The Bottle of Marc - Georges Braque
Archival giclée
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Description
A seminal work of Analytic Cubism, this 1911 still life by Georges Braque deconstructs a bottle and guitar into a complex arrangement of geometric planes.
The Bottle of Marc, painted by Georges Braque in 1911, represents a period of intense experimentation within the Analytic Cubist movement. During this time, Braque and Pablo Picasso worked in close proximity, systematically deconstructing traditional perspective to represent objects from multiple viewpoints simultaneously. The composition is organised around a central bottle of Marc, a French brandy, surrounded by fragmented elements of a guitar and other tabletop items. Braque employs a restricted palette of ochres, greys, and browns, a choice intended to focus the viewer on the structural arrangement of the forms rather than the emotional impact of colour. The surface is treated with a variety of textures, including areas of stippling and simulated wood grain, which introduce a tactile quality to the flat picture plane. These techniques, often associated with the artist's background as a house painter, serve to anchor the abstract forms in a physical reality. By breaking the objects into overlapping planes and geometric facets, Braque invites the viewer to reconstruct the scene mentally. The inclusion of stencilled lettering, specifically the word 'MARC', acts as a bridge between the painted surface and the external world. This inclusion of typography is a hallmark of the period, functioning as a signifier that disrupts the illusion of depth. The work avoids the traditional hierarchy of subject matter, treating the bottle, the instrument, and the surrounding space with equal visual weight. The result is a rigorous study of spatial relationships, where the boundaries between the objects and the background become porous and interconnected. This piece remains a primary example of the intellectual rigour that defined the early twentieth-century avant-garde, demonstrating a shift away from representation toward a new visual language of form and structure.
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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.
The Bottle of Marc - 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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