During the German occupation, Braque lived and worked in Paris, returning to Varengeville after the liberation of Paris in 1944. He was in Varengeville in Normandy when the Germans invaded France in 1940. By the mid-1930s, Braque was an internationally recognized still life painter and regularly included in exhibitions and publications. Braque’s work in the 1920s included small still lifes and large, complex canvases with rich, velvety textures these gave way in the 1930s to paintings with vibrant colors and bold patterns. In 1912, Braque created the first of his paper collages, initiating what would become a lifelong concern with the tactile depiction of space.ĭuring Braque’s military service in World War I, he sustained a head injury and did not resume painting until 1917, when he began classicizing and naturalizing the cubist vocabulary. It was at this point that he and his friend Picasso engaged in a rigorous analysis of form and developed cubism. Passing through impressionist and then fauvist styles, Braque became increasingly concerned with volume and structure, inspired by the works of Paul Cézanne. After completing a two-year apprenticeship in the family business in Le Havre and Paris, he entered Académie Humbert at age 20 to study fine art. Born in Argenteuil, France, Braque came from a family of decorative house painters, a background that taught him to re-create complex surfaces and visual effects. Georges Braque (1882–1963) was a profoundly influential French modern painter who, together with Pablo Picasso, developed the radical pictorial language of cubism, shaping the course of 20th-century painting. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. The exhibition is supported by the Share Fund and an award from the National Endowment for the Arts Mellon postdoctoral fellow in conservation science at Harvard Art Museums, and Narayan Khandekar, senior conservation scientist at Harvard’s Straus Center of Conservation. The catalogue also includes an in-depth study of Braque’s materials and process by Patricia Favero, Phillips associate conservator, Erin Mysek, Andrew W. Butler of the Kemper Art Museum and others. The fully illustrated catalogue includes essays by exhibition co-curators Renée Maurer of The Phillips Collection and Karen K. The exhibition is co-organized by The Phillips Collection and the Mildred Lane Kemper Art Museum, part of the Sam Fox School of Design & Visual Arts at Washington University in St. Louis. In their focused subject of modest objects grouped on trays and washstands, some saw disengagement from current events for others, the visual realm of the still lifes represented a space for creative freedom during tragic times, an escape into intimate and imaginary spaces. Although Braque did not exhibit frequently during World War II, in 1943 he was honored with a special room of recent works at the Salon d’Automne in Paris. In the 1930s, Braque’s art continually appeared in major international exhibitions and publications as his European and American supporters encouraged interest in his work. ![]() ![]() ![]() Starting in the 1920s, Duncan Phillips, founder of The Phillips Collection, helped to introduce Braque’s paintings to a wider American audience through acquisitions and installations. In Still Life on a Red Tablecloth (1934), painted and incised patterns provide surface variation to the layered fabrics on the table and heighten the color. In The Pink Tablecloth (1933) and Fruit, Glass, and Mandolin (1938), Braque added powdered quartz and sand to a white ground to evoke intricate textures. Other paintings show Braque’s interest in conveying the physicality of objects and surrounding space. Used as models for marble panels in the Paris apartment of Braque’s art dealer Paul Rosenberg, the four canvases reveal aspects of Braque’s process all were in his studio at the same time at various stages of completion, as he reworked them over several years. Georges Braque and the Cubist Still Life, 1928–1945 brings together for the first time in 80 years the Braque paintings known as the Rosenberg Quartet (1928–29).
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