Braque explained his approach to these bird paintings in 1958: "I tend to paint it thickly and opaquely in order to suggest its infinite depth. In my ceiling decorations in the Louvre, for instance, I found it necessary to use layer after layer of pigment on the sky so that the onlooker would feel that the birds had enough sky to fly about in and would at the same time be made conscious of the sky as a tactile element. I want to bring the sky -- and everying else I paint -- within people's grasp" (quoted in John Golding, Braque: The Late Works, London, 1997, p. 114).
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