拍品 3250* - A201 印象派&现代主义 - Freitag, 01. Juli 2022, 05.00 PM
GEORGES BRAQUE
(Argenteuil 1882–1963 Paris)
Nature morte à la guitare. 1920.
Oil, sand and pencil on panel.
Signed on the reverse: G. Braque.
15 × 29.7 cm.
Provenance:
- Galerie l'Effort Moderne (Léonce Rosenberg), Paris, no. 6891 (with label on the reverse).
- Constance Coline collection, Paris, before 1940.
- Private collection France, by descent from the above.
- Auction Christie's, Paris, 24.3.2017, lot 307.
- Private collection Europe.
After a long period of convalescence due to a head injury sustained in 1915 during his military service, Braque returned to Paris in 1917. He no longer maintained contact with Picasso and increasingly moved away from their collaborative work and towards his own individual style.
His works of the early 1920s were primarily still lifes. Braque sought to distance himself from his Cubist works and pursued a new lyricism in his painting. In "Nature morte à la guitare”, the artist explored the surface of the canvas and employed various technical elements in the process. To create a highly textured paint layer, he worked sand into his pigment. He also incorporated decorative elements such as careful shading, the interplay of opaque and transparent silhouettes and the incised treatment of the wet paint in the trompe l’oeil frieze towards the bottom of the composition. Braque’s profound interest in depicting surfaces stemmed from his father, a house painter who specialised in creating decorative surface patterns.
The development of Braque's art during this period was crucial to his standing as an artist in the contemporary discourse. One year before the completion of the present work, the Léonce Rosenberg Gallery in Paris held Braque's second solo exhibition. The critical response to that exhibition was overwhelmingly positive and is today considered the moment when Braque emerged from the shadows and took his place as one of the leading figures in France’s modern art scene.
- Galerie l'Effort Moderne (Léonce Rosenberg), Paris, no. 6891 (with label on the reverse).
- Constance Coline collection, Paris, before 1940.
- Private collection France, by descent from the above.
- Auction Christie's, Paris, 24.3.2017, lot 307.
- Private collection Europe.
After a long period of convalescence due to a head injury sustained in 1915 during his military service, Braque returned to Paris in 1917. He no longer maintained contact with Picasso and increasingly moved away from their collaborative work and towards his own individual style.
His works of the early 1920s were primarily still lifes. Braque sought to distance himself from his Cubist works and pursued a new lyricism in his painting. In "Nature morte à la guitare”, the artist explored the surface of the canvas and employed various technical elements in the process. To create a highly textured paint layer, he worked sand into his pigment. He also incorporated decorative elements such as careful shading, the interplay of opaque and transparent silhouettes and the incised treatment of the wet paint in the trompe l’oeil frieze towards the bottom of the composition. Braque’s profound interest in depicting surfaces stemmed from his father, a house painter who specialised in creating decorative surface patterns.
The development of Braque's art during this period was crucial to his standing as an artist in the contemporary discourse. One year before the completion of the present work, the Léonce Rosenberg Gallery in Paris held Braque's second solo exhibition. The critical response to that exhibition was overwhelmingly positive and is today considered the moment when Braque emerged from the shadows and took his place as one of the leading figures in France’s modern art scene.
CHF 120 000 / 180 000 | (€ 123 710 / 185 570)
以瑞士法郎銷售 CHF 146 700 (包含買家佣金)
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