拍品 48
  • 48

喬治·布拉克

估價
500,000 - 700,000 GBP
招標截止

描述

  • Georges Braque
  • 《酒杯與水果盤》
  • 款識:畫家簽名 G. Braque(左下);簽名 G. Braque(背面)
  • 油彩、沙子畫布

來源

Paul Rosenberg, New York

Galerie Beyeler, Basel

Private Collection, Europe (acquired from the above. Sold: Christie’s, London, 29th June 2000, lot 319)

Purchased at the above sale by the present owner

展覽

New York, Perls Galleries, Georges Braque, an American Tribute: the Twenties, 1964, no. 9, illustrated in the catalogue

Basel, Galerie Beyeler, Georges Braque, 1968, no. 30, illustrated in colour in the catalogue

出版

Nicole S. Mangin, Catalogue de l'œuvre de Georges Braque, peintures 1916-1923, Paris, 1973, illustrated p. 103

拍品資料及來源

Verre et compotier, painted in 1922, displays Braque’s preeminent abilities of composition and painterly experimentation. The artist’s exploration of the genre of still-life is one of the most complete and insightful journey’s taken in 20th century art. He expressed his preference for the subject saying ‘the still-life is a tactile, even manual space in contrast to the space of the landscape, which is a visual space’ (quoted in Edwin Mullins, The Art of Georges Braque, New York, 1968, p. 41). The still-life was the perfect genre for his progression towards and through Cubism and beyond, it is precisely the malleability of the still-life composition, both real and illusory, that allowed Braque to approach his art with such rigour, and therefore make paintings such as Verre et compotier so rich visually and intellectually. Isabelle Monod-Fontaine writes that Braque achieved with his still-lifes, an ‘inexhaustible poetic richness. The still life as a genre is raised to a new level of profundity and complexity, which has probably never been attained since’ (I. Monod-Fontaine, Georges Braque: Order and Emotion (exhibition catalogue), Museum of Contemporary Art, Andros, 2003, p. 24).

In the present work the various fruits and furnishings are not deconstructed and analysed as specimens as they might have been during Braque’s Cubist period, rather they are treated solely as elements of the overall composition. As Braque noted: ‘Without having striven for it, I do in fact end by changing the meaning of objects and giving them a pictorial significance which is adequate to their new life. When I paint a vase, it is not with the intention of creating a utensil capable of holding water. It is for quite another reason. Objects are recreated for a new purpose: in this case, that of playing a part in a picture. Once an object has been integrated into a picture, it accepts a new density and at the same time becomes universal. If it remains an individual object this must be due to lack of improvisation or imagination. As they give up their habitual function, so objects become united by the relationships which sprung up between them and the picture and ultimately myself!’ (quoted in Douglas Cooper, Braque, The Great Years, Chicago, 1972, p. 111).

 

 

 

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