Guitar and Sheet Music on Table - Georges Braque
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Beschreibung
A classic example of Synthetic Cubism, this 1918 still life by Georges Braque uses flattened, geometric planes to reassemble the form of a guitar.
This work by Georges Braque represents the Synthetic Cubist period, a phase characterised by the assembly of distinct, flattened planes rather than the fragmented, multi-perspective approach of earlier Analytic Cubism. Painted in 1918, the composition demonstrates a shift toward clearer, more decorative arrangements of form and colour. Braque, a pioneer of the movement alongside Pablo Picasso, focuses here on the essential geometry of his subject matter: a guitar and musical notation.
The image is constructed through overlapping shapes that suggest the presence of objects without relying on traditional modelling or depth. The guitar is reduced to a series of angular, interlocking segments, with the sound hole depicted as a simple circle. The sheet music is indicated by rudimentary lines, serving as a graphic element within the overall design. Braque employs a controlled palette of muted greens, ochres, and blacks, punctuated by areas of white and blue. This restraint allows the viewer to focus on the structural relationships between the forms.
Notice the use of stippled textures in the upper sections, a technique often used by Braque to introduce surface variation and to distinguish between different planes of the composition. The frame-like border, complete with faint pencil lines, suggests the artist's interest in the physical boundaries of the canvas. By isolating these everyday objects, Braque invites an examination of how visual information is processed and reassembled. This piece is a clear example of the artist's move toward a more stable, architectural style following the disruption of the First World War. It avoids the chaotic fragmentation of his earlier works, opting instead for a balanced, rhythmic distribution of shapes that creates a sense of order and clarity.
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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
Guitar and Sheet Music on Table - Georges Braque
Artist Biography
Georges Braque
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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