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 lEffort 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 Christies, 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 He no longer maintained contact with Picasso and increasingly moved away from their collaborative work and towards his own individual style.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 Braques 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 Braques 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. GEORGES BRAQUE (Argenteuil 1882–1963 Paris) Nature morte à la guitare. 1920. ?l, Sand und Bleistift auf Holz. Verso signiert: G. Braque. 15 × 29,7 cm. Provenienz: - Galerie lEffort Moderne (Léonce Rosenberg), Paris, Nr. 6891 (verso mit Etikett). - Sammlung Constance Coline, Paris, vor 1940. - Franz?sische Privatsammlung, von Obiger durch Erbschaft erhalten. - Auktion Christies, Paris, 24.3.2017, Los 307. - Europ?ische Privatsammlung. Nach einer l?ngeren Genesungsphase aufgrund einer Kopfverletzung,**Georges Braque sich 1915 w?hrend des Kriegsdienstes zuzieht, kehrt der Künstler 1917 nach Paris zurück. Zu Picasso pflegt er keinen Kontakt mehr und er l?st sich mehr und mehr von der gemeinsamen Arbeit, hin zu seinem individuellen Stil. **Arbeiten der frühen 1920er-Jahre sind vornehmlich Stillleben. Braque versucht, sich von seinen kubistischen Wurzeln zu distanzieren und strebt eine neue Lyrik in seiner Malerei an. In dem vorliegenden "Nature morte à la guitare" erforscht der Maler**Oberfl?che der Leinwand. Hierbei greift er auf verschiedene technische Elemente zurück. Um eine strukturierte Farbschicht zu erzeugen, arbeitet er Sand in seine Pigmente ein. Gleichzeitig integriert er dekorative Elemente, indem er Schattierungen und das Zusammenspiel von opaken und transparenten Silhouetten einbringt oder**noch nasse Farbe durch Einritzen bearbeitet, wie den geschnitzten Fries im unteren Teil des Gem?ldes, den Braque in einer Trompe-l?il-Manier darstellt. Dieses tiefe Interesse für**Oberfl?che verdankt Braque seinem Vater, der Hausmaler und auf**Schaffung dekorativer Oberfl?chenmuster spezialisiert war. **Entwicklung von Braques Kunst zu dieser Zeit ist entscheidend für seine Stellung als Künstler im zeitgen?ssischen Diskurs. Ein Jahr vor der Fertigstellung des vorliegenden Gem?ldes h?lt**Pariser Galerie Léonce Rosenberg Braques zweite Einzelausstellung ab.**Reaktionen der Kritiker auf diese Werkschau sind überw?ltigend positiv und gelten als Zeitpunkt, an dem Braque aus dem Schatten tritt und seinen Platz als eine der führenden Pers?nlichkeiten in der modernen franz?sischen Kunstszene einnimmt. notes:*
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