Oil on original canvas
69,6 x 96,6 cm / 27,4 x 38 in (with the original rod)
Numbered on the back on the stretcher : 165
Mr Quentin Laurens has kindly confirmed that this work is registered in the archives of the Georges Braque's atelier and that the rod was painted by the artist and is an integral part of the work.
Braque et Laurens : 40 années d'amitié, Musée de l'Annonciade, Saint-Tropez, June 6th - October 8th, 2017.
Braque et Laurens: 40 années d'amitié, Musée de l'Annonciade, Saint-Tropez, 2017, illustrated in colour, full page, p.38, listed p.91.
Maurice Gieure, G. Braque, Editions Pierre Tisné, Paris, 1956, similar work - plaster illustrated pl. VII, p.73.
Argenteuil-sur-Seine 1882 - Paris 1963
Georges Braque studied from 1897 to 1899 at the Ecole des Beaux Arts in Le Havre before moving to Paris, where at the same time he studied at the Humbert Academy with Francis Picabia and Marie Laurencin.
He painted his first works under the influence of the impressionism, in the traduction of Paul Cézanne fauvism, in the company of his friend othon Friesz.
In 1907, he signed a contract with the young art dealer Kahnweiler who presented him to Apollinaire. This latter took him to Pablo Picasso's studio at the Bateau-Lavoir where the Spanish master had just finished "Les Demoiselles d'Avignon". This was a revelation for Georges Braque. This would result in a prolific collaboration between the two painters who would found and develop cubist aesthetics, influencing each other to such an extent that it is sometimes difficult to distinguish for some works who is the author.
Georges Braque introduced for the first time into his works, letters and printing figures that he painted with stencils, natural elements (sand, sawdust, iron gilings), and also made collagesn challenging the theories of traditional painting at the time. Even if his subjects became more figuratives as his career progressed, the artist nevertheless retained a strong symbolic charge.