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Artist Georges Braque: How he became the Great Cubist Painter- Art History School

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    From a lowly apprentice decorator
    in Le Havre, France,
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    to a revolutionary pioneer of Cubism
    alongside Pablo Picasso,
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    Georges Braque's life was filled
    with triumph and tragedy.
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    But behind the genius of his work
    lies a complex and intriguing figure.
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    Are you ready to delve
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    into his captivating story
    and enduring legacy?
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    Join me as I explore the life
    and creative vision of Georges Braque.
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    Georges Braque was born on 13th May, 1882,
    in Argenteuil, near Paris, France,
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    to parents Charles and Augustine.
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    His father who was an amateur painter
    and his grandfather before him,
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    managed a house decorating business,
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    which is no doubt
    where Braque's interest in texture
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    and the tactile effects
    of paint came from.
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    In 1890, the family moved to Le Havre,
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    where Braque attended
    the local public school,
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    and often accompanied his father
    on painting expeditions.
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    He developed an interest in sports,
    especially boxing,
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    and also learned to play the flute.
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    At the age of 15, Braque enrolled
    in an evening art course
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    at the École des Beaux-Arts in Le Havre,
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    where he studied painting
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    and learned traditional
    painting techniques.
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    In 1899, at the age of seventeen,
    he moved from Le Havre to Paris,
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    accompanied by friends
    and fellow art students
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    Othon Friesz and Raoul Dufy.
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    In Paris he completed his apprenticeship
    as a decorator
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    and was awarded his certificate
    of competence in 1902.
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    Between 1902 and 1904,
    with funding from his parents,
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    he attended the Académie Humbert.
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    Together with his fellow artist
    Francis Picabia
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    he developed an interest in Impressionism,
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    particularly the work of Alfred Sisley.
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    But in 1905, he visited
    the Salon d’Automne in Paris
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    and saw the violent explosion
    of arbitrary colour
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    in the room occupied by the paintings
    of Henri Matisse, André Derain
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    and others of the group nicknamed
    Les Fauves, the Wild Beasts.
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    As a consequence, Braque, and friends
    Raoul Dufy and Othon Friesz,
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    began to move away
    from Impressionist ideas
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    and adopted the bold colour schemes
    and compositional structures
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    they had seen in Matisse’s paintings.
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    Although, there’s was a slightly
    more subdued version of the Fauvist style.
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    In May 1906, Braque successfully
    exhibited his Fauve works
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    in the Salon des Indépendants.
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    But his work was beginning to change
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    as he came under the strong influence
    of Paul Cézanne.
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    Later in 1906, Braque traveled with Friesz
    to paint in Antwerp in Belgium,
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    and to the French Mediterranean
    coast near Marseille.
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    In 1907, Braque was introduced
    by Guillaume Apollinaire,
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    the French poet and writer,
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    to Pablo Picasso who invited him
    to visit his studio.
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    Braque was profoundly
    affected by the visit,
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    especially when he saw
    Picasso's innovative work
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    - Les Demoiselles d'Avignon.
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    It soon became clear
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    there was an immediate affinity
    between the two artists
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    and an intimate friendship
    and artistic camaraderie soon followed.
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    They collaborated closely,
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    exchanging ideas almost daily
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    and frequently commenting
    on each other’s work.
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    It is impossible to say which of the two
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    was the principal inventor
    of the new revolutionary style of painting
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    which later became known as Cubism.
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    It was Picasso who provided,
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    with his Les Demoiselles d'Avignon
    painting,
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    the first liberating shock.
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    But it was Braque, largely because
    of his admiration for Cézanne,
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    who provided much of the early tendency
    toward geometric forms.
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    Between them they developed the ideas
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    that drove the development
    of this new artistic style.
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    While their paintings shared
    many similarities at this time,
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    in terms of their colour palette,
    style, and subject matter,
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    Braque stated that unlike Picasso,
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    his work was
    "devoid of iconological commentary"
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    and was concerned purely
    with pictorial space and composition.
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    In May 1908, Braque and Picasso
    exhibited their Cubist paintings
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    for the first time,
    at the Salon des Indépendants in Paris.
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    Their work received
    mixed reviews from critics
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    and was denounced by some
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    because they had challenged
    conventional forms of representation,
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    such as the use of perspective,
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    which had been the rule
    since Renaissance Art.
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    Others realised they had developed
    a new way of seeing
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    and an art that reflected the modern age.
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    During the summer of 1908
    Braque created paintings near Marseille
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    which showed his determination
    to break imagery into dissected parts.
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    The slab volumes, sober colouring
    and warped perspective
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    in his paintings from this period,
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    are typical of the first part
    of what is now called
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    the Analytical Phase of Cubism.
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    These radical works wee rejected
    by the Salon d'Automne in 1908,
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    but in the autumn,
    Braque showed his paintings
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    at the Kahnweiler Gallery in Paris
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    which prompted the Paris art critic
    Louis Vauxcelles to make his remark
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    about "cubes" which would give
    this style of painting its name.
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    From 1909 onwards, Braque
    worked closely alongside Picasso
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    continually developing Cubism,
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    but Braque's work gradually bega
    to develop its own distinctive style,
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    which tended to combine elements
    of still life and landscape.
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    Whereas Picasso's work often explored
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    the relationship between figures
    and various objects, such as guitars.
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    In 1911, Braque and Picasso
    spent the summer together
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    in the French Pyrenees,
    painting side by side.
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    They produced works
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    that were virtually impossible
    to distinguish from each other
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    in terms of style.
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    Traditional perspective
    had been eliminated,
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    resulting in canvases whose subjects
    were so broken apart
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    that it was almost impossible
    to perceive them.
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    This format breakdown of forms and space,
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    coupled with a shockingly subdued palette,
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    created an almost abstract art
    unlike anything seen before.
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    This period was the pinnacle
    of Analytical Cubism.
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    In 1911, Picasso introduced Braque
    to the model Marcelle Lapré.
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    They soon fell in love
    and were married the following year.
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    Soon after they moved
    to the small town of Sorgues,
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    near Avignon, in south-eastern France.
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    It was in 912, that Braque and Picasso
    developed Cubism further
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    into what is now known
    as its Synthetic stage.
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    It was during this year
    that Braque created
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    what is generally considered
    his first paper collage,
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    by attaching three pieces of wallpaper
    to the drawing "Fruit Dish and Glass".
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    Subject matter became more central,
    more important,
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    with less emphasis on contrasting planes.
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    They explored new techniques,
    such as collage
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    and incorporated letters,
    newspaper and even playing cards
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    into their work.
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    He also began to mix
    sand and sawdust with his paint
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    to create textural effects
    on his canvases.
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    These ideas began to suggest the idea
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    that a picture is not
    an illusionist representation,
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    but rather an autonomous object
    in its own right.
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    At the start of World War I in 1914,
    Braque served in the French army
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    and was decorated twice that year
    for bravery.
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    In 1915, he suffered serious head wound,
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    which required a trepanation to cure
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    and resulted in several months
    in the hospital,
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    and a long period of convalescence
    at his home in Sorgues.
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    During his recovery, he began making notes
    and observations alongside his drawings,
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    In 1917, a collection of these notes
    was assembled by his friend,
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    the poet Pierre Reverdy,
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    and published in the review Nord-Sud,
    as "Thoughts and Reflexions on Painting.
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    In 1917 he was released
    from further military service
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    and began painting again in the pre-war
    Synthetic Cubist stye,
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    but he never worked with Picasso again.
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    The following year he began to collaborate
    with his friend Juan Gris,
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    the Spanish-born Cubist painter
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    whose paintings were also strongly
    Synthetic Cubist.
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    But is wasn't long before Braque
    began to move away
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    from the strictures of the austere
    geometry of Cubism,
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    towards looser drawing
    and freer brushwork,
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    as can be seen in this painting
    "Still Life with Playing Cards",
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    From this point onwards,
    Braque's work ceased to evolve
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    in the methodical way it has done
    during the successive phases of Cubism
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    before World War I.
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    Instead, Braque's work developed
    into a series of personal interpretations
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    based on the stylistic possibilities
    that Cubism had suggested.
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    By the early 1920s, Braque had become
    a prosperous, established modern painter
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    who moved in the well-to-do,
    cultured circles
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    of post-war French society.
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    He worked most of the time in Paris,
    in his studio in Montmartre
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    and later, in 1922, in Montparnasse,
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    Also, in 1922, he had a successful
    solo exhibition in Paris,
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    which not only brought attention
    to his own work,
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    but showcased his developments
    in terms of colour and collage.
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    From 1922 to about 1926, Braque's work
    became more representational.
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    He painted a series of paintings based
    around the idea of ancient Greek maidens
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    carrying baskets of sacred objects
    to be used at feasts for the gods.
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    Another series explored the idea
    of fireplaces and mantelpieces
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    laden with fruit
    and sometimes guitars.
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    In 1925, Braque painted
    "Fruit on a Tablecloth with a Fruit Dish",
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    which commemorated a banquet
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    which had been held in his honour,
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    when he had returned from the war.
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    The painting shows a table flattened out
    in the pictorial plane,
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    replicating the texture of wood and marble
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    with Cezanne-like structure
    and colouring of the fruit.
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    Also, in 1925, Braque moved
    into a new house
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    on the Left Bank in Paris,
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    designed for him by the modern architect
    Auguste Perret.
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    And later that year
    he received a commission
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    from Serge Diaghilev,
    the great ballet impresario,
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    to design stage sets for the Ballet Russe
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    In 1931, Braque received
    the Legion of Honour,
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    a prestigious award
    from the French government.
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    for his contributions to art.
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    Later in the 1930s, he began
    a series of figure paintings
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    examples being "Le Duo"
    and "The Painter and his Model".
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    Unlike his contemporaries
    Picasso and Matisse
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    Braque had abandoned the idea
    of working from a live model.
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    His paintings, therefore, are imaginary
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    and the goaty bearded painter
    depicted in this work
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    bears no physical resemblance
    to Braque himself.
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    In 1937, Braque won the first prize
    of 1000 dollars
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    at the Carnegie Awards in New York
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    for his painting "The Yellow Napkin".
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    The grim events leading
    to the Second World War
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    had a profound effect on Braque
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    and during this period skulls often appear
    in his still life paintings.
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    Works from this time appear
    to exsude a sense of darkness,
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    despair, agony and misery.
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    And seem to make political statement.
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    The painting "Baluster and Skull"
    is a fine example,
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    where colours replicate
    the complex emotions and reactions
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    to impeding war.
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    Braque lived in Paris during World War II
    but continued exploring still life themes,
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    with sombre colour schemes,
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    despite the difficult
    conditions round him.
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    After the war, Braque resumed his practice
    of executing a series of paintings
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    on a single subject or theme.
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    such as birds, landscapes,
    and scenes of the sea.
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    Between 1948-1955, he produced
    a series of nine canvases,
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    entitled "Atelier" or "Studio",
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    depicting imagery
    which sought to represent
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    the artist's inner thoughts
    about particular objects.
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    The bird symbol frequently appears
    in these and later works
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    usually as a metaphor
    for freedom and space.
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    The paintings often depicted
    a picture within a picture
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    and were altogether more personal,
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    decorative, and more richly coloured
    than his pre-war paintings.
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    In 1948, he won the first prize
    at the Venice Biennale
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    and had his first retrospective exhibition
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    at the Museum of Modern Art,
    in New York in 1949
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    and the Tate Gallery in London in 1956.
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    In 1949 he was asked to paint panels
    for a ceiling of the Henri II room
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    in the prestigious Louvre Museum in Paris.
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    The ceiling is very ornate
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    and posed significant
    design issues for Braque,
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    but he solved the problem
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    by producing designs
    that had a powerful simplicity
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    using the imagery of birds
    painted in basic flat colours.
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    In 1956, his design
    for a stained-glass window
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    on the theme of te Tree of Jesse
    for the church of Saint-Valery
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    de Varengeville-sur-Mer
    was installed.
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    That year he was also awarded
    the Grand Prix for painting
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    at the Venice Biennale,
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    one of the most prestigious awards
    in the art world.
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    In the early 1960's he designed
    three stained-glass windows
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    and gifted them
    to the Chapel Saint-Dominique,
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    also in Varengeville.
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    In 1961, on the occasion
    of his 80th birthday,
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    his studio was taken down
    and rebuilt in its entirety
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    in the Louvre's Mollien Gallery,
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    a previously unheard-of honour
    for a living artist.
  • 15:24 - 15:29
    Georges Braque died on 31st Augut, 1963,
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    in his studio home
    on the Left Bank in Paris.
  • 15:32 - 15:34
    He was 81 years old.
  • 15:34 - 15:39
    He was buried in the graveyard
    of Saint-Valery de Varengeville-sur-Mer,
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    which has beautiful views
    overlooking the English Channel.
  • 15:43 - 15:48
    Georges Braque was a quiet, introvert,
    extremely observant, sharp, determined,
  • 15:48 - 15:51
    and a very intelligent man.
  • 15:52 - 15:53
    His contribution to art,
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    particularly his role
    in the development of Cubism
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    was profound, as was his innovative use
    of materials and techniques,
  • 16:01 - 16:06
    as well as his willingness to challenge
    traditional ideas about art.
  • 16:06 - 16:11
    His achievements made him
    one of the most influential artists
  • 16:11 - 16:12
    of the 20th century.
  • 16:13 - 16:16
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  • 16:16 - 16:19
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Title:
Artist Georges Braque: How he became the Great Cubist Painter- Art History School
Description:

Join us on another episode of our art history channel as we delve into the life, works, and legacy of a true pioneer of modern art Georges Braque. From his early days as a Fauvist, collaborating with Picasso, to his ground breaking role in co-founding Cubism, Braque's artistic trajectory is a testament to innovation and creative daring.
In this video, we'll navigate the intricate interplay between Braque's evolving style and the cultural backdrop of his time. Witness his mesmerizing fusion of form and content, as he skilfully navigated the realms of abstraction and representation. We'll explore his profound influence on Cubist principles, dissecting his collaborative efforts with Picasso and the birth of a revolutionary movement that transformed the artistic landscape forever.
Georges Braque (1882–1963) stands as one of the seminal figures in 20th-century art, hailed for his transformative impact on the Cubist movement. Born in Argenteuil, France, Braque initially pursued a career in decorative painting before embracing the bold colours of Fauvism, collaborating closely with Pablo Picasso during the early 1900s. However, it was their co-invention of Cubism that catapulted Braque to artistic renown.
Braque's ingenious approach to deconstructing and reconstructing forms revolutionized the concept of representation. His "analytical Cubism" sought to depict objects from multiple perspectives in a single composition, challenging traditional notions of space and dimension. His meticulous exploration of geometric shapes, fragmented planes, and earthy colour palettes gave rise to artworks that celebrated abstraction while retaining a sense of connection to reality.
The outbreak of World War I temporarily paused Braque's artistic pursuits, but he resumed his creative journey with a renewed vigour post-war. The "synthetic Cubism" phase that followed introduced elements of collage and mixed media, showcasing his versatility and innovation.
Throughout his career, Braque's dedication to pushing artistic boundaries left an indelible mark, inspiring generations of artists to rethink the way they perceived and expressed the world around them. His legacy endures as a testament to the power of artistic evolution and imagination.

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PATREON:
I'd like to thank the following patrons whose support in the making of this video is much appreciated: Dee Ann Havely, Deirdre Feely, Denise Berg, Ivan Gilbert Rappaport, Mary Stewart, Nicolae Opris, S. Ryckman, Tatiana Lostorto, Tina Valentine, Visnja Zeljeznjak, Linda Frazier, Marnie Coutts, Stein Harald Os, Emily Liss, William Scott Griffiths, Dinny Hinds, Patrick Lefebvre, Philip Levene, Alena Sidorkina, Jeff Smith, Ashok Kanagasundram, Olivia McGoldrick, Rahman Yii, Sarah Hirsch, Kevin Coburn, Stacy Schweigler, Jennifer Ranghelli, Deborah Smith, Emily, Carol Tenson, Min A, Colin Parrish, Larry Specht, David Cornwell, Kerri Southern, Yvonne Tsang, Lena Allen, Hüma, Michelle Kunkel, Barbara Perl, Steve Pike, LN, Mary K. Kroner, Kate Emery, Don Kyle, David Smernoff, Kathy Anderson, Shirley Trill, Floki, Hristiana Bobeva, David Tate, Henrik, Howard Schwartz, Judy Tuwaletstiwa, Scott Baker, Mikaela Mendoza- Cardenal and Susan Valliant

Copyright Disclaimer under section 107 of the Copyright Act of 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, education, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Paul Priestley

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Video Language:
English
Duration:
16:46

English subtitles

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