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The life of picasso after the first world war a brief biography

His paintings consist primarily of still lifes that are remarkable for their robust construction, low-key colour harmonies, and serene, meditative quality. Early life Braque was born just seven months after Picasso, in a small community on the Seine near Paris that was one of the centres of the Impressionist movement in the 1870s.

His father and grandfather, both amateur artists, were the owners of a prosperous house-painting firm. The boy attended the local public school, accompanied his father on painting expeditions, and developed an interest in sports, including boxing, that gave him, as an adult, the look of a professional athlete.

He also learned to play the flute.

Early life

After a year of military service he decided, with the help of an allowance from his family, to become an artist. In his free hours he frequented the Louvre, where he especially admired Egyptian and Archaic Greek works.

Later that year he signed a contract with a dealer, Daniel-Henry Kahnweilerwho had recently opened a small Paris gallery destined to play an important role in the history of modern art. Kahnweiler introduced him to the avant-garde poet and critic Guillaume Apollinairewho in turn introduced him to Picasso.

  • During the last years of his life Braque was honoured with important retrospective exhibitions throughout the world, including at the Louvre;
  • In 1915 he suffered a serious head wound, which was followed by a trepanation, several months in the hospital, and a long period of convalescence at home in Sorgues;
  • By 1928 he had created a series of gueridons, pedestal tables holding the objects previously assigned to mantelpieces;
  • The slab volumes, sober colouring, and warped perspective in his paintings from this period are typical of the first part of what has been called the Analytical phase of Cubism;
  • New means, new subjects…The aim is not to reconstitute an anecdotal fact, but to constitute a pictorial fact…To work from nature is to improvise…The senses deform, the mind forms…I love the rule that corrects emotion;
  • From 1922 to about 1926 he did a series of canephores, pagan-looking women carrying fruit.

The two artists became close friends, and within a few months they were engaged in the unprecedented process of mutual influence from which Cubism emerged.

Checkerboard Film Foundation Cubism It is impossible to say which of the two was the principal inventor of the revolutionary new style, for, at the height of their collaboration, they exchanged ideas almost daily. Picasso provided, with his proto-Cubist Demoiselles, the initial liberating shock.

The slab volumes, sober colouring, and warped perspective in his paintings from this period are typical of the first part of what has been called the Analytical phase of Cubism. Starting in 1911 Braque—now teamed, as he said later, with Picasso as if they were roped alpinists—reached the high point of Analytical Cubism. The works Braque and Picasso created during these years are practically interchangeable. The artists broke down planes and eliminated traditional perspectival space, which resulted in crowded canvases of subjects depicted so broken apart that they were nearly impossible to perceive.

This formal breakdown of forms and space, coupled with a shockingly subdued palette, created a nearly abstract, difficult art unlike anything seen before in the history of painting. While many of the tendencies of Analytical Cubism veered toward abstraction, an equally powerful undercurrent utilized figuration. In 1911, he stenciled letters into The Portuguese. He also began to introduce sand and sawdust onto his canvases.

Georges Braque

This work significantly strengthened the idea, full of consequences for the future of art, that a picture is not an illusionistic representation but rather an autonomous object. During the early part of the Cubist adventure, Braque had a studio in Montmartre but often worked elsewhere: In 1915 he suffered a serious head wound, which was followed by a trepanation, several months in the hospital, and a long period of convalescence at home in Sorgues. New means, new subjects…The aim is not to reconstitute an anecdotal fact, but to constitute a pictorial fact…To work from nature is to improvise…The senses deform, the mind forms…I love the rule that corrects emotion.

Released from further military service, the artist rejoined the Cubist movement in 1917, which was then still in its Synthetic phase. He and Picasso would never work together again, however.

  1. His father and grandfather, both amateur artists, were the owners of a prosperous house-painting firm. Rapidly, however, he moved away from austere geometry toward forms softened by looser drawing and freer brushwork, as seen in Still Life with Playing Cards 1919.
  2. This formal breakdown of forms and space, coupled with a shockingly subdued palette, created a nearly abstract, difficult art unlike anything seen before in the history of painting. During World War II he produced a collection of small, generally flat, decorative pieces of sculpture in a style recalling again ancient Greece and centring on vaguely mythological themes.
  3. This formal breakdown of forms and space, coupled with a shockingly subdued palette, created a nearly abstract, difficult art unlike anything seen before in the history of painting. The boy attended the local public school, accompanied his father on painting expeditions, and developed an interest in sports, including boxing, that gave him, as an adult, the look of a professional athlete.

In 1917—18 Braque painted, partly under the influence of his friend Juan Grisa Spanish-born Cubist master whose paintings were strongly Synthetic Cubist, the geometric, strongly coloured, nearly abstract Woman Musician and some still lifes in a similar manner.

Rapidly, however, he moved away from austere geometry toward forms softened by looser drawing and freer brushwork, as seen in Still Life with Playing Cards 1919.

From that point onward his style ceased to evolve in the methodical way it had during the successive phases of Cubism; it became a series of personal variations on the stylistic heritage of the eventful years before World War I.

International acclaim By the 1920s Braque was a prosperous, established modern master and a part of the well-to-do, cultured circles of postwar French society.

Working again much of the time in Paris, he transferred his studio from Montmartre to Montparnasse in 1922 and three years later moved into a new Left Bank house designed for him by a modern-minded architect, Auguste Perret. In 1923 and again in 1925 he had commissions from Serge Diaghilevthe great ballet impresario, for the design of stage sets.

In 1930 he acquired a country residence at Varengeville, a group of hamlets on the Normandy coast near Dieppe. His painting during these years can be most easily classified, given its stylistic variety, on the basis of subject matter. From 1922 to about 1926 he did a series of canephores, pagan-looking women carrying fruit.

By 1928 he had created a series of gueridons, pedestal tables holding the objects previously assigned to mantelpieces.

Later in the 1930s he began a series of figure paintings—first-rate examples are Le Duo and The Painter and His Model—and in 1937 he won the Carnegie Prize. During World War II he produced a collection of small, generally flat, decorative pieces of sculpture in a style recalling again ancient Greece and centring on vaguely mythological themes.

After the war Braque resumed his practice of executing a number of paintings on a single subject: During the last years of his life Braque was honoured with important retrospective exhibitions throughout the world, including at the Louvre.