Unlike Pablo Picasso, Georges Braque paintings were devoid of iconological commentary and were concerned purely with pictorial space and composition. George sought after balance and harmony in his compositions, particularly through papier colles, a pasted paper collage technique that he and Pablo invented in 1912.
Georges took papier colles, a pasted paper collage technique that he and Pablo Picasso invented in 1912, one step further, through the gluing of cut-up advertisements into his Georges Braque paintings. This was actually a foreshadowing of modern art movements concerned with critiquing media, including Pop art.
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.
Georges and Pablo worked in synchronicity until Georges' return from war in 1914. Georges felt that Pablo betrayed their Cubist systems and rules, when Pablo began painting figuratively. It was then that Georges decided to work on his own Georges Braque paintings.
Georges Braque paintings returned to focus on still life, by 1918, when Georges felt he had sufficiently explored the possibilities offered by the papier colles technique. A more limited palette was noticeable in Georges' first post war solo show in 1919. Regardless of this, Georges steadfastly adhered to Cubist rules in his depiction of objects from multi-faceted perspectives in geometrically patterned ways.
In the 1930s, Georges Braque paintings portrayed Greek horses and deities, stripped of their symbolism and viewed through a purely formal lens. They were exercises in calligraphy because they were not strictly about figures, rather more about sheer lines and shapes.
Georges took papier colles, a pasted paper collage technique that he and Pablo Picasso invented in 1912, one step further, through the gluing of cut-up advertisements into his Georges Braque paintings. This was actually a foreshadowing of modern art movements concerned with critiquing media, including Pop art.
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.
Georges and Pablo worked in synchronicity until Georges' return from war in 1914. Georges felt that Pablo betrayed their Cubist systems and rules, when Pablo began painting figuratively. It was then that Georges decided to work on his own Georges Braque paintings.
Georges Braque paintings returned to focus on still life, by 1918, when Georges felt he had sufficiently explored the possibilities offered by the papier colles technique. A more limited palette was noticeable in Georges' first post war solo show in 1919. Regardless of this, Georges steadfastly adhered to Cubist rules in his depiction of objects from multi-faceted perspectives in geometrically patterned ways.
In the 1930s, Georges Braque paintings portrayed Greek horses and deities, stripped of their symbolism and viewed through a purely formal lens. They were exercises in calligraphy because they were not strictly about figures, rather more about sheer lines and shapes.
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