The Mantelpiece - Georges Braque
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Beschreibung
A classic cubist still life by Georges Braque, featuring a guitar and fruit arranged on a mantelpiece with textured patterns and muted tones.
Georges Braque produced The Mantelpiece during a period of his career defined by a return to more structured, tactile compositions. Following his earlier experiments with analytical cubism, this work displays a synthesis of form and texture. The composition centres on a guitar, a recurring motif in Braque's work, placed upon a table alongside a bowl of fruit and fragments of printed text.
Braque employs a muted palette of ochre, deep green, and black to define the spatial relationships between the objects. The surface treatment varies significantly, with areas of flat colour contrasting against simulated wood grain and decorative patterns. This technique reflects the artist's interest in the physical reality of the objects depicted, rather than a purely optical representation. The inclusion of newspaper clippings and patterned surfaces serves to flatten the pictorial space, forcing the viewer to engage with the canvas as a constructed object.
The arrangement of the mantelpiece elements is deliberate, creating a balance between the organic shapes of the fruit and the rigid geometry of the musical instrument. Braque's brushwork is controlled, providing a sense of weight and permanence to the items. By deconstructing the traditional still life, he invites a re-examination of how objects occupy space and how they are perceived in a two-dimensional format. This piece is a clear example of the artist's mature style, where the rigour of cubist theory meets a refined sense of decorative order.
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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
The Mantelpiece - 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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