Artist Georges Braque: How he became the Great Cubist Painter- Art History School
-
0:00 - 0:04From a lowly apprentice decorator
in Le Havre, France, -
0:04 - 0:08to a revolutionary pioneer of Cubism
alongside Pablo Picasso, -
0:09 - 0:13Georges Braque's life was filled
with triumph and tragedy. -
0:13 - 0:18But behind the genius of his work
lies a complex and intriguing figure. -
0:18 - 0:20Are you ready to delve
-
0:20 - 0:23into his captivating story
and enduring legacy? -
0:24 - 0:29Join me as I explore the life
and creative vision of Georges Braque. -
0:30 - 0:37Georges Braque was born on 13th May, 1882,
in Argenteuil, near Paris, France, -
0:37 - 0:40to parents Charles and Augustine.
-
0:40 - 0:44His father who was an amateur painter
and his grandfather before him, -
0:44 - 0:47managed a house decorating business,
-
0:47 - 0:50which is no doubt
where Braque's interest in texture -
0:50 - 0:54and the tactile effects
of paint came from. -
0:54 - 0:57In 1890, the family moved to Le Havre,
-
0:57 - 1:00where Braque attended
the local public school, -
1:00 - 1:05and often accompanied his father
on painting expeditions. -
1:06 - 1:10He developed an interest in sports,
especially boxing, -
1:10 - 1:12and also learned to play the flute.
-
1:12 - 1:16At the age of 15, Braque enrolled
in an evening art course -
1:16 - 1:18at the École des Beaux-Arts in Le Havre,
-
1:18 - 1:21where he studied painting
-
1:21 - 1:24and learned traditional
painting techniques. -
1:24 - 1:28In 1899, at the age of seventeen,
he moved from Le Havre to Paris, -
1:28 - 1:31accompanied by friends
and fellow art students -
1:31 - 1:34Othon Friesz and Raoul Dufy.
-
1:34 - 1:37In Paris he completed his apprenticeship
as a decorator -
1:37 - 1:42and was awarded his certificate
of competence in 1902. -
1:43 - 1:48Between 1902 and 1904,
with funding from his parents, -
1:48 - 1:51he attended the Académie Humbert.
-
1:51 - 1:54Together with his fellow artist
Francis Picabia -
1:54 - 1:57he developed an interest in Impressionism,
-
1:57 - 2:00particularly the work of Alfred Sisley.
-
2:01 - 2:04But in 1905, he visited
the Salon d’Automne in Paris -
2:04 - 2:07and saw the violent explosion
of arbitrary colour -
2:08 - 2:12in the room occupied by the paintings
of Henri Matisse, André Derain -
2:12 - 2:17and others of the group nicknamed
Les Fauves, the Wild Beasts. -
2:18 - 2:22As a consequence, Braque, and friends
Raoul Dufy and Othon Friesz, -
2:22 - 2:25began to move away
from Impressionist ideas -
2:25 - 2:30and adopted the bold colour schemes
and compositional structures -
2:30 - 2:33they had seen in Matisse’s paintings.
-
2:33 - 2:38Although, there’s was a slightly
more subdued version of the Fauvist style. -
2:39 - 2:44In May 1906, Braque successfully
exhibited his Fauve works -
2:44 - 2:47in the Salon des Indépendants.
-
2:47 - 2:50But his work was beginning to change
-
2:50 - 2:53as he came under the strong influence
of Paul Cézanne. -
2:54 - 3:01Later in 1906, Braque traveled with Friesz
to paint in Antwerp in Belgium, -
3:01 - 3:05and to the French Mediterranean
coast near Marseille. -
3:05 - 3:10In 1907, Braque was introduced
by Guillaume Apollinaire, -
3:10 - 3:12the French poet and writer,
-
3:12 - 3:16to Pablo Picasso who invited him
to visit his studio. -
3:16 - 3:19Braque was profoundly
affected by the visit, -
3:19 - 3:23especially when he saw
Picasso's innovative work -
3:23 - 3:26- Les Demoiselles d'Avignon.
-
3:26 - 3:28It soon became clear
-
3:28 - 3:30there was an immediate affinity
between the two artists -
3:30 - 3:35and an intimate friendship
and artistic camaraderie soon followed. -
3:36 - 3:38They collaborated closely,
-
3:38 - 3:40exchanging ideas almost daily
-
3:40 - 3:44and frequently commenting
on each other’s work. -
3:44 - 3:46It is impossible to say which of the two
-
3:46 - 3:50was the principal inventor
of the new revolutionary style of painting -
3:50 - 3:54which later became known as Cubism.
-
3:54 - 3:56It was Picasso who provided,
-
3:56 - 4:00with his Les Demoiselles d'Avignon
painting, -
4:00 - 4:02the first liberating shock.
-
4:02 - 4:06But it was Braque, largely because
of his admiration for Cézanne, -
4:06 - 4:10who provided much of the early tendency
toward geometric forms. -
4:12 - 4:15Between them they developed the ideas
-
4:15 - 4:18that drove the development
of this new artistic style. -
4:18 - 4:22While their paintings shared
many similarities at this time, -
4:22 - 4:26in terms of their colour palette,
style, and subject matter, -
4:27 - 4:29Braque stated that unlike Picasso,
-
4:29 - 4:33his work was
"devoid of iconological commentary" -
4:34 - 4:39and was concerned purely
with pictorial space and composition. -
4:39 - 4:45In May 1908, Braque and Picasso
exhibited their Cubist paintings -
4:45 - 4:49for the first time,
at the Salon des Indépendants in Paris. -
4:49 - 4:53Their work received
mixed reviews from critics -
4:53 - 4:54and was denounced by some
-
4:54 - 4:58because they had challenged
conventional forms of representation, -
4:58 - 5:00such as the use of perspective,
-
5:00 - 5:04which had been the rule
since Renaissance Art. -
5:04 - 5:08Others realised they had developed
a new way of seeing -
5:08 - 5:11and an art that reflected the modern age.
-
5:12 - 5:18During the summer of 1908
Braque created paintings near Marseille -
5:18 - 5:24which showed his determination
to break imagery into dissected parts. -
5:25 - 5:29The slab volumes, sober colouring
and warped perspective -
5:29 - 5:31in his paintings from this period,
-
5:31 - 5:34are typical of the first part
of what is now called -
5:34 - 5:37the Analytical Phase of Cubism.
-
5:37 - 5:42These radical works wee rejected
by the Salon d'Automne in 1908, -
5:42 - 5:45but in the autumn,
Braque showed his paintings -
5:45 - 5:48at the Kahnweiler Gallery in Paris
-
5:49 - 5:54which prompted the Paris art critic
Louis Vauxcelles to make his remark -
5:54 - 5:58about "cubes" which would give
this style of painting its name. -
5:59 - 6:03From 1909 onwards, Braque
worked closely alongside Picasso -
6:03 - 6:06continually developing Cubism,
-
6:06 - 6:09but Braque's work gradually bega
to develop its own distinctive style, -
6:10 - 6:13which tended to combine elements
of still life and landscape. -
6:14 - 6:17Whereas Picasso's work often explored
-
6:17 - 6:21the relationship between figures
and various objects, such as guitars. -
6:23 - 6:27In 1911, Braque and Picasso
spent the summer together -
6:27 - 6:30in the French Pyrenees,
painting side by side. -
6:31 - 6:32They produced works
-
6:32 - 6:35that were virtually impossible
to distinguish from each other -
6:35 - 6:37in terms of style.
-
6:37 - 6:39Traditional perspective
had been eliminated, -
6:39 - 6:43resulting in canvases whose subjects
were so broken apart -
6:43 - 6:46that it was almost impossible
to perceive them. -
6:47 - 6:50This format breakdown of forms and space,
-
6:50 - 6:53coupled with a shockingly subdued palette,
-
6:53 - 6:58created an almost abstract art
unlike anything seen before. -
6:59 - 7:03This period was the pinnacle
of Analytical Cubism. -
7:04 - 7:09In 1911, Picasso introduced Braque
to the model Marcelle Lapré. -
7:09 - 7:12They soon fell in love
and were married the following year. -
7:13 - 7:16Soon after they moved
to the small town of Sorgues, -
7:16 - 7:19near Avignon, in south-eastern France.
-
7:20 - 7:25It was in 912, that Braque and Picasso
developed Cubism further -
7:25 - 7:28into what is now known
as its Synthetic stage. -
7:29 - 7:32It was during this year
that Braque created -
7:32 - 7:35what is generally considered
his first paper collage, -
7:35 - 7:41by attaching three pieces of wallpaper
to the drawing "Fruit Dish and Glass". -
7:42 - 7:45Subject matter became more central,
more important, -
7:46 - 7:49with less emphasis on contrasting planes.
-
7:49 - 7:52They explored new techniques,
such as collage -
7:52 - 7:57and incorporated letters,
newspaper and even playing cards -
7:57 - 7:59into their work.
-
7:59 - 8:01He also began to mix
sand and sawdust with his paint -
8:01 - 8:05to create textural effects
on his canvases. -
8:05 - 8:07These ideas began to suggest the idea
-
8:07 - 8:11that a picture is not
an illusionist representation, -
8:11 - 8:14but rather an autonomous object
in its own right. -
8:15 - 8:20At the start of World War I in 1914,
Braque served in the French army -
8:20 - 8:23and was decorated twice that year
for bravery. -
8:24 - 8:27In 1915, he suffered serious head wound,
-
8:27 - 8:30which required a trepanation to cure
-
8:30 - 8:33and resulted in several months
in the hospital, -
8:33 - 8:38and a long period of convalescence
at his home in Sorgues. -
8:38 - 8:44During his recovery, he began making notes
and observations alongside his drawings, -
8:44 - 8:48In 1917, a collection of these notes
was assembled by his friend, -
8:48 - 8:51the poet Pierre Reverdy,
-
8:51 - 8:58and published in the review Nord-Sud,
as "Thoughts and Reflexions on Painting. -
8:59 - 9:02In 1917 he was released
from further military service -
9:02 - 9:07and began painting again in the pre-war
Synthetic Cubist stye, -
9:07 - 9:09but he never worked with Picasso again.
-
9:10 - 9:14The following year he began to collaborate
with his friend Juan Gris, -
9:14 - 9:17the Spanish-born Cubist painter
-
9:17 - 9:21whose paintings were also strongly
Synthetic Cubist. -
9:22 - 9:24But is wasn't long before Braque
began to move away -
9:24 - 9:28from the strictures of the austere
geometry of Cubism, -
9:28 - 9:31towards looser drawing
and freer brushwork, -
9:31 - 9:36as can be seen in this painting
"Still Life with Playing Cards", -
9:36 - 9:40From this point onwards,
Braque's work ceased to evolve -
9:40 - 9:44in the methodical way it has done
during the successive phases of Cubism -
9:44 - 9:46before World War I.
-
9:47 - 9:52Instead, Braque's work developed
into a series of personal interpretations -
9:52 - 9:57based on the stylistic possibilities
that Cubism had suggested. -
9:57 - 10:03By the early 1920s, Braque had become
a prosperous, established modern painter -
10:03 - 10:06who moved in the well-to-do,
cultured circles -
10:06 - 10:08of post-war French society.
-
10:09 - 10:13He worked most of the time in Paris,
in his studio in Montmartre -
10:13 - 10:16and later, in 1922, in Montparnasse,
-
10:18 - 10:23Also, in 1922, he had a successful
solo exhibition in Paris, -
10:23 - 10:26which not only brought attention
to his own work, -
10:26 - 10:30but showcased his developments
in terms of colour and collage. -
10:31 - 10:36From 1922 to about 1926, Braque's work
became more representational. -
10:37 - 10:43He painted a series of paintings based
around the idea of ancient Greek maidens -
10:43 - 10:48carrying baskets of sacred objects
to be used at feasts for the gods. -
10:49 - 10:53Another series explored the idea
of fireplaces and mantelpieces -
10:53 - 10:56laden with fruit
and sometimes guitars. -
10:56 - 11:01In 1925, Braque painted
"Fruit on a Tablecloth with a Fruit Dish", -
11:01 - 11:03which commemorated a banquet
-
11:03 - 11:05which had been held in his honour,
-
11:05 - 11:07when he had returned from the war.
-
11:07 - 11:12The painting shows a table flattened out
in the pictorial plane, -
11:12 - 11:15replicating the texture of wood and marble
-
11:15 - 11:18with Cezanne-like structure
and colouring of the fruit. -
11:19 - 11:22Also, in 1925, Braque moved
into a new house -
11:22 - 11:24on the Left Bank in Paris,
-
11:24 - 11:28designed for him by the modern architect
Auguste Perret. -
11:29 - 11:32And later that year
he received a commission -
11:32 - 11:35from Serge Diaghilev,
the great ballet impresario, -
11:36 - 11:39to design stage sets for the Ballet Russe
-
11:39 - 11:43In 1931, Braque received
the Legion of Honour, -
11:43 - 11:46a prestigious award
from the French government. -
11:46 - 11:49for his contributions to art.
-
11:49 - 11:52Later in the 1930s, he began
a series of figure paintings -
11:53 - 11:58examples being "Le Duo"
and "The Painter and his Model". -
11:58 - 12:01Unlike his contemporaries
Picasso and Matisse -
12:01 - 12:05Braque had abandoned the idea
of working from a live model. -
12:05 - 12:08His paintings, therefore, are imaginary
-
12:08 - 12:11and the goaty bearded painter
depicted in this work -
12:11 - 12:15bears no physical resemblance
to Braque himself. -
12:15 - 12:19In 1937, Braque won the first prize
of 1000 dollars -
12:19 - 12:22at the Carnegie Awards in New York
-
12:22 - 12:25for his painting "The Yellow Napkin".
-
12:25 - 12:28The grim events leading
to the Second World War -
12:28 - 12:30had a profound effect on Braque
-
12:30 - 12:35and during this period skulls often appear
in his still life paintings. -
12:35 - 12:39Works from this time appear
to exsude a sense of darkness, -
12:39 - 12:42despair, agony and misery.
-
12:42 - 12:45And seem to make political statement.
-
12:45 - 12:50The painting "Baluster and Skull"
is a fine example, -
12:50 - 12:54where colours replicate
the complex emotions and reactions -
12:54 - 12:56to impeding war.
-
12:56 - 13:01Braque lived in Paris during World War II
but continued exploring still life themes, -
13:02 - 13:04with sombre colour schemes,
-
13:04 - 13:07despite the difficult
conditions round him. -
13:07 - 13:12After the war, Braque resumed his practice
of executing a series of paintings -
13:12 - 13:15on a single subject or theme.
-
13:15 - 13:19such as birds, landscapes,
and scenes of the sea. -
13:19 - 13:25Between 1948-1955, he produced
a series of nine canvases, -
13:25 - 13:29entitled "Atelier" or "Studio",
-
13:29 - 13:31depicting imagery
which sought to represent -
13:31 - 13:35the artist's inner thoughts
about particular objects. -
13:36 - 13:40The bird symbol frequently appears
in these and later works -
13:41 - 13:44usually as a metaphor
for freedom and space. -
13:45 - 13:48The paintings often depicted
a picture within a picture -
13:48 - 13:50and were altogether more personal,
-
13:50 - 13:55decorative, and more richly coloured
than his pre-war paintings. -
13:55 - 14:00In 1948, he won the first prize
at the Venice Biennale -
14:00 - 14:03and had his first retrospective exhibition
-
14:03 - 14:07at the Museum of Modern Art,
in New York in 1949 -
14:07 - 14:10and the Tate Gallery in London in 1956.
-
14:11 - 14:16In 1949 he was asked to paint panels
for a ceiling of the Henri II room -
14:16 - 14:20in the prestigious Louvre Museum in Paris.
-
14:21 - 14:23The ceiling is very ornate
-
14:23 - 14:26and posed significant
design issues for Braque, -
14:26 - 14:28but he solved the problem
-
14:28 - 14:31by producing designs
that had a powerful simplicity -
14:31 - 14:36using the imagery of birds
painted in basic flat colours. -
14:37 - 14:40In 1956, his design
for a stained-glass window -
14:41 - 14:45on the theme of te Tree of Jesse
for the church of Saint-Valery -
14:45 - 14:49de Varengeville-sur-Mer
was installed. -
14:50 - 14:54That year he was also awarded
the Grand Prix for painting -
14:54 - 14:55at the Venice Biennale,
-
14:55 - 14:59one of the most prestigious awards
in the art world. -
15:00 - 15:04In the early 1960's he designed
three stained-glass windows -
15:04 - 15:07and gifted them
to the Chapel Saint-Dominique, -
15:07 - 15:09also in Varengeville.
-
15:09 - 15:12In 1961, on the occasion
of his 80th birthday, -
15:13 - 15:15his studio was taken down
and rebuilt in its entirety -
15:16 - 15:19in the Louvre's Mollien Gallery,
-
15:19 - 15:23a previously unheard-of honour
for a living artist. -
15:24 - 15:29Georges Braque died on 31st Augut, 1963,
-
15:29 - 15:32in his studio home
on the Left Bank in Paris. -
15:32 - 15:34He was 81 years old.
-
15:34 - 15:39He was buried in the graveyard
of Saint-Valery de Varengeville-sur-Mer, -
15:39 - 15:43which has beautiful views
overlooking the English Channel. -
15:43 - 15:48Georges Braque was a quiet, introvert,
extremely observant, sharp, determined, -
15:48 - 15:51and a very intelligent man.
-
15:52 - 15:53His contribution to art,
-
15:53 - 15:56particularly his role
in the development of Cubism -
15:56 - 16:01was profound, as was his innovative use
of materials and techniques, -
16:01 - 16:06as well as his willingness to challenge
traditional ideas about art. -
16:06 - 16:11His achievements made him
one of the most influential artists -
16:11 - 16:12of the 20th century.
-
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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.More art history: https://arthistoryschool.com
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- Video Language:
- English
- Duration:
- 16:46
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Margarida Ferreira edited English subtitles for Artist Georges Braque: How he became the Great Cubist Painter- Art History School | |
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Margarida Ferreira edited English subtitles for Artist Georges Braque: How he became the Great Cubist Painter- Art History School | |
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Margarida Ferreira edited English subtitles for Artist Georges Braque: How he became the Great Cubist Painter- Art History School |