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拍品詳情

印象派及現代藝術日拍

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倫敦

Georges Braque
1882 - 1963年
FRUITS, CRUCHE ET PIPE
signed G Braque (lower right)
oil on panel
42.5 by 59.5cm., 16 3/4 by 23 1/2 in.
Painted in 1924.
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來源

Mr & Mrs Cummins Catherwood, Bryn Mawr, Pennsylvania (acquired by 1963)
Galerie D. Benador, Geneva
Private Collection, Europe (acquired circa 1965; sale: Christie's, London, 25th June 2008, lot 469)
Purchased at the above sale by the present owner

展覽

Paris, Galerie Charpentier, Nature Mortes Françaises, 1951, n.n.
Philadelphia, Philadelphia Museum of Art, Philadelphia Collects 20th Century, n.n., 1963, illustrated in the catalogue

出版

George Isarlov, Catalogue des œuvres de Georges Braque, Paris, 1932, no. 349
John Russell, Braque, London, 1959, no. 34, illustrated p. 123
Galerie Maeght (ed.), Catalogue de l'œuvre de Georges Braque, Peintures 1924-1927, Paris, 1968, n.n., illustrated p. 14
Massimo Carrà, Tout l'œuvre peint de Braque, 1908-1929, Paris, 1973, no. 217, illustrated p. 96

相關資料

Still life was a theme that George Braque consistently returned to during his long and productive career. Having recovered from a head wound inflicted during the fighting at Carency during the First World War, Braque resumed painting in 1917, and during the early 1920s, achieved well-deserved, if belated success. As it had been during his Cubist year's, still life was the artist’s primary theme, which he deemed the most appropriate subject for his investigations of the formal and tactile qualities of painting.

Braque’s still lifes from the 1920s effortlessly combine the French nature morte tradition with the new pictorial language developed from cubism and arguably represent the quintessence of his œuvre. Humble in theme, Braque demonstrates his unaffected relish for the pleasures of simple bourgeois living by depicting unassuming objects of the everyday. Depicting fruit, a pipe and a jug in the present work, Braque described his painterly goal as exploring “how far one can go in blending volume and colour” (quoted in Jean Leymarie, Georges Braque (exhibition catalogue), The Solomon R. Guggenheim Museum, New York, 1988, p. 27). The formal elements of the still life have been rendered as flattened shapes that act as ‘signs’ for the objects they represent, as in cubist practice. Spatial depth is created by the contrast of the white pipe against the darker forms that lie behind it, and the bright yellow lemons that resonate strongly from the work. Conveying a tangible space, it is an image of casual intimacy, enhanced by the horizontal format the artist has employed, allowing him to disperse the focal points of the composition. As Isabelle Monod-Fontaine has written, 'nobody else succeeded as he did in transforming a table covered with objects into a mental space, a cerebral as well as a visual stimulus' (quoted in Georges Braque: Order and Emotion, (exhibition catalogue), Museum of Contemporary Art, Andros, 2003, p.19).

印象派及現代藝術日拍

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倫敦