Georges Braque And Pablo Picasso

The Frenchman Georges Braque ( 1882-1963 ) and the Spaniard Pablo Picasso ( 1881-1973 ) are considered the most influential creative persons of the 20th century and the artistic masterminds who created and developed the cubist motion doubtless the most radical one in Western art. During a certain period of clip. both creative persons worked together in the same studio interrupting down topics they painted into several aspects and showing their different facets at the same clip. experimenting with geometrical signifiers and researching unconventional techniques in painting all of which either shocked or impressed and interested the audience.

Although Braque and Picasso’s partnership did non last for long and their artistic callings later went their ain ways. the cubist motion they created and developed while working side by side in their Paris studio has influenced the whole coevalss of creative persons around the universe ( Mataev ) . Georges Braque Born in 1882 in Argenteuil-sur-Seine France. Georges Braque attended the Ecole des Beaux-Arts in Le Havre during 1897-1899 and so moved to Paris where he received his craftsman certification.During 1902-1904. the immature creative person studied picture and worked at the Academie Humbert.

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Impressed by Matisse and Derain’s fauvist thoughts. he produced and so presented his first fauve pictures in Paris’ Salon des Independants in 1907. By 1908. nevertheless. Braque lost involvement in fauvism and adopted the artistic manner that would be subsequently called cubism ( Georges Braque ) . In 1909. Braque started to work with Pablo Picasso and their fruitful partnership resulted in the development of the radical cubist motion in picture.The manners that both of them adopted were rather similar for about two old ages during which they introduced montage elements into their plants and experimented a batch with the glued paper technique.

In his pictures. Braque explored the effects of visible radiation and position and challenged traditional artistic conventions of that clip. His plant of this period were characterized by impersonal colour and sophisticated forms of signifier as it can be seen. for illustration in his “Violin and Pitcher” ( Georges Braque ) .The fertile partnership with Picasso ended in 1914 when Braque enrolled in the Gallic ground forces and went off to war. In 1915. he got badly wounded in one of the conflicts and after retrieving in 1917 Braque resumed picture and began an artistic coaction with Juan Gris ( Georges Braque ) .

After World War I. Braque’s manner was characterized by more freedom. a richer colour scope. and the presence of human figures. He produced a considerable figure of still lifes and rose to prominence peculiarly in 1922 after demoing his pictures in the Salon d’Automne in Paris.By 1930. Braque taken nature more realistically although some facets of the cubist manner were still present in his pictures. After that the creative person produced many plants including sculptures and artworks that became peculiarly somber during World War II ( Georges Braque ) . During the 1950s. Braque depicted assorted subjects including seascapes landscapes birds and besides made lithographs and designed jewellery. The great Gallic creative person died in August. 1963.

in Paris after several old ages of enduring from wellness impairment.Braque’s most known pictures include “Violin and Palette” . “Piano and Guitar” . “Guitar and Clarinet”, “The Table”, “The Round Table”, “The Day”  the “Studio” series and many other plants ( Russell. 1982 ) . Pablo Picasso Pablo Picasso was born in 1881 in Malaga Spain where he lived until the age of 10. In 1892. Picasso began to go to the School of Fine Arts in La Coruna and so in 1895 he entered the School of Fine Arts in Barcelona where he showed his first academic work “The First Communion” at a local exhibition.Picasso pursued his surveies at the Royal Academy of San Fernando in Madrid dropped out after merely a twosome of months. and began to see the Prado where he copied the plants of the old creative persons seeking to copy their manners. In 1900. Picasso opened a studio in Paris and the first picture he produced there was “Le Moulin de la Galette” ( Mataev ) .

Suicide committed by his friend and poet Casagemas in 1901 came as a great daze to Picasso act uponing him to paint foremost the “Death of Casagemas” in colour and so the “Death of Casagemas” in blue. and besides “Evocation – the Burial of Casagemas” .At that period. the creative person used preponderantly green and bluish and pictured desperation poorness. and unhappiness demoing his restlessness and solitariness. The pictures that Picasso produced during 1901-1904 are known as the Blue Period works. The Rose Period which was the following phase in his artistic calling. started around 1905 when Picasso’s pallet became lighter and pink rose xanthous and beige were permeant in his pictures in which he largely portrayed graceful acrobats. circus performing artists and harlequins.

Impressed with African cultural art. Picasso began to unite its angular constructions and his modern thoughts about geometrical signifiers which. in 1907. resulted in the creative activity of “Les damsels d’Avignon” his first cubist picture. Picasso and his new friend Braque explored the possibilities of the new artistic manner and in the get downing their pictures could non be easy distinguished. 1909 saw the beginning of the painter’s analytical cubism whose chief features. faceted stereo-metric forms can be seen in his “Bread and Fruit Dish on a Table” or “Woman with Pears” .After the exhaustion of analytical cubism. Picasso experimented with montages which lead to the reaching of man-made cubism: plants with big. conventional forms as it can be seen in “The Guitar” ( Mataev ; Hughes. 1998 ) . After the cubist period in Picasso’ artistic calling came the Classicist period with instead traditional forms such as in “The Lovers” . But during this period he on occasion returned to cubism and in 1921 produced “Three Musicians” . one of his most of import chef-d’oeuvres.

Picasso’s classicist pictures besides include “The Pipes of Pan” “Women Runing on the Beach”  and “The Seated Harlequin” . After that Picasso was greatly influenced by the surrealist motion and produced “His Woman with Flower” and several other interesting pictures. In 1937. he expressed his personal position of the tragic events in the Basque state that was bombed by Germans in his immense mural work “Guernica” and in “Weeping Woman” . While populating in his Villa near Cannes in 1956 Picasso painted his “Studio “La Californie” at Cannes” and “Jackeline in the Studio” .

Then he moved to the Chateau Vauvenargues where he lived and painted until his decease in 1973 ( Mataev ) . “Still Life with a Guitar” and “Mandolin. Fruit Bowl. Bottle and Cake” Both Pablo Picasso’s painting “Mandolin. Fruit Bowl. Bottle and Cake” and Georges Braque’s picture “Still Life with a Guitar” were produced in 1924 in France and are now located in the European Modern Paintings subdivision of the Metropolitan Museum of Art in New York.Both plants are still lifes with the presence of cubist elements. are painted in oils on canvas. and each of them represents a certain phase in Picasso and Braque’s artistic callings.

If during 1909-1914 both creative persons worked side by side to make cubism and their manners and pictures were largely identical. in 1924. nevertheless. when the above mentioned plants were produced the divergency in Picasso and Braque’s cubist thoughts could be easy seen in their pictures ( Mataev ) .While Picasso’s still life “Mandolin. Fruit Bowl. Bottle and Cake” is composed of merely semisynthetic objects ( a bar, a fruit bowl, a bottle and a mandolin ) .

Braque’s picture “Still Life with a Guitar” depicts both semisynthetic and natural ( pears placed following to sheet music and in the fruit bowl ) objects. The presence of musical instruments and fruit bowls in both pictures invokes some common subjects or at least it makes the viewing audiences think of them when they look at them for the first clip.The chief objects in both pictures are placed on tablecloths spread in a different mode on what appears to be tabular arraies.

The objects in Braque’s image are much smaller than those in Picasso’s work in which the size of some of them is slightly disproportional when compared to other objects. Braque and Picasso use infinite in their pictures in an wholly different manner. There is rather a spot of infinite between the objects located in the foreground of Picasso’s still life and the spectator can easy see their whole signifiers. By contrast in Braque’s paintings the objects in the foreground seem to be concentrated closely to each other in one topographic point and parts of some of them are hidden by other objects.

The usage of infinite by Picasso gives the audience the feeling of more freedom and easiness while Braque seems to enforce certain bounds in motion and infinite. In Picasso’s picture. the viewer’s attending is foremost attracted by the chief four objects in the foreground and so by the objects and signifiers located in the background. peculiarly by what appears to be a wall and portion of a window.By contrast. it seems that Braque’s purpose is to concentrate the viewer’s attending merely on the objects that can be seen in the foreground.

He does non supply any item as to what is in the background as though he does non desire to deviate the audience’s attending from the centre of involvement of the picture. Another of import difference between the pictures every bit far as the objects and their signifiers are concerned is that Braque’s work is much more realistic than Picasso’s.Except for the window in the background. Picasso seems to picture in his image non the objects such as the bar or fruit bowl but instead the forms that invoke those objects.

What attracts the viewer’s attending in peculiar is the two-dimensionality of the signifiers of Picasso’s objects that are defined by lines. Although some parts and signifiers of his objects are disproportional. Braque’s objects. nevertheless are unambiguous and closer to world. The usage of colour is another of import feature that distinguishes Picasso’s painting from Braque’s work.In Picasso’s “Mandolin. Fruit Bowl.

Bottle. and Cake” bright and graphic colourss are prevailing and much brighter and richer than those in Braque’s “Still Life with a Guitar” conveyance to the spectator a visible radiation and pleasant temper. By contrast. the drab facet of Braque’s painting whose colour scope varies from dark brown to dark beige makes the spectator impressed with its somberness and unhappiness.

In Picasso’s image. the general colour scope of objects in the foreground is somewhat more drab compared to the colour scope in the background.By contrast. in Braque’s work the comparatively drab objects in the foreground are placed against an even darker background. The lone bright-colored objects in this image seem to be sheet music and a pipe looking incongruous to a certain extent against the background of its general colour scope. Another typical feature is the colour of the objects themselves. Except for the window in the background the colour of most objects in Picasso’s picture is obviously for illustration a field dark ruddy bottle a field bright xanthous fruit bowl.

Braque by contrast. adds to the colour of every object thick brush-strokes of black as if to stress the drab temper of the picture. There is besides some difference in how the creative persons paint the objects in the images with their coppices. In Picasso’s “Mandolin Fruit Bowl Bottle and Cake” the pigment is applied thinly in most countries although in some topographic points it is rather thick. In “Still Life with a Guitar” Braque’s bold brushwork is permeant.

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Georges Braque And Pablo Picasso. (2017, Jun 25). Retrieved from