Pedestal Table - Georges Braque
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Beskrivning
A seminal example of Analytic Cubism, this work by Georges Braque deconstructs a pedestal table into a complex arrangement of geometric planes and muted tones.
This work belongs to the period of Analytic Cubism, a phase defined by the systematic deconstruction of objects into geometric components. Georges Braque, working in close collaboration with Pablo Picasso, sought to represent three-dimensional space on a two-dimensional surface without relying on traditional perspective. In this composition, the pedestal table is fractured into a series of overlapping planes and facets. The viewer is presented with multiple viewpoints simultaneously, a method that rejects the singular gaze of classical painting.
The palette is intentionally restricted to monochromatic tones of ochre, grey, and brown. By removing the distraction of colour, Braque focuses the viewer on the structural arrangement of the forms. The subject matter, while identifiable as a table with various objects, is pushed toward abstraction. Lines intersect and break across the canvas, creating a sense of shallow depth where the background and foreground merge into a unified, rhythmic structure. The brushwork remains controlled, with subtle gradations of tone used to suggest volume within the flattened space.
Braque often incorporated everyday objects into his work, such as musical instruments or glassware, to ground his experiments in the familiar. Here, the circular top of the table provides a stable anchor for the chaotic arrangement of lines above it. This piece reflects the rigorous intellectual approach of the early twentieth-century avant-garde, where the act of seeing became the primary subject of the painting. It is a study in spatial relationships and the mechanics of perception, stripped of narrative or emotional artifice. The work remains a primary example of how the Cubist movement dismantled the conventions of Western art to reconstruct the visual experience through a new, fragmented vocabulary.
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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
Pedestal Table - 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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