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Email to FriendSigned Georges Braque, Lithograph, Le coq, 1952  |
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| Artist: | Braque, Georges (1882 - 1963) |
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| Title: | Le coq, 1952 |
| Medium: | Original Color Lithograph |
| Image Size: | 14 1/3 in x 10 7/16 in (36.4 cm x 26.5 cm) |
| Sheet Size: | 14 1/3 in x 10 7/16 in (36.4 cm x 26.5 cm) |
| Framed Size: | approx. 24 in x 20 in (61 cm x 50.8 cm) |
| Signed: | Hand signed by Georges Braque (Argenteuil, Val-d'Oise, 1882 - Paris, 1963) in pencil in the lower right margin |
| Edition: | Numbered from the edition of 80 in pencil in the lower left margin; published by Verve (frontispiece for "Mods and Movements in Art," Vol VII, No 27-28). |
| Condition: | This work is in excellent condition. |
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Gallery Price
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Item# 3089
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| MFA SALE | 50% Off: $7,500 |
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Evoking a sense of peace and calm through his color palette of soft periwinkle blues and purple-greys, Braque creates an exquisite work. His technical mastery of the medium as well as his innate artistic talent shines through, as he achieves a remarkable sense of texture and a wonderful balance apparent in the 90 degree angles of the birds' necks that elegantly mimic one another. |
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| Historical Description: | |
| A graceful, white rooster stands peacefully against a background of soothing,
periwinkle blue. Braque utilizes simple, abstract lines to depict this coq,
avoiding the use of excessive detail or color. In the background, the viewer
witnesses another bird, perhaps this coq's mate. Though lacking a distinct ground
line, the viewer gets the impression that the smaller bird is standing in the
distance while the coq stands nearby as the main subject of the composition.
Braque strategically composes the birds as if they are vertically stacked upon
one another, so that the nearly 90 degree angles from their necks and backs
mimic and therefore complement one another. The background is composed of swirling
lines of blue and white that blend together in such a way as to contribute a
sense of texture to this exquisite lithograph.
Created in 1952, this original color lithograph was published by Verve (frontispiece for "Mods and Movements in Art," Vol VII, No. 27-28. This work is hand-signed by Georges Braque (Argenteuil, Val-d'Oise, 1882 - Paris, 1963) in pencil in the lower right margin and numbered from the edition of 80 in pencil in the lower left margin.
1. A Certificate of Authenticity will accompany this work. About the Framing: | |
| Style: | Picasso Cubism, Cubist 20th Century French Modern Master |
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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.
