Resurrection of the Bird - Georges Braque
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A 1959 lithograph by Georges Braque featuring a minimalist, symbolic bird motif in a balanced composition of black, yellow, and soft pink.
Georges Braque, a central figure in the development of Cubism, shifted his focus in his later years towards a more poetic and symbolic exploration of form. Resurrection of the Bird, produced in 1959, exemplifies this period of his career. The work moves away from the rigid geometric fragmentation of his earlier output, favouring instead a fluid, organic approach to composition.
The image features a stark, black silhouette of a bird, which appears to emerge from or interact with a soft, pinkish-grey ground. Opposite this, a bright yellow form provides a sharp chromatic contrast, framing a negative space that suggests the shape of a wing or a second avian form. The lithographic process allows for a subtle layering of colour, where the textures of the ink remain visible, adding a tactile quality to the flat planes of the design.
Braque often returned to the motif of the bird during the 1950s, viewing it as a symbol of freedom and movement. In this print, the bird is not depicted with anatomical precision, but rather as a simplified, essential shape. The composition relies on the balance between the heavy, dark mass of the bird and the lighter, more ethereal yellow area. By reducing the subject to its most basic visual components, Braque invites the viewer to consider the essence of flight rather than a literal representation. This print, published by Galerie Maeght in Paris, reflects the artist's mastery of printmaking techniques, where he utilised the medium to experiment with colour relationships and spatial ambiguity. It remains a clear example of his late-career synthesis of abstraction and natural observation.
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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
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- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
Resurrection of the Bird - 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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