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.
The technique used in the early Georges Braque paintings leaned towards creative painting. Georges was actually guided towards the technique at a young age. It is construed that his interest in texture and tactility were products of his working with his father as a decorator in his father's decorative painting business.
Georges Braque paintings took a drastic change in 1907 after Georges seeing Pablo Picasso's breakthrough work in Les Demoiselles d'Avignon. The encounter led to an intimate friendship and artistic camaraderie between the two painters. They would get together every single day to discuss and assay the ideas that were forming in their individual heads and to compare their respective works.
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 featured geometric shapes interrupted by musical instruments, grapes or furniture. Their being so three-dimensional contributed to their consideration as important to the development of Cubist sculpture.
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.
The technique used in the early Georges Braque paintings leaned towards creative painting. Georges was actually guided towards the technique at a young age. It is construed that his interest in texture and tactility were products of his working with his father as a decorator in his father's decorative painting business.
Georges Braque paintings took a drastic change in 1907 after Georges seeing Pablo Picasso's breakthrough work in Les Demoiselles d'Avignon. The encounter led to an intimate friendship and artistic camaraderie between the two painters. They would get together every single day to discuss and assay the ideas that were forming in their individual heads and to compare their respective works.
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 featured geometric shapes interrupted by musical instruments, grapes or furniture. Their being so three-dimensional contributed to their consideration as important to the development of Cubist sculpture.
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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