The Musician's Table - Georges Braque
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Beschreibung
A classic example of Synthetic Cubism, this 1913 work by Georges Braque uses geometric planes and stencilled text to reimagine a still life scene.
The Musician's Table, painted by Georges Braque in 1913, represents a period of Synthetic Cubism. During this phase, Braque and his contemporaries moved away from the fragmented, monochromatic analysis of the earlier Analytic Cubist period. Instead, they began to incorporate flatter planes, stencilled lettering, and a more deliberate arrangement of shapes to suggest objects rather than depict them through traditional perspective.
In this composition, the viewer encounters a collection of items associated with a musician, such as sheet music and fragments of instruments, rendered as overlapping geometric forms. The inclusion of text, specifically the letters 'VAL' and 'HIST', serves as a graphic element that anchors the work to the surface of the canvas. By using these signs, Braque draws attention to the two-dimensional nature of the medium. The colour palette remains restrained, relying on ochres, browns, and creams to maintain focus on the structural organisation of the forms.
Braque often utilised techniques such as faux-bois (imitation wood grain) to further complicate the relationship between reality and representation. These textures appear within the work, adding a tactile quality to the otherwise abstract arrangement. The composition is balanced yet dynamic, with the central dark diagonal providing a sense of weight against the lighter, surrounding planes. This work demonstrates the artist's interest in the interplay between space, light, and the physical objects that occupy a domestic environment. By deconstructing the table and its contents, Braque invites the viewer to reconstruct the scene mentally, engaging with the painting as a series of visual cues rather than a static image.
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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 Musician's 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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