Fine Art Poster
From £28
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Checkerboard and Tivoli Cinema - Georges Braque
Regulärer Preis
£28.00 GBP
Angebotspreis
£28.00 GBP
Regulärer Preis
Archival Pigmentdruck
Rahmen werden montagefertig geliefert
Sichere Kaufabwicklung
Auf Bestellung gefertigt
Beschreibung
A seminal example of Synthetic Cubism, this papier collé work by Georges Braque incorporates a cinema programme and geometric motifs to explore the intersection of art and everyday reality.
Georges Braque, a central figure in the development of Cubism, produced this work during his period of experimentation with papier collé. This technique, which involves the physical attachment of paper elements to a support, allowed Braque to introduce real-world objects into the pictorial space. By incorporating a printed cinema programme from Sorgues, Braque bridges the gap between high art and the ephemera of daily life.
The composition is constructed through a series of overlapping planes. The inclusion of the 'Tivoli-Cinema' programme provides a specific temporal and geographic anchor, referencing the artist's time in the Vaucluse region of France. The checkerboard motif, rendered in stark black and white, introduces a geometric rhythm that contrasts with the softer, charcoal-drawn lines of the surrounding forms. These drawn elements suggest the presence of a glass or a bottle, yet they remain fragmented, adhering to the Cubist principle of representing objects from multiple viewpoints simultaneously.
Braque uses the texture of the pasted paper to disrupt the traditional illusion of depth. The brown paper strips act as structural anchors, guiding the eye across the surface while maintaining a flat, decorative quality. The word 'JOURN', likely a fragment of 'JOURNAL', further emphasises the presence of mass-produced media within the fine art context. This work demonstrates the artist's interest in the materiality of the canvas and the interplay between representation and abstraction. By stripping away colour and focusing on form, texture, and typography, Braque invites the viewer to engage with the work as a constructed object rather than a window into a scene. The result is a precise arrangement of signs and shapes that reflects the fragmented experience of modern urban life in the early twentieth century.
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Fertigung
Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Look vervollständigen
Checkerboard and Tivoli Cinema - Georges Braque
Regulärer Preis
Ab £28.00 GBP
Angebotspreis
Ab £28.00 GBP
Regulärer Preis
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Georges Braque
Braque and Picasso invented Cubism together, and Braque got less credit. He was quieter, less theatrical, less inclined to promote himself. He said they were 'like mountaineers roped together.' Picasso got the mountain named after him.
He grew up in Argenteuil and Le Havre, the son and grandson of house painters. He apprenticed as a decorative painter, learning to imitate wood grain and marble, techniques he later used in his Cubist papiers colles. He studied at the Ecole des Beaux-Arts in Paris and exhibited with the Fauves in 1906, painting bright, loose landscapes influenced by Matisse.
Everything changed when he saw Picasso's Les Demoiselles d'Avignon in 1907. He went to L'Estaque that summer and painted landscapes that broke the scenery into geometric facets, which is what a critic called 'cubes.' The name stuck. Between 1908 and 1914 he and Picasso worked so closely that their paintings from this period are sometimes difficult to tell apart. They showed each other everything. They finished each other's ideas.
The war separated them. Braque was severely wounded at Carency in 1915: a head injury that left him temporarily blind and required trepanning. He did not paint for over a year. When he returned to work, the collaboration with Picasso was over. They remained on good terms but never worked together again.
His post-war paintings are quieter, more resolved, less competitive. The Studio series, large paintings of the interior of his Normandy studio with birds flying through the space, occupied him through the 1950s. He died in 1963, at eighty-one. Picasso outlived him by ten years.
He grew up in Argenteuil and Le Havre, the son and grandson of house painters. He apprenticed as a decorative painter, learning to imitate wood grain and marble, techniques he later used in his Cubist papiers colles. He studied at the Ecole des Beaux-Arts in Paris and exhibited with the Fauves in 1906, painting bright, loose landscapes influenced by Matisse.
Everything changed when he saw Picasso's Les Demoiselles d'Avignon in 1907. He went to L'Estaque that summer and painted landscapes that broke the scenery into geometric facets, which is what a critic called 'cubes.' The name stuck. Between 1908 and 1914 he and Picasso worked so closely that their paintings from this period are sometimes difficult to tell apart. They showed each other everything. They finished each other's ideas.
The war separated them. Braque was severely wounded at Carency in 1915: a head injury that left him temporarily blind and required trepanning. He did not paint for over a year. When he returned to work, the collaboration with Picasso was over. They remained on good terms but never worked together again.
His post-war paintings are quieter, more resolved, less competitive. The Studio series, large paintings of the interior of his Normandy studio with birds flying through the space, occupied him through the 1950s. He died in 1963, at eighty-one. Picasso outlived him by ten years.
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Fine Art Framed
From £45
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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