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Braque, Georges, La Nappe Jaune (The Yellow Tablecloth), c.1956
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Georges Braque, Etching, La Nappe Jaune (The Yellow Tablecloth), c.1956  |
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| Artist: | Braque, Georges (1882 - 1963) |
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| Title: | La Nappe Jaune (The Yellow Tablecloth), c.1956 |
| Medium: | Original Color Etching |
| Image Size: | 17 in x 10 in (43 cm x 25.5 cm) |
| Framed Size: | 37 3/4 in x 32 in (95.9 cm x 81.3 cm) |
| Signed: | Hand signed by Georges Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) in pencil in the lower right margin; also signed in the plate in black, 'G. Braque' in the lower right. |
| Edition: | Numbered 97/300 in pencil in the lower left margin; published by Maeght |
| Condition: | This work is in excellent condition, the colors are bold, bright and fresh |
| Illustrated In: | Vallier, D. (1982). Braque: The Complete Graphics, Catalogue Raisonn |
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Price
Item# 1031 |
$16,000
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| Historical Description: | |
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Published by Maeght, circa 1956, this color etching is part of a series of lithographs and etchings that were based upon Braques (Argenteuil-sur-Seine, 1882- Paris, 1963) original watercolors, gouaches and paintings. Braque was very involved in the printing process, overseeing either the engraver or lithographer, correcting the proofs when necessary. This particular image can be related to Still Life With Green Cloth of 1943 as well as Still Life of 1948. Hand signed by Georges Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) in pencil in the lower right margin; also signed in the plate in black, 'G. Braque' in the lower right. Numbered 97/300 in pencil in the lower left margin; published by Maeght éditeur, Paris. Offering a stunning impression, this image represents the evolution of the still life within Braques (Argenteuil-sur-Seine, 1882- Paris, 1963) career. With this image, the artist replaces the cubist formality of his early compositions with a fluid organic quality which would come to characterize the artist's later works. Much of the success of this composition hinges upon the tonal brilliancy of
the piece which has been exquisitely preserved. The artist's intense use of
yellows and browns creates a sense of warmth that is further echoed in the iron
tea pot seen at the left hand portion of the image. Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) contrasts the yellow
foreground of the image with the dense brown of the background, further enhancing
the luminous quality of the work. The coloristic rendering of the fruit is also
remarkable for the artist adds tonal variations which create a sense of palpable
succulents. 1) Vallier, D. (1982). Braque: The Complete Graphics, Catalogue Raisonné. Gallery Books: NY. Listed and illustrated as a limited and numbered edition, issued by Maeght on pg. 295 (M.1038). About the Framing: | |
| Style: | Modern master, cubism |
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Biography of Georges Braque
Georges Braque (1882 - 1963)
Georges Braque was born on May 13, 1882, in Argenteuil-sur-Seine, France. He grew up in Le Havre and studied evenings at the Ecole des Beaux-Arts there from about 1897 to 1899. He left for Paris to study under a master decorator to receive his craftsman certificate in 1901. From 1902 to 1904, he painted at the Académie Humbert in Paris, where he met Marie Laurencin and Francis Picabia. By 1906, Braque's work was no longer Impressionist but Fauve in style; after spending that summer in Antwerp with Othon Friesz, he showed his Fauve work the following year in the Salon des Indépendants in Paris. His first solo show was at Daniel-Henri Kahnweiler's gallery in 1908. From 1909, Pablo Picasso and Braque worked together in developing Cubism; by 1911, their styles were extremely similar. In 1912, they started to incorporate collage elements into their paintings and to experiment with the papier collé (pasted paper) technique. Their artistic collaboration lasted until 1914. Braque served in the French army during World War I and was wounded; upon his recovery in 1917, he began a close friendship with Juan Gris.
After World War I, Braque's work became freer and less schematic. His fame grew in 1922 as a result of an exhibition at the Salon d'Automne in Paris. In the mid-1920s, Braque designed the decor for two Sergei Diaghilev ballets. By the end of the decade, he had returned to a more realistic interpretation of nature, although certain aspects of Braque's Cubism always remained present in his work. In 1931, Braque made his first engraved plasters and began to portray mythological subjects. His first important retrospective took place in 1933 at the Kunsthalle Basel. He won First Prize at the Carnegie International, Pittsburgh, in 1937.
During World War II, Braque remained in Paris. His paintings at that time, primarily still lifes and interiors, became more somber. In addition to paintings, he also made Braque etchings, lithographs, engravings, prints and sculpture. From the late 1940s, he treated various recurring themes, such as birds, ateliers, landscapes, and seascapes. In 1954, he designed stained-glass windows for the church of Varengeville. During the last few years of his life, Braque's ill health prevented him from undertaking further large-scale commissions, but he continued to paint, make lithographs, and design jewelry. He died on August 31, 1963, in Paris.
