Georges Braque paintings were at the forefront of the revolutionary art movement of Cubism. They focused on still lives and on means of viewing objects from various perspectives through color, line and texture. Georges is best known for Cubist works done in collaboration with Pablo Picasso. However, Georges himself has a long painting career that continued beyond Cubism.
The technique used in the early Georges Braque paintings leaned towards creative painting. Georges was actually guided towards the technique at a young age. It is construed that his interest in texture and tactility were products of his working with his father as a decorator in his father's decorative painting business.
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.
Understanding Pablo Picasso's goals, Georges aimed to strengthen the constructive elements in his Georges Braque paintings while foregoing of the expressive excesses of Fauvism. It was from his landscape paintings of scenes distilled into basic shapes and colors, that French art critic, Louis Vauxcelles, drew inspiration from, to coin the term Cubism, to describe Georges' work as bizarreries cubiques.
Georges Braque paintings continued to be works of a true Analytical Cubist, much longer than Pablo Picasso, whose style, subject matter and palettes changed continuously. What was most interesting to Georges was the showcasing of how objects look when viewed over time in different temporal spaces and pictorial planes.
In the latter half of the 1930s, Georges Braque paintings consisted of Georges' Vanitas series, where he existentially considered death and suffering. Georges explored ways in which his brushstrokes and paint qualities could enhance his subject matter, as he grew increasingly obsessed with the physicality of his paintings. The objects Georges used in his still life paintings were highly personal, which is perhaps why he left their meanings unrevealed and unexplained.
The technique used in the early Georges Braque paintings leaned towards creative painting. Georges was actually guided towards the technique at a young age. It is construed that his interest in texture and tactility were products of his working with his father as a decorator in his father's decorative painting business.
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.
Understanding Pablo Picasso's goals, Georges aimed to strengthen the constructive elements in his Georges Braque paintings while foregoing of the expressive excesses of Fauvism. It was from his landscape paintings of scenes distilled into basic shapes and colors, that French art critic, Louis Vauxcelles, drew inspiration from, to coin the term Cubism, to describe Georges' work as bizarreries cubiques.
Georges Braque paintings continued to be works of a true Analytical Cubist, much longer than Pablo Picasso, whose style, subject matter and palettes changed continuously. What was most interesting to Georges was the showcasing of how objects look when viewed over time in different temporal spaces and pictorial planes.
In the latter half of the 1930s, Georges Braque paintings consisted of Georges' Vanitas series, where he existentially considered death and suffering. Georges explored ways in which his brushstrokes and paint qualities could enhance his subject matter, as he grew increasingly obsessed with the physicality of his paintings. The objects Georges used in his still life paintings were highly personal, which is perhaps why he left their meanings unrevealed and unexplained.
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