拍品 4
  • 4

喬治·布拉克

估價
400,000 - 600,000 USD
已售出
629,000 USD
招標截止

描述

  • Georges Braque
  • 《玻璃杯與吉他》
  • 炭筆、鉛筆、木紋紙、棕色紙、粉筆卡紙

來源

Daniel-Henry Kahnweiler, Paris (sold: 4e vente Kahnweiler, Hôtel Drouot, Paris, May 7-8, 1923, lot 4)

Rose Fried Gallery, New York

Mrs. Charles H. Russell, Jr., New York (acquired circa 1930)

John S. H. Russell, Washington, D.C.

E.V. Thaw & Co., Inc., New York

Ms. Ruth G. Hardman, Tulsa, Oklahoma (acquired from the above in 1982 and sold: Sotheby's, New York, May 6, 2004, lot 115)

Acquired from the above sale

展覽

New York, Saidenberg Gallery, Georges Braque, An American Tribute, 1964, no. 29

Paris, Musée National d’Art Moderne, Centre Georges Pompidou; Washington, D.C., National Gallery of Art, Braque: The Papier Collés, 1982-83, no. 22, illustrated in the catalogue

Vienna, The Albertina Museum, Goya bis Picasso. Meisterwerke der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, 2005, no. 137, illustrated in color in the catalogue

Munich, Kunsthalle der Hypo-Kulturstiftung,  Das Ewige Auge - Von Rembrandt bis Picasso. Meisterwerke aus der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, 2007, no. 171, illustrated in color in the catalogue

出版

Albert Eugene Gallatin, Georges Braque, New York, 1943, illustrated upside down on the frontispiece 

Malcolm Gee, Dealers, Critics, and Collectors of Modern Painting, New York & London, 1981, listed appendix F, p. 50

Nicole Worms de Romilly & Jean Laude, Braque, le cubisme, 1907-1914, Paris, 1982, no. 211, illustrated p. 223

拍品資料及來源

Braque completed this carefully-crafted still life during what is commonly known as his Synthetic Cubist period.  In contrast to his Analytic Cubist compositions of the preceding years, these works were composed with a greater attention to the individuality of each compositional element and its surrounding space.  In these pictures, objects are flattened, shallow space projects forward rather than recedes, and colors are usually neutral tones of grays, tans and black.  One of the most successful means of achieving this effect was by the use of collage, a process that emphasized the variety of components within a given composition. 

For this collage, Braque creates the still-life of a glass and bottle by using a variety of media, including colored paper and 'imitation wood' paper.  He positions these objects on an oval-shaped board that alludes to the surface of a table-top.  Braque began using oval formats in 1910 and increasingly employed them in his Synthetic Cubist compositions.  The artist was fascinated with the compact pictorial surface and the greater concentration of subject matter that was allowed by the elision of corners.  "With oval formats," he famously commented, "I regained the sense of the horizontal and the vertical."  Karen Wilkin has written the following about these compositions: "Fragments of trompe-l'oeil modeling, a relic both of Braque's past and of the papiers collés, form a stabilizing vertical and horizontal axis, cardinal points against which everything fans out in a casual scattering of luminous planes.  Braque turns the commonplace, by now predictable iconography of the Cubist studio into some of the most elegant, intelligent painting of the twentieth century" (K. Wilkin, Braque, New York, 1991, pp. 36-37).

Close