Violin and Clarinet on a Table - Georges Braque
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A seminal work of Synthetic Cubism by Georges Braque, featuring deconstructed musical instruments and stencilled text in a muted, geometric composition.
Georges Braque produced this work during his Synthetic Cubism period. By 1913, Braque and Pablo Picasso had moved away from the fragmented, monochromatic approach of Analytical Cubism. Instead, they began to incorporate flatter planes and more explicit references to the physical world. In this composition, the violin and clarinet are deconstructed into a series of overlapping geometric shapes and signs.
The painting relies on a restricted palette of ochre, black, and grey, which allows the viewer to focus on the structural arrangement of the objects. Braque includes stencilled lettering, a technique he pioneered to introduce real-world elements into the pictorial space. These fragments of text, alongside the faux-bois (wood grain) painting, disrupt the traditional illusion of depth. The violin is suggested through its characteristic f-holes, which appear as white, calligraphic marks against the darker, flatter forms of the instrument's body.
Braque often returned to musical instruments as subjects. They provided him with a set of familiar, curved forms that could be easily manipulated and flattened against the rectangular geometry of the canvas. The composition does not attempt to replicate the visual appearance of a table or instruments. Rather, it presents a collection of signs and textures that represent the idea of these objects. The work demonstrates the artist's interest in the relationship between the painted surface and the objects depicted, questioning how we perceive three-dimensional reality on a two-dimensional plane. This piece remains a clear example of the intellectual rigour Braque applied to his exploration of space and form during the early twentieth century.
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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
Violin and Clarinet on a 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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