Braque, Georges, Théière et Raisin (Teapot and Grape), 1950
Signed Georges Braque, Etching Aquatint, Théière et Raisin (Teapot and Grape), 1950
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|Artist:||Braque, Georges (1882 - 1963), Afterwork|
|Title:||Théière et Raisin (Teapot and Grape), 1950|
Original Color Etching and Aquatint
|Image Size:||23 5/8 in x 13 7/16 in (59.9 cm x 34 cm)|
|Sheet Size:||30 in x 22 in (76.2 cm x 55.9 cm)|
|Signed:||This work is hand signed by Georges Braque (Argenteuil, Val-d'Oise, 1882-Paris, 1963) in brown crayon in lower right.|
|Edition:||Numbered 9/200 in brown crayon in lower left; printed on Arches paper with full watermark.|
|Condition:||This piece is in excellent condition, with textural ink and colors.|
Inviting us to observe the often unnoticed beauty of everyday objects, Braque dedicates this still life work to the depiction of two objects: a teapot and a bunch of grapes. Braque does not included distracting details but rather strips the background of unnecessary detractions, depicting his subjects with rich, painterly strokes.
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In this exquisite still life, Braque replaces the cubist formality of his early compositions with an organic quality that would come to characterize his later works. Aptly titled Théière et Raisin (Teapot and Grape, Braque minimizes the subjects of this still life to two objects and focuses intently on bringing to light the simple beauty of often unnoticed subjects. He utilizes an earthy color palette of greens, greys, blacks, browns, and yellows, but uses color contrast to his advantage, as exemplified by the green grapes against the black plate that instantly pop out at the viewer.
Braque provides a distinct foreground and background, including the table upon which the fruit rests as part of the overall composition, and offers the viewer a raised vantage point, as though the viewer is gazing down at the teapot and grape. The surface of the table is intriguing as it suggests a painterly quality and is streaked with an array of colors in varied hues, providing a further contrast to the solid coloring and graceful lines used to convey the teapot and grape.
This original color etching and aquatint is hand signed by the Georges Braque (Argenteuil, Val-d'Oise, 1882-Paris, 1963) in brown crayon in the lower right margin and numbered 9/200 in brown crayon in the lower left margin. The edition was published by Maeght in Paris and is catalogued as Maeght 1022. This piece was printed through a collaboration between Braque and Lacouriere, Paris, on Arches paper with a full watermark.
Catalogue Raisonné & COA:
1. Vallier, Dora. Braque The Complete Graphics. New York: Gallery Books, 1982. Listed on page 294 as plate 1022.
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 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.