Seated Woman - Georges Braque
Archival giclée
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Description
An early Fauvist study by Georges Braque, featuring bold outlines and expressive, non-naturalistic colour.
This work, painted in 1907, captures a transitional moment in the career of Georges Braque. Before his collaboration with Pablo Picasso to develop Cubism, Braque worked within the aesthetic framework of Fauvism. This style is evident here through the application of non-naturalistic colour and the emphasis on expressive, rather than descriptive, form.
The figure is positioned in a chair, her back turned to the viewer, with one arm raised to her head. The composition relies on bold, dark outlines that define the anatomy against a simplified background. Braque employs a palette of greens, purples, and ochres, applied with visible, energetic brushwork. The paint application is thick, creating a tactile surface that draws attention to the physical act of painting. The spatial depth is compressed, pushing the figure toward the front of the picture plane, which is a characteristic approach of the period.
Unlike his later, more analytical works, this painting prioritises the emotional weight of the subject through colour and gesture. The influence of Paul Cézanne is present in the structural treatment of the figure, yet the intensity of the hue remains firmly rooted in the Fauvist tradition. The work offers a clear view into the early experiments of an artist who would soon redefine the visual language of the twentieth century. It remains a study of form and colour, stripped of unnecessary detail, focusing instead on the immediate impact of the painted 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. See our refunds page for full details.
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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
Seated Woman - 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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