Pablo Picasso: 20th Century Painter and Founder of Cubism We are an online artist community sharing ways to create and sell art. Join us to save big on art supplies or try our easy websites for artists . Pablo Picasso: 20th Century Painter and Founder of Cubism ‹ Previous article by date Pablo Picasso—born Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Clito Ruiz y Picasso—is quite possibly the most famous artist that has ever lived, both during his own life and now decades after. Not only was Picasso a tremendously prolific painter and a leading artist of the 20th century, he also co-created Cubism , an art movement that altered art history forever. Born in 1881, Picasso was considered an artistic prodigy as a child. His father was an art professor, so he received instruction while very young—the above drawing of a sculpture was done in 1893 when he was twelve. His classical training was finished early on, and before the age of 20 Picasso had already begun to shift his style away from traditional realism.

But Picasso didn’t immediately begin painting in that fragmented, Cubist style we all know him for; he had two distinct periods from 1901 to around 1906—his Blue Period and his Rose Period. During his blue period, Picasso painted with primarily cold blues tinged with green, often depicting prostitutes or beggars. Picasso’s blue period ended when he began to introduce warmer colors into his paintings, especially pinks and soft reds. A common motif throughout his rose period was clowns and circus performers. Picasso would often place these strangely somber figures in empty landscapes, as seen in this painting. His rose period was shorter than the blue period that preceded it, and Picasso soon began experimenting with other painting styles. By about 1910, Picasso had come up with something very new to the art world—Cubism. He wasn’t the sole creator of the cubist style; Georges Braque had as much, if not more, to do with Cubism than Picasso did. Picasso just became more and more famous until finally the words Cubism and modern art began to make us think of him first and foremost.

Picasso made these fractured, disjointed paintings by “analyzing” an object or scene from every angle, and then painting a single composition that combines each viewpoint. This early style of Cubism is actually called Analytic Cubism. Picasso went on to make collage-style works too, cutting out paper shapes and combining them on canvas. It was a natural extension of his Cubist painting style, eventually leading to many sculptural works as well. And unlike many artists, Picasso lived long enough to reap the rewards of his fame. His place in history was already assured by the 1920’s, and over the next fifty years as he continued to paint, sculpt, and create, his name truly became synonymous with modern art in the 20th century. Pablo Picasso died at the age of 92 in 1973. ★Help share this post Georges Braque Biography, Art, and Analysis of Works | The Art Story Web Services & Hosting by The Computer Studio | Designed by DesArtLab Cubism Cubism Cubism was developed by Pablo Picasso and Georges Braque between 1907-1911, and it continued to be highly influential long after its decline.

This classic phase has two stages: 'Analytic', in which forms seem to be 'analyzed' and fragmented; and 'Synthetic', in which pre-existing materials such as newspaper and wood veneer are collaged to the surface of the canvas. Pablo Picasso Pablo Picasso Picasso dominated European painting in the first half of the last century, and remains perhaps the century's most important, prolifically inventive, and versatile artist. Alongside Georges Braque, he pioneered Cubism. He also made significant contributions to Surrealist painting and media such as collage, welded sculpture, and ceramics. Fauvism Fauvism Fauvism was an early twentieth-century art movement founded by Henri Matisse and André Derain. Labeled as "wild beasts", Fauve artists favored vibrant colors and winding gestural strokes across the canvas. Pop Art Pop Art British artists of the 1950s were the first to make popular culture the dominant subject of their art, and this idea became an international phenomenon in the 1960s.

But the Pop art movement is most associated with New York, and artists such as Andy Warhol, who broke with the private concerns of the Abstract Expressionists, and turned to themes which touched on public life and mass society. Henri Matisse Henri Matisse Henri Matisse was a French painter and sculptor who helped forge modern art. From his early Fauvist works to his late cutouts, he emphasized expansive fields of color, the expressive potential of gesture, and the sensuality inherent in art-making. Jim Dine Jim Dine Jim Dine is an American painter commonly associated with the Neo-Dada and Pop art movements. In addition to showing alongside such Pop icons as Warhol, Lichtenstein and Ruscha, Dine is also well known for collaborating with Allan Kaprow, Claes Oldenburg and John Cage on a series of "happenings". Wayne Thiebaud Wayne Thiebaud Wayne Thiebaud is an American painter, commonly associated with the Pop art movement. Thiebaud's paintings often employ seemingly mundane subject matter, such as candy, pastries, toilets, shoes, and other popular consumer items.

Paul Cézanne Paul Cézanne Paul Cézanne was an influential French Post-Impressionist painter whose depictions of the natural world, based on internal geometric planes, paved the way for Cubism and later modern art movements. Camille Corot Camille Corot Jean-Baptiste-Camille Corot was a nineteenth-century French painter and printmaker. Best known for his landscape paintings rendered in a Neo-Classical tradition, Corot's practice of painting outside in the open air was highly influential to many of the French Impressionists. Gustave Courbet Gustave Courbet Gustave Courbet was a French painter and chief figure in the Realist movement of the mid-nineteenth century. His paintings often contained an emotional bleakness, and were praised for their precision and use of light. Along with Delacroix, Courbet was a key influence on the Impressionists. Édouard Vuillard Édouard Vuillard Edouard Vuillard was a French Post-Impressionist painter especially known for his interiors and domestic scenes.

A member of the Les Nabis group, his works are characterized by rough areas of color, pointillist daubs and dots, and decorative patterns that spread out across background fabrics and wallpaper. Juan Gris Juan Gris Juan Gris was a Spanish painter and sculptor, and one of the few pioneers of Cubism. Along with Matisse, Léger, Braque and Picasso, Gris was among the elite visual artists working in early-twentieth-century France. André Derain André Derain André Derain, the co-founder of Fauvism, was a French artist whose paintings exhibit the writhing energetic lines and bright colors characteristic of the movement. He strove to keep art modern and current throughout his career. Henri Laurens Henri Laurens Henri Laurens was a twentieth-century French sculptor, engraver and illustrator. After meeting Cubist artists Picasso, Braque, Léger and Gris in Montparnasse, Laurens began making Cubism-inspired sculpture, which were among his most famous works. Erik Satie Erik Satie Erik Satie was a nineteenth- and early-twentieth-century French composer, writer, pianist and avant-garde theorist.

Satie's most well known piece was the 1888 Gymnopedies, a series a three piano compositions in 3/4 time that is considered an important precursor to ambient sound and minimalist composition. Impressionism Impressionism A movement in painting that first surfaced in France in the 1860s, it sought new ways to describe effects of light and movement, often using rich colors. The Impressionists were drawn to modern life and often painted the city, but they also captured landscapes and scenes of middle-class leisure-taking in the suburbs. Post-Impressionism Post-Impressionism Post-Impressionism refers to a number of styles that emerged in reaction to Impressionism in the 1880s. The movement encompassed Symbolism and Neo-Impressionism before ceding to Fauvism around 1905. Its artists turned away from effects of light and atmosphere to explore new avenues such as color theory and personal feeling, often using colors and forms in intense and expressive ways. African Art African Art Beginning in the late nineteenth and early twentieth centuries, traditional African art, often seen through a primitivizing eye, began to exert a strong influence on modern Western artists.

Artists were influenced by the emphasis on ritual and spiritualism, and the stylistic conventions of flattened planes and mask-like faces. Expressionism Expressionism Expressionism is a broad term for a host of movements in early twentieth-century Germany and beyond, from Die Brücke (1905) and Der Blaue Reiter (1911) to the early Neue Sachlichkeit painters in the 1920s and '30s. Many Expressionists used vivid colors and abstracted forms to create spiritually or psychologically intense works, while others focused on depictions of war, alienation, and the modern city. Marsden Hartley Marsden Hartley Marsden Hartley was an American painter and poet. After studying at the Art Students League of New York, Hartley became a member of Alfred Stieglitz's 291 Gallery Group, and was an important Modernist in the early-twentieth-century years of New York. Arthur Dove Arthur Dove Arthur Dove was an early American modernist painter and one of the first legitimate abstract painters of the twentieth century. With influences ranging from Fauvism and Expressionism to Asian art and mixed media, Dove was an essential precursor to Abstract Expressionism.

Peter Doig Peter Doig Peter Doig is a Scottish painter, best known for his abstracted landscapes that depict snowy outdoor scenes inspired by his childhood growing up in Canada. Doig derives much of his inspiration from found photographs. Leonide Massine Leonide Massine Leonide Massine was a twentieth-century Russian choreographer and ballet dancer. Massine famously choreographed the world's first symphonic ballet, bringing together dance and Tchaikovsky's Symphony No. 5. Paul Rosenberg Paul Rosenberg Paul Rosenberg was a French art dealer who represented such artists as Picasso, Braque and Matisse. In the 1940s Rosenberg moved to New York City to open a gallery, and was among the few dealers who helped increase U.S. awareness of the modern masters. Ambroise Vollard Ambroise Vollard Ambroise Vollard was an important dealer, collector, and arts patron in late nineteenth-centry and early twentieth-century Paris. His interests were diverse, spanning Impressionism, Post-Impressionism, Expressionism, and modernism, and included such artists as Renoir, Cézanne, Gaugin, Matisse, and Picasso.

Daniel-Henry Kahnweiler Daniel-Henry Kahnweiler Daniel-Henry Kahnweiler was a German art dealer, gallery owner and champion of Cubism. Kahnweiler is credited as one of the first people to truly appreciate the early works of Picasso, Braque, Léger and other experimental Cubist painters. The success of such artists is in large part due to Kahnweiler's purchase and promotion of these works. Abstract Expressionism Abstract Expressionism A tendency among New York painters of the late 1940s and '50s, all of whom were committed to an expressive art of profound emotion and universal themes. The movement embraced the gestural abstraction of Willem de Kooning and Jackson Pollock, and the color field painting of Mark Rothko and others. It blended elements of Surrealism and abstract art in an effort to create a new style fitted to the postwar mood of anxiety and trauma.

Georges Braque, The Father Of Cubism Georges Braque, The Father Of Cubism Updated: 6 January 2017 Founder of Cubism – along with Pablo Picasso – and creator of the papier collé (or pasted paper) technique, Georges Braque is one of France’s most important icons of the early 20th century. We present you with this unique insight into the life and work of a fascinating, avant-garde artist who revolutionized the cultural context of his time. ‘The painting is finished when the idea has disappeared.’ — Georges Braque Georges Braque was born in 1882 in the small town of Argenteuil near Paris, but his family later moved to the port city of Le Havre in the region of Normandy, where he spent much of his childhood and teenage years. He was interested in sports, especially boxing, and also took a liking to playing the flute. The formative years saw him learning the ropes of the successful family business of house painting and decorating from his father and grandfather. Yet, his genuine interest in artistic painting took him to evening art classes at the École des Beaux Arts in Le Havre between 1897 and 1899.

At age 17, he decided to do an apprenticeship as a house painter first in Le Havre and then in Paris; during this time he honed his skills and his expertise on materials and artistic tricks, exploring innovative techniques such as the use of wood grains and dust, which was to become a recurrent strain in his later cubist phase. He served a year in the military, which seemed to strengthen his resolve to become an artist, studying painting in Paris, and spending a lot of his free time looking for inspiration and admiring ancient art in the revered halls of the Louvre museum. By this time, Braque, the artist, was crystallizing. Many of his earliest works between 1902 and 1904, were Impressionist in nature. This was his umbilical cord with the region of Normandy, which was a glowing center of Impressionism during its height. He was deeply influenced by Claude Monet , Camille Pissarro and later, Paul Cézanne .

However, the first of the two biggest turning points in his career as an artist came about when he visited the Paris Salon d’Automne in 1905 and witnessed the works of the artistic group known as ‘Les Fauves’ or ‘The Wild Beasts’ which had the likes of Henri Matisse as its member. He was deeply influenced by the bold use of colors used as vehicles of emotions, and started painting in the fauvist style, although conservatively. Georges Braque, 1908/anonymous/WikiCommons In 1907 came the next big turning point in the life of Braque, when he was introduced to an exciting young Spanish painter, Pablo Picasso . This was the beginning of a lifelong friendship, mutual respect, and artistic collaboration that was to give birth to a new revolutionary art form: Cubism. This art form was a product of their frequent exchange of ideas. They influenced each other and fed off each other’s energies. While it was Picasso who introduced Braque to a world of distorted planes and shallow spaces, it was Braque who brought geometric forms to life, a touch that was inspired from his favorite idol, Cézanne.

Braque’s paintings from this early phase bordered on the realms of the abstract, with twisted perspectives and somber colors. The most important work of Braque from this phase of Cubism, often known as ‘Analytical Cubism’ is ‘Houses at L’Estaque’ (1908). The term Cubism, of course, comes from the word ‘cube’ which was used by a French art critic, Louis Vauxcelles, to describe one of his works in an exhibition in 1908. Georges Braque, The Viaduct at L’Estaque, 1907| © Sharon Mollerus/Flickr Picasso and Braque collaborated closely together from 1911 onwards to develop the analytical cubist style further, breaking down objects, spaces, and planes in such a way that it dismantled all sense of traditional perspective, and created a complex symphony of space, earthy colors, volume, breadth and vision. This new art form had the shock value, it was incomprehensible, yet had depth and meaning. It seduced the intellect and questioned the familiar.

Braque’s paintings had multiple perspectives, spaces were flat, and subjects, often still life, were often so fragmented that they appeared three-dimensional. ‘Man with a Guitar’ (1911) is an example from this period. He also used collages and exploded perspectives, pulling shapes apart and reconstructing them, as in the painting ‘Clarinet and Bottle of Rum on the Mantlepiece’ (1911) and ‘Violin and Pipe’ (1913). In 1912, Cubism entered the ‘Synthetic’ phase and saw Braque experimenting with innovative techniques like the use of papier collé, sand and sawdust in his paintings. He even used bits of wallpaper in his drawing ‘Fruit Dish and Glass.’ During the First World War, Braque enlisted himself in the French army as an army sergeant and won medals for his bravery. After suffering serious injuries, he was released from service in 1917 and resumed painting full time again, although his work became more personal, more varied in style. In the 20s Braque did a series of paintings with women carrying fruit, another series with fireplaces with fruit decoration and guitars, and another series with tables.

Thus, in this period of his career, Braque was fascinated with certain subject matters which he painted frequently, before moving on to the next subject. In the painting ‘Fruit on the table-cloth with a fruit dish’ (1925), he uses flat spaces and shapes, but plays with colors and incorporates texture for a realistic representation the of wood in the table, and he shades the fruits to create dimension. Still life, Artist Georges Braque, 1926 | © Daderot/WikiCommons In the 1931, he began making white drawings over a background of black painted plaster, much like the Greek art he admired in his younger days. The grim events leading up to the Second World War had a profound effect on Braque and during this period he painted a series of skulls and other still life. His paintings from this time exude a sense of darkness, despair, agony and misery, and seem to make a political statement. These series of paintings are called Vanitas and the painting ‘Balustre et Crane’ (1938) is a fine example, where colors replicate the complex emotions and reactions to war.

In 1937, he won the Carnegie prize for his lifetime achievement as an artist, and in 1961, towards the end of his life, he became the first living artist to have his works displayed at the world famous Louvre museum, a place which once inspired him to be a great artist; life had come to a perfect circle for Braque. Braque is considered one of the greatest modern artists and a master of still and abstract art. His personality was also unique. He was a quiet introvert, extremely observant, sharp, determined, opinionated and intelligent. His personality set him apart from the fellow artists of his generation, who were generally more social and flamboyant. Braque was every bit as mysterious as his paintings. In an interview with The Observer in 1957, he said: ‘there is only one thing valuable in art and that is the bit that cannot be explained.

To explain away the mystery of a great painting – if such a feat were possible – would be irreparable harm… if there is no mystery then there is no ‘poetry,’ the quality I value above all else in art.’ Georges Braque - 119 Artworks, Bio & Shows on Artsy Georges Braque Overview Works CV Articles Shows Auction Results Related Artists Biography French painter, collagist and sculptor Georges Braque is, along with Pablo Picasso , renowned as the co-founder of Cubism , which revolutionized 20th-century painting. In his work, objects are fragmented and reconstructed into geometric forms, fracturing the picture plane in order to explore a variety of viewpoints. “The hard-and-fast rules of perspective … were a ghastly mistake which…has taken four centuries to redress,” he said in 1957. Merging aspects of the sculptural with the pictorial, Braque was also an innovator in the use of collage, inventing a technique known as papier collé, which he first explored in one early work Fruit Dish and Glass (1912) by attaching pieces of wallpaper to a charcoal drawing.

This approach deeply influenced not only his contemporaries but generations of artists from Modernism to the present. French, 1882–1963, Argenteuil-sur-Seine, France, based in Paris, France Cubism | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art The Metropolitan Museum of Art Works of Art (11) Essay Cubism was one of the most influential visual art styles of the early twentieth century. It was created by Pablo Picasso (Spanish, 1881–1973) and Georges Braque (French, 1882–1963) in Paris between 1907 and 1914. The French art critic Louis Vauxcelles coined the term Cubism after seeing the landscapes Braque had painted in 1908 at L’Estaque in emulation of Cézanne . Vauxcelles called the geometric forms in the highly abstracted works “cubes.” Other influences on early Cubism have been linked to Primitivism and non-Western sources.

The stylization and distortion of Picasso’s ground-breaking Les Demoiselles d’Avignon ( Museum of Modern Art, New York ), painted in 1907, came from African art. Picasso had first seen African art when, in May or June 1907, he visited the ethnographic museum in the Palais du Trocadéro in Paris. The Cubist painters rejected the inherited concept that art should copy nature, or that they should adopt the traditional techniques of perspective, modeling, and foreshortening. They wanted instead to emphasize the two-dimensionality of the canvas. So they reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space. They also used multiple or contrasting vantage points. In Cubist work up to 1910, the subject of a picture was usually discernible. Although figures and objects were dissected or “analyzed” into a multitude of small facets, these were then reassembled, after a fashion, to evoke those same figures or objects.

During “high” Analytic Cubism (1910–12), also called “hermetic,” Picasso and Braque so abstracted their works that they were reduced to just a series of overlapping planes and facets mostly in near-monochromatic browns, grays, or blacks. In their work from this period, Picasso and Braque frequently combined representational motifs with letters ( 1999.363.63 ; 1999.363.11 ). Their favorite motifs were still lifes with musical instruments, bottles, pitchers, glasses, newspapers, playing cards ( 1997.149.12 ), and the human face and figure. Landscapes were rare. During the winter of 1912–13, Picasso executed a great number of papiers collés ( 1999.363.64 ). With this new technique of pasting colored or printed pieces of paper in their compositions, Picasso and Braque swept away the last vestiges of three-dimensional space (illusionism) that still remained in their “high” Analytic work.

Whereas, in Analytic Cubism, the small facets of a dissected or “analyzed” object are reassembled to evoke that same object, in the shallow space of Synthetic Cubism—initiated by the papiers collés–large pieces of neutral or colored paper themselves allude to a particular object, either because they are often cut out in the desired shape or else sometimes bear a graphic element that clarifies the association. While Picasso and Braque are credited with creating this new visual language, it was adopted and further developed by many painters, including Fernand Léger ( 1999.363.35 ), Robert and Sonia Delaunay, Juan Gris ( 1996.403.14 ), Roger de la Fresnaye ( 1991.397 ), Marcel Duchamp , Albert Gleizes, Jean Metzinger ( 59.86 ), and even Diego Rivera ( 49.70.51 ). Though primarily associated with painting, Cubism also exerted a profound influence on twentieth-century sculpture and architecture. The major Cubist sculptors were Alexander Archipenko, Raymond Duchamp-Villon, and Jacques Lipchitz.

The liberating formal concepts initiated by Cubism also had far-reaching consequences for Dada and Surrealism , as well as for all artists pursuing abstraction in Germany, Holland, Italy, England, America, and Russia. Sabine Rewald Department of Modern and Contemporary Art, The Metropolitan Museum of Art October 2004 Citation Rewald, Sabine. “Cubism.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (October 2004) Further Reading Cooper, Douglas, and Gary Tinterow. The Essential Cubism, 1907–1920: Braque, Picasso & Their Friends. Exhibition catalogue. London: Tate Gallery, 1983. Rubin, William, ed. Pablo Picasso: A Retrospective. Exhibition catalogue. New York: Museum of Modern Art, 1980. Additional Essays by Sabine Rewald Rewald, Sabine. “ Fauvism .” (October 2004) Rewald, Sabine.

“ Paul Klee (1879–1940) .” (October 2004) Related Georges Braque on ArtStack - art online Early life[ edit ] Georges Braque was born on 13 May 1882 in Argenteuil , Val-d'Oise . He grew up in Le Havre and trained to be a house painter and decorator like his father and grandfather. However, he also studied artistic painting during evenings at the École des Beaux-Arts , in Le Havre, from about 1897 to 1899. In Paris, he apprenticed with a decorator and was awarded his certificate in 1902. The next year, he attended the Académie Humbert, also in Paris, and painted there until 1904. It was here that he met Marie Laurencin and Francis Picabia . [1] Fauvism[ edit ] Georges Braque, 1906, L'Olivier près de l'Estaque (The Olive tree near l'Estaque).

At least four versions of this scene were painted by Braque, one of which was stolen from the Musée d'Art Moderne de la Ville de Paris during the month of May, 2010.

[2] Georges Braque, 1907-08, The Viaduct at L'Estaque (Le Viaduc de l'Estaque), oil on canvas, 65.1 x 80.6 cm, Minneapolis Institute of Arts Georges Braque, 1908, Maisons et arbre ( Houses at l'Estaque ), oil on canvas, 40.5 x 32.5 cm, Lille Métropole Museum of Modern, Contemporary and Outsider Art Georges Braque, 1908, Le Viaduc de L'Estaque (Viaduct at L'Estaque), oil on canvas, 73 x 60 cm, Tel Aviv Museum of Art Georges Braque, 1908, Baigneuse (Le Grand Nu, Large Nude), oil on canvas, 140 × 100 cm, Musée National d'Art Moderne , Centre Pompidou , Paris Braque's earliest works were impressionistic , but after seeing the work exhibited by the artistic group known as the " Fauves " (Beasts) in 1905, he adopted a Fauvist style

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The Fauves, a group that included Henri Matisse and André Derain among others, used brilliant colors to represent emotional response. Braque worked most closely with the artists Raoul Dufy and Othon Friesz , who shared Braque's hometown of Le Havre, to develop a somewhat more subdued Fauvist style. In 1906, Braque traveled with Friesz to L'Estaque , to Antwerp , and home to Le Havre to paint. [1] In May 1907, he successfully exhibited works of the Fauve style in the Salon des Indépendants . The same year, Braque's style began a slow evolution as he became influenced by Paul Cézanne who had died in 1906 and whose works were exhibited in Paris for the first time in a large-scale, museum-like retrospective in September 1907. The 1907 Cézanne retrospective at the Salon d'Automne greatly affected the avant-garde artists of Paris, resulting in the advent of Cubism.

Cubism[ edit ] Georges Braque, late 1909, Still Life with Metronome (Still Life with Mandola and Metronome), oil on canvas, 81 x 54.1 cm, Metropolitan Museum of Art . Gift from the Leonard A. Lauder Cubist Collection Georges Braque, 1909-10, La guitare (Mandora, La Mandore), oil on canvas, 71.1 x 55.9 cm, Tate Modern , London Georges Braque, 1910, Violin and Candlestick, San Francisco Museum of Modern Art Braque's paintings of 1908–1913 reflected his new interest in geometry and simultaneous perspective . He conducted an intense study of the effects of light and perspective and the technical means that painters use to represent these effects, seeming to question the most standard of artistic conventions. In his village scenes, for example, Braque frequently reduced an architectural structure to a geometric form approximating a cube, yet rendered its shading so that it looked both flat and three-dimensional by fragmenting the image. He showed this in the painting Houses at l'Estaque .

Beginning in 1909, Braque began to work closely with Pablo Picasso who had been developing a similar proto-Cubist style of painting. At the time, Pablo Picasso was influenced by Gauguin , Cézanne, African masks and Iberian sculpture while Braque was interested mainly in developing Cézanne's ideas of multiple perspectives. “A comparison of the works of Picasso and Braque during 1908 reveals that the effect of his encounter with Picasso was more to accelerate and intensify Braque’s exploration of Cézanne’s ideas, rather than to divert his thinking in any essential way.” [3] Braque’s essential subject is the ordinary objects he has known practically forever. Picasso celebrates animation, while Braque celebrates contemplation. [4] Thus, the invention of Cubism was a joint effort between Picasso and Braque, then residents of Montmartre , Paris. These artists were the style's main innovators. After meeting in October or November 1907, [5] Braque and Picasso, in particular, began working on the development of Cubism in 1908.

Both artists produced paintings of monochromatic color and complex patterns of faceted form, now termed Analytic Cubism . A decisive time of its development occurred during the summer of 1911, [6] when Georges Braque and Pablo Picasso painted side by side in Céret in the French Pyrenees, each artist producing paintings that are difficult—sometimes virtually impossible—to distinguish from those of the other. In 1912, they began to experiment with collage and Braque invented the papier collé technique. [7] French art critic Louis Vauxcelles used the terms "bizarre cubiques" in 1908 after seeing a picture by Braque. He described it as 'full of little cubes'. The term 'Cubism', first pronounced in 1911 with reference to artists exhibiting at the Salon des Indépendants , quickly gained wide use but Picasso and Braque did not adopt it initially. Art historian Ernst Gombrich described Cubism as "the most radical attempt to stamp out ambiguity and to enforce one reading of the picture—that of a man-made construction, a colored canvas." [8] The Cubist style spread quickly throughout Paris and then Europe.

The two artists' productive collaboration continued and they worked closely together until the beginning of World War I in 1914, when Braque enlisted with the French Army. In May 1915, Braque received a severe head injury in battle at Carency and suffered temporary blindness. [9] He was trepanned , and required a long period of recuperation. The things that Picasso and I said to one another during those years will never be said again, and even if they were, no one would understand them anymore. It was like being roped together on a mountain. Later work[ edit ] Braque resumed painting in late 1916. Working alone, he began to moderate the harsh abstraction of cubism. He developed a more personal style characterized by brilliant color, textured surfaces, and—after his relocation to the Normandy seacoast—the reappearance of the human figure. He painted many still life subjects during this time, maintaining his emphasis on structure. One example of this is his 1943 work Blue Guitar, which hangs in the Allen Memorial Art Museum . [12] During his recovery he became a close friend of the cubist artist Juan Gris .

He continued to work during the remainder of his life, producing a considerable number of paintings, graphics, and sculptures. Braque, along with Matisse, is credited for introducing Pablo Picasso to Fernand Mourlot , and most of the lithographs and book illustrations he himself created during the 1940s and '50s were produced at the Mourlot Studios . In 1962 Braque worked with master printmaker Aldo Crommelynck to create his series of etchings and aquatints titled L’Ordre des Oiseaux (The Order of Birds), [13] which was accompanied by the poet Saint-John Perse 's text. [14] Braque died on 31 August 1963 in Paris. He is buried in the cemetery of the Church of St. Valery in Varengeville-sur-Mer , Normandy whose windows he designed. Braque's work is in most major museums throughout the world.

Style[ edit ] Braque believed that an artist experienced beauty "… in terms of volume, of line, of mass, of weight, and through that beauty [he] interpret[s] [his] subjective impression...” [15] He described "objects shattered into fragments… [as] a way of getting closest to the object…Fragmentation helped me to establish space and movement in space”. [16] He adopted a monochromatic and neutral color palette in the belief that such a palette would emphasize the subject matter. Although Braque began his career painting landscapes, during 1908 he, alongside Picasso, discovered the advantages of painting still lifes instead. Braque explained that he “… began to concentrate on still-lifes, because in the still-life you have a tactile, I might almost say a manual space… This answered to the hankering I have always had to touch things and not merely see them… In tactile space you measure the distance separating you from the object, whereas in visual space you measure the distance separating things from each other.

This is what led me, long ago, from landscape to still-life” [17] A still life was also more accessible, in relation to perspective , than landscape, and permitted the artist to see the multiple perspectives of the object. Braque's early interest in still lifes revived during the 1930s. During the period between the wars, Braque exhibited a freer style of Cubism, intensifying his color use and a looser rendering of objects. However, he still remained committed to the cubist method of simultaneous perspective and fragmentation. In contrast to Picasso, who continuously reinvented his style of painting, producing both representational and cubist images, and incorporating surrealist ideas into his work, Braque continued in the Cubist style, producing luminous, other-worldly still life and figure compositions. By the time of his death in 1963, he was regarded as one of the elder statesmen of the School of Paris , and of modern art . 2010 theft[ edit ] On 20 May 2010, the Musée d'Art Moderne de la Ville de Paris reported the overnight theft of five paintings from its collection.

The paintings taken were Le pigeon aux petits pois (The Pigeon with the Peas) by Pablo Picasso , La Pastorale by Henri Matisse , L'Olivier Près de l'Estaque (Olive Tree near Estaque) by Georges Braque, La Femme à l'Éventail ( fr ) (Woman with a Fan) by Amedeo Modigliani and Nature Morte aux Chandeliers (Still Life with Chandeliers) by Fernand Léger and were valued at €100 million ( $123 million USD). [18] [19] A window had been smashed and CCTV footage showed a masked man taking the paintings. [18] Authorities believe the thief acted alone. [20] The man carefully removed the paintings from their frames, which he left behind.

[21] Gallery[ edit ] Georges Braque, 1908, Plate and Fruit Dish, oil on canvas, 46 x 55 cm, private collection Georges Braque, 1908–09, Fruit Dish, oil on canvas, 54 x 65 cm, Moderna Museet , Stockholm Georges Braque, 1909, Port en Normandie (Little Harbor in Normandy), 81.1 x 80.5 cm, The Art Institute of Chicago Georges Braque, 1909, La Roche-Guyon, le château (The Castle at Roche-Guyon), oil on canvas, 80 x 59.5 cm, Moderna Museet , Stockholm Georges Braque, 1909–10, Pitcher and Violin, oil on canvas, 116.8 x 73.2 cm, Kunstmuseum Basel Georges Braque, 1910, Femme tenant une Mandoline, 92 x 73 cm, Bavarian State Painting Collections Georges Braque, 1910, Portrait of a Woman, Female Figure (Torso

 Ženy), oil on canvas, 91 x 61 cm, private collection

Question: Which painter, along with Georges Braque, founded the style cubism in the early 20th century?
Answer: Pablo Picasso