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Email to FriendFirmado Georges Braque, Grabado Aguatinta, La Barque de Pêche (Fishing Boat), c.1960  |
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| Artista: | Braque, Georges (1882 - 1963), After |
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| Título: | La Barque de Pêche (Fishing Boat), c.1960 |
| Medio: | Grabado Aguatinta |
| Dimensiones del Ilustración: | 18 1/4 in x 11 1/2 in (46.4 cm x 29.2 cm) |
| Dimensiones del Papel: | 25 7/8 in x 19 3/4 in (65.7 cm x 50.2 cm) |
| Dimensiones del Marco: | approx. 37 in x 33 in (94 cm x 83.8 cm) |
| Firmado: | Hand-signed by Georges Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) in pencil in the lower right margin |
| Edición: | Numbered 6/75 in pencil in the lower left margin; engraved, printed and published by Atelier Crommelynck, Paris with their embossed blindstamp in the lower left sheet edge |
| Condición: | Rich with vibrant colors with a rare textural quality, this work is in excellent condition with a strong, visible plate mark, full margins, and deckle edges on all sides |
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Precio
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Artículo# 2461
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| MFA SALE | 50% Off: $7,500 |
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Varying from his other renditions of boats and the seashore, Braque here utilizes a brighter, lighter color palette that brings to mind the clarity and calm that follows a storm. Unlike Braque's earlier hyper-cubist pieces, this work illustrates the mature development of his style that resulted in a combination of realistic and linear representation. This is exemplified through his reduction of images to simple shapes and structures that work together to create a cohesive whole. |
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| Descripción Histórica: | |
This work is a brighter, colorful, and bolder rendition of Braques (Argenteuil-sur-Seine, 1882- Paris, 1963) typical barque compositions. It has a lighter air in comparison to his earlier and later works with more grey undertones; in contrast, we see a white boat resting atop warm, golden sand with a bright green ocean that stretches into the horizon. Unlike Braques earlier hyper-cubist pieces, this work illustrates the mature development of his style that resulted in a combination of realistic and linear representation, like this beach scene. Objects, like the red houses, are reduced to their ‘simple’ shapes, or skeletal construction (rectangles and triangles). A green ocean with a dry docked boat in the foreground are highlighted by these simplistic houses framing the sailboat on the left and right. Captured during a possibly Springtime scene, the sky above is filled with heavy grey clouds that act as remainders for a storm that has just passed. The use of color is deliberate, as Braque has reduced his palate to red, green, and black/brown/grey muted tones. The sharp contrast between the red and green with these earth tones gives energy to the bright colors, focusing our on the green ocean and red beach houses. The color schematics keep our eyes moving around the etching, never allowing us to rest in one place. This creates an energy between the print and viewer that is both intimate and meditative. Created c. 1960, this color etching and aquatint is hand-signed by Georges Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) in pencil in the lower right margin and numbered 6/75 in pencil in the lower left margin. Published by Atelier Crommelynck, Paris with their embossed blindstamp in the lower left sheet edge on Arches France watermarked paper with deckle edges on all sides. About The Framing: | |
| Estilo: | Picasso Cubism, Cubist 20th Century French Modern Master |
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Georges Braque biografía
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.
