Georges Braque paintings began developing a Cubist style after Georges met Pablo Picasso although Georges started out as a member of the Fauves. Georges' and Pablo's paintings shared many similarities in palette, style and subject matter. Georges was also often dedicated to quiet periods spent in his studio as opposed to being a personality in the art world.
Georges took papier colles, a pasted paper collage technique that he and Pablo Picasso invented in 1912, one step further, through the gluing of cut-up advertisements into his Georges Braque paintings. This was actually a foreshadowing of modern art movements concerned with critiquing media, including Pop art.
The earliest Georges Braque paintings pursued Fauvist ideas, in coordination with Henri Matisse. In 1906, Georges contributed his colourful Fauvist paintings in his first exhibition held at the Salon de Independants. It was in 1907 that he became extremely affected by a visit to Pablo Picasso's studio.
Georges and Pablo worked in synchronicity until Georges' return from war in 1914. Georges felt that Pablo betrayed their Cubist systems and rules, when Pablo began painting figuratively. It was then that Georges decided to work on his own Georges Braque paintings.
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.
Georges took papier colles, a pasted paper collage technique that he and Pablo Picasso invented in 1912, one step further, through the gluing of cut-up advertisements into his Georges Braque paintings. This was actually a foreshadowing of modern art movements concerned with critiquing media, including Pop art.
The earliest Georges Braque paintings pursued Fauvist ideas, in coordination with Henri Matisse. In 1906, Georges contributed his colourful Fauvist paintings in his first exhibition held at the Salon de Independants. It was in 1907 that he became extremely affected by a visit to Pablo Picasso's studio.
Georges and Pablo worked in synchronicity until Georges' return from war in 1914. Georges felt that Pablo betrayed their Cubist systems and rules, when Pablo began painting figuratively. It was then that Georges decided to work on his own Georges Braque paintings.
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.
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