade of house painter, but in 1902–4 he took lessons at various art schools in Paris, including briefly the École des Beaux-Arts. Through his friendship with his fellow students Dufy and Friesz, he was drawn into the circle of the Fauves, and in 1905–7 he painted in their brightly coloured, impulsive manner. In 1907, however, two key events completely changed the direction of his work: first, he was immensely impressed by the Cézanne memorial exhibition at the Salon d'Automne; and secondly, he met Picasso, in whose studio he saw Les Demoiselles d'Avignon. Although he was initially disconcerted by it, he soon began experimenting with the dislocation and fragmentation of form it had introduced, and the two men worked in close association until the outbreak of the First World War, jointly creating Cubism. At times it is difficult to tell their work apart, but John Golding (Braque, 1966) senses some fundamental differences of outlook: ‘Picasso's approach was predominantly linear and sculptural; it was he who formulated the concept of “simultaneous vision”—that is to say, the concept of combining different viewpoints of a subject into a single, coherent image. Braque's approach was more painterly, more poetic; significantly, of all the major Cubist painters, only he retained an interest in the evocative properties of light. And he was the technician who through patient research was able to solve so many of the pictorial problems which arose in the creation of this supremely complex and sophisticated style.’

In 1914 Braque enlisted in the French army and was twice decorated for bravery before being seriously wounded in the head in 1915 and demobilized in 1916. After the war his work diverged sharply from that of Picasso. Whereas Picasso went on experimenting restlessly, Braque's painting became a series of sophisticated variations on the heritage of his pre-war years. His style became much less angular, tending towards graceful curves. He used subtle muted colours and sometimes mixed sand with his paint to produce a textured effect. Still-life and interiors remained his favourite subject, and many critics regard his Studio series, begun in 1947, as the summit of his achievement. From the 1930s his reputation had become international, and in his later years he accumulated an impressive list of prizes and honours, including the main prize for painting at the 1948 Venice Biennale. The final accolade was a state funeral—an occasion that seemed at odds with his life of unassuming dedication to his art. In addition to the type of paintings for which he is best known, Braque also did much book illustration, designed stage sets and costumes, and carried out some decorative work, notably the ceiling of the Etruscan Gallery in the Louvre, 1952–3.

Braque, Georges (1882–1963). French painter, graphic artist, and designer. Initially he followed his father's trade of house painter, but in 1902–4 he took lessons at various art schools in Paris, including briefly the École des Beaux-Arts. Through his friendship with his fellow students Dufy and Friesz, he was drawn into the circle of the Fauves, and in 1905–7 he painted in their brightly coloured, impulsive manner. In 1907, however, two key events completely changed the direction of his work: first, he was immensely impressed by the Cézanne memorial exhibition at the Salon d'Automne; and secondly, he met Picasso, in whose studio he saw Les Demoiselles d'Avignon. Although he was initially disconcerted by it, he soon began experimenting with the dislocation and fragmentation of form it had introduced, and the two men worked in close association until the outbreak of the First World War, jointly creating Cubism. At times it is difficult to tell their work apart, but John Golding (Braque, 1966) senses some fundamental differences of outlook: ‘ Picasso's approach was predominantly linear and sculptural; it was he who formulated the concept of “simultaneous vision”—that is to say, the concept of combining different viewpoints of a subject into a single, coherent image. Braque's approach was more painterly, more poetic; significantly, of all the major Cubist painters, only he retained an interest in the evocative properties of light. And he was the technician who through patient research was able to solve so many of the pictorial problems which arose in the creation of this supremely complex and sophisticated style.’

In 1914 Braque enlisted in the French army and was twice decorated for bravery before being seriously wounded in the head in 1915 and demobilized in 1916. After the war his work diverged sharply from that of Picasso. Whereas Picasso went on experimenting restlessly, Braque's painting became a series of sophisticated variations on the heritage of his pre-war years. His style became much less angular, tending towards graceful curves. He used subtle muted colours and sometimes mixed sand with his paint to produce a textured effect. Still life and interiors remained his favourite subjects, and many critics regard his Studio series, begun in 1947, as the summit of his achievement. From the 1930s his reputation had become international, and in his later years he accumulated an impressive list of prizes and honours, including the main prize for painting at the 1948 Venice Biennale. The final accolade was a state funeral—an occasion that seemed at odds with his life of unassuming dedication to his art. In addition to the type of paintings for which he is best known, Braque also did much book illustration, designed stage sets and costumes, and carried out some decorative work, notably the ceiling of the Etruscan Gallery in the Louvre, 1952–3.

Georges Braque , 1882–1963, French painter. He joined the artists involved in developing fauvism in 1905, and at l'Estaque c.1909 he was profoundly influenced by Cézanne. He met Picasso, and the two simultaneously explored form and structure with results that led to the development of cubism . In works such as the monumental Nude (1907–8; Cuttoli Coll., Paris) Braque exemplified the analytical phase of the movement with his keen sense of structure and orderly method of decomposing an object. In 1911 he introduced typographical letters into his canvases and soon began working in collage . After World War I, in which he was badly wounded, Braque veered away from the angularity of early cubism and developed a more graceful, curvilinear style, predominantly painting still life. His works showed restraint and subtlety both in design and color (e.g., The Table, Pulitzer Coll., St. Louis). Braque is represented in leading galleries in Europe and the United States.

Bibliography: See his notebooks (tr. 1971); studies by W. Hofmann (1961), E. B. Mullins (1969), and F. Ponge et al. (tr. 1971).

Braque, Georges (1882–1963) French painter who created cubism with Picasso. Having tried fauvism without success, Braque's interest in analytical painting was sparked by the work he saw in Paul Cézanne's 1907 memorial show. Head of a Woman (1909), Violin and Palette (1909–10), and The Portuguese (1911) show his transition through the early, analytical phases of cubism. Braque was badly wounded in World War I, and afterwards evolved a gentler style of painting which earned him enormous prestige. He concentrated on still-life subjects but also produced book illustrations, stage sets, and decorative ceramics.