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拍品專文
The outbreak of World War I disrupted one of the great creative friendships in early 20th century art, that which existed between Braque and Pablo Picasso in the formation and development of cubism. In the summer of 1914 Braque was in Sorgues, where two years earlier he had invented the technique of papier collé, while Picasso and André Derain were working in nearby Avignon. The war began in August, and both Braque and Derain were immediately called up for service. Picasso, as a Spanish national, was exempt from service, and saw them off as they took a train to Paris. Picasso later said that he 'never found them again' (quoted in E.A. Carmean, 'Braque, Collage and Later Cubism', in exh. cat. Braque: The Papiers Collés, National Gallery of Art, Washington, D.C., p. 77).
As Braque convalesced from the life-threatening wound he received while serving on the front line in May 1915, he strengthened his friendships with Juan Gris and Henri Laurens, and Braque's first paintings in 1917 show the influence of the angular geometry of the former, and the relief-like surfaces of the latter. Laurens had made papiers collés during the war, and seeing these may have encouraged Braque to resume his efforts in this area. He made only a handful of them but they served their purpose and helped the artist to find his bearings. Braque wrote in 1917, 'The papiers collés in my drawings have given me a kind of certainty. They too are simple facts, but created by the mind and such that they are one to the justifications of the new figuration in space' (quoted in E.F. Fry, Cubism, London, 1966, pp. 147-148).
'Beginning in mid-1918, Braque worked on a much larger scale than before and concentrated on still-life subjects. He found a freer and more masterly way of handling form and space in compositions, which were no longer executed in a strictly "synthetic" Cubist style, but were characterised by large forms, an overall looseness and a richer, more varied palette of colours used, as a rule, descriptively. This reveals an attempt on the part of Braque to "humanise" his style, so that although the forms are still Cubist in derivation, they correspond more nearly with known appearances' (D. Cooper & G. Tinterow, The Essential Cubism 1907-1920, London, 1983, p. 118).
Braque's new figuration in space may be seen in the present painting. Like his papiers collés of 1917, Clarinette et cahier de musique displays Braque's interest in large flat forms, a looser means of bringing together and ordering these forms, and in contrasting their textures, using different types of paper in the papiers collés and different brush marks and pigments in the painting. The forms in the painting resemble shapes of papers that have been cut and set down; while absolutely flat, they mingle to form the illusion of a low relief. Unlike Picasso, who loved to play with the illusion of space in the picture plane, Braque was generally disinterested in defining space, preferring instead to clearly articulate the surface of the picture. Braque, more lyrical and rational by temperament than the impulsive Picasso, tended to proceed by means of refinement and reduction, so that the purity of his means and his adherence to a clear line of thought is always apparent.
As Braque convalesced from the life-threatening wound he received while serving on the front line in May 1915, he strengthened his friendships with Juan Gris and Henri Laurens, and Braque's first paintings in 1917 show the influence of the angular geometry of the former, and the relief-like surfaces of the latter. Laurens had made papiers collés during the war, and seeing these may have encouraged Braque to resume his efforts in this area. He made only a handful of them but they served their purpose and helped the artist to find his bearings. Braque wrote in 1917, 'The papiers collés in my drawings have given me a kind of certainty. They too are simple facts, but created by the mind and such that they are one to the justifications of the new figuration in space' (quoted in E.F. Fry, Cubism, London, 1966, pp. 147-148).
'Beginning in mid-1918, Braque worked on a much larger scale than before and concentrated on still-life subjects. He found a freer and more masterly way of handling form and space in compositions, which were no longer executed in a strictly "synthetic" Cubist style, but were characterised by large forms, an overall looseness and a richer, more varied palette of colours used, as a rule, descriptively. This reveals an attempt on the part of Braque to "humanise" his style, so that although the forms are still Cubist in derivation, they correspond more nearly with known appearances' (D. Cooper & G. Tinterow, The Essential Cubism 1907-1920, London, 1983, p. 118).
Braque's new figuration in space may be seen in the present painting. Like his papiers collés of 1917, Clarinette et cahier de musique displays Braque's interest in large flat forms, a looser means of bringing together and ordering these forms, and in contrasting their textures, using different types of paper in the papiers collés and different brush marks and pigments in the painting. The forms in the painting resemble shapes of papers that have been cut and set down; while absolutely flat, they mingle to form the illusion of a low relief. Unlike Picasso, who loved to play with the illusion of space in the picture plane, Braque was generally disinterested in defining space, preferring instead to clearly articulate the surface of the picture. Braque, more lyrical and rational by temperament than the impulsive Picasso, tended to proceed by means of refinement and reduction, so that the purity of his means and his adherence to a clear line of thought is always apparent.