Georges Braque paintings were at the forefront of the revolutionary art movement of Cubism. They focused on still lives and on means of viewing objects from various perspectives through color, line and texture. Georges is best known for Cubist works done in collaboration with Pablo Picasso. However, Georges himself has a long painting career that continued beyond Cubism.
Georges stencilled letters onto his Georges Braque paintings. He also blended pigments with sand as well as copied wood grain and marble. All these he did for the achievement of dimension in his paintings. His still life depiction is so abstract. It actually borders on becoming patterns of expression of an essence in the object views instead of direct representations.
At age seventeen, Georges moved from Argenteuil to Paris in 1899, accompanied by his friends, Othon Friesz and Raoul Dufy. The earliest Georges Braque paintings were made in the Fauvist style. After giving up his work as a decorator in his father's decorative painting business, Georges pursued painting full time from 1902 to 1905.
Despite breaking up with Pablo Picasso, Georges Braque paintings continued to be influenced by Pablo's works, particularly in relation to papier colles, a collage technique they pioneered together using only pasted paper.
Georges Braque paintings continued to be works of a true Analytical Cubist, much longer than Pablo Picasso, whose style, subject matter and palettes changed continuously. What was most interesting to Georges was the showcasing of how objects look when viewed over time in different temporal spaces and pictorial planes.
In the latter half of the 1930s, Georges Braque paintings consisted of Georges' Vanitas series, where he existentially considered death and suffering. Georges explored ways in which his brushstrokes and paint qualities could enhance his subject matter, as he grew increasingly obsessed with the physicality of his paintings. The objects Georges used in his still life paintings were highly personal, which is perhaps why he left their meanings unrevealed and unexplained.
Georges stencilled letters onto his Georges Braque paintings. He also blended pigments with sand as well as copied wood grain and marble. All these he did for the achievement of dimension in his paintings. His still life depiction is so abstract. It actually borders on becoming patterns of expression of an essence in the object views instead of direct representations.
At age seventeen, Georges moved from Argenteuil to Paris in 1899, accompanied by his friends, Othon Friesz and Raoul Dufy. The earliest Georges Braque paintings were made in the Fauvist style. After giving up his work as a decorator in his father's decorative painting business, Georges pursued painting full time from 1902 to 1905.
Despite breaking up with Pablo Picasso, Georges Braque paintings continued to be influenced by Pablo's works, particularly in relation to papier colles, a collage technique they pioneered together using only pasted paper.
Georges Braque paintings continued to be works of a true Analytical Cubist, much longer than Pablo Picasso, whose style, subject matter and palettes changed continuously. What was most interesting to Georges was the showcasing of how objects look when viewed over time in different temporal spaces and pictorial planes.
In the latter half of the 1930s, Georges Braque paintings consisted of Georges' Vanitas series, where he existentially considered death and suffering. Georges explored ways in which his brushstrokes and paint qualities could enhance his subject matter, as he grew increasingly obsessed with the physicality of his paintings. The objects Georges used in his still life paintings were highly personal, which is perhaps why he left their meanings unrevealed and unexplained.
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