Blue Aquarium - Georges Braque
Archival giclée
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Description
A 1942 oil painting by Georges Braque, featuring a simplified, sculptural depiction of fish in deep blue tones against a textured, off-white background.
Georges Braque painted Blue Aquarium in 1942, during a period when his work shifted towards a more personal, meditative exploration of domestic objects. Unlike his earlier analytical Cubist experiments, this piece displays a simplified, almost sculptural approach to form. The composition centres on the fish, rendered in deep, saturated blues that contrast against the textured, off-white background. Braque employs thick, deliberate brushwork, which gives the surface a tactile quality. The fish are not depicted with anatomical precision; instead, they are reduced to essential shapes and patterns. The dark, heavy outlines define the boundaries of the subjects, separating them from the surrounding space while maintaining a sense of unity within the frame. Small touches of orange and white provide subtle accents, drawing the eye across the central mass. The background is treated with a rough, impasto technique, creating a sense of physical depth and materiality that is characteristic of Braque's later career. By focusing on a common subject like an aquarium, Braque invites the viewer to consider the relationship between the object and the space it occupies. The work avoids unnecessary detail, relying on the interplay of colour and form to convey its presence. This print captures the specific texture of the original oil paint, allowing for a close examination of the artist's application and layering. It is a clear example of Braque's ability to transform everyday items into objects of formal interest through a restrained and thoughtful visual language.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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
Blue Aquarium - 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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