Braque, Georges, Nature morte aux citrons (Still Life with Lemons), c. 1960
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Email to FriendSigned Georges Braque, Collotype, Nature morte aux citrons (Still Life with Lemons), c. 1960  |
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| Artist: | Braque, Georges (1882 - 1963), After |
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| Title: | Nature morte aux citrons (Still Life with Lemons), c. 1960 |
| Medium: | Original Collotype with Painted Pochoir |
| Image Size: | 17 3/4 in x 13 in (45.1 cm x 33 cm) |
| Framed Size: | 40 in x 34 3/4 in (101.6 cm x 88.3 cm) |
| Signed: | This work is hand-signed by Georges Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) in pencil in the lower right margin; also signed in brown in the stone in the lower right. |
| Edition: | One of thirty artist's proof. |
| Condition: | This work is in excellent condition, with deep rich colors and sharp black lines. |
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Gallery Price
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Item# 3375
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This magnificent still life evokes light and shadow to relay a sense of depth and perspective, exemplifying Braque's artistic mastery of this medium. Published by Guy Spitzer, this marvelous piece with hints of bright yellow appears as if illuminated with light. We can imagine that we are standing right in front of this appealing spread, preparing to help ourselves to a refreshing glass of lemonade. |
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| Historical Description: | |
This captivating still life created by Georges Braque (Argenteuil, Val d'Oise, 1882 - Paris, 1963) is incredibly rich and bold in color. Beautifully composed and balanced in shape and form, Braque utilizes stark color contrasts and bold lines juxtaposed at sharp angles to instantly capture the viewer's attention. Braque incorporates quite a few household items into this still life, displaying a yellow pitcher, glass cup, pear, pipe and, of course, bright yellow lemons. The vibrant yellow hue of the pitcher and lemons pops out amidst the background of neutral browns, grays, and blacks. Though the composition is abstract, Braque loses no amount of detail; from the moulding on the wall in the background to the decorative details on the glass cup, the viewer gathers the clear impression that he or she is standing at a table before an array of appealing objects. This stunning piece is hand-signed by Georges Braque (Argenteuil, Val d'Oise, 1882 - Paris, 1963) in pencil in the lower right margin and also signed in brown in the stone in the lower right. One of thirty artist's proofs numbered in pencil in the lower left margin, this work was published by Guy Spitzer with the Spitzer blind stamp in the lower left. Catalogue Raisonné & COA: 1. Spitzer, Guy. Guy Spitzer, Editeur D'Art. Editions Guy Spitzer: PARIS. Listed and illustrated on pg. 17 (another example illustrated). 2. 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.
