Port of Antwerp - Georges Braque
Archival giclée
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Description
A 1906 Fauvist oil painting by Georges Braque, depicting the harbour of Antwerp through bold, non-naturalistic colours and expressive brushwork.
Painted in 1906, Port of Antwerp captures a brief period in the career of Georges Braque when he worked under the influence of the Fauvist movement. During this summer, Braque travelled to Belgium, where he produced a series of works depicting the harbour. The composition is defined by a foreground balustrade, which acts as a framing device for the water and vessels beyond. Braque employs a palette of non-naturalistic colours, a hallmark of the Fauvist approach. The water is rendered in deep purples and blues, while the reflections of the boats are captured in bright yellows and oranges. The brushwork is loose and expressive, prioritising the emotional impact of colour over the precise representation of the scene. The sky is painted with heavy, gestural strokes that suggest movement and atmospheric turbulence. This work predates the artist's shift towards the geometric fragmentation of Cubism. It shows his early interest in the structural possibilities of painting, even while he was experimenting with the arbitrary colour choices popularised by Henri Matisse and André Derain. The contrast between the decorative ironwork of the foreground and the fluid, shifting forms of the harbour creates a tension between the static and the transient. The painting remains a clear example of the transition from late Impressionist techniques to the more radical experiments of the early twentieth century. It is a study of light and form, where the subject matter serves as a vehicle for exploring the autonomy of colour on the canvas surface.
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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. EU customers have a 14-day cooling-off right. 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.
Port of Antwerp - Georges Braque
Our Features
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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
- Choose poster, framed print, canvas or framed canvas
- 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
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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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