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拍品專文
A photo-certificate from Claude Laurens dated Paris, 2 October 1970 accompanies this work.
In August of 1911, Braque traveled to Cret, a small town in the Pyrenaes, to join Picasso who was vacationing there with Fernade Olivier. At Cret, the partnership of Braque and Picasso reached an unprecedented level of creativity; the two artists continually provoked each other to ever more radical explorations in the new pictorial idiom of Cubism. The Cubist still-lifes executed by Braque and Picasso in 1910-1911 are arguably the most successful of their experimentation. It was during this period that Braque began painting Nature morte la guitare. The painting bridges the gap between the high Cubist paintings of 1910 and 1911 and the still-life compositions Braque would create later in 1918 and 1919. These particular works are sculptural in their depiction of space and convey the sense of bas-relief, an influence no doubt of the sculptor Henri Laurens with whom Braque became very friendly (see lots 622, 645 and 648).
As Braque began to focus increasingly on the still-life as his chosen subject, as demonstrated in Nature morte la guitare he worked frequently in larger scale. "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 characterized by large forms and overall looseness and a rich, more varied palette of colours used, as a rule, descriptively. This reveals an attempt on the part of Braque to 'humanize' this 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).
In August of 1911, Braque traveled to Cret, a small town in the Pyrenaes, to join Picasso who was vacationing there with Fernade Olivier. At Cret, the partnership of Braque and Picasso reached an unprecedented level of creativity; the two artists continually provoked each other to ever more radical explorations in the new pictorial idiom of Cubism. The Cubist still-lifes executed by Braque and Picasso in 1910-1911 are arguably the most successful of their experimentation. It was during this period that Braque began painting Nature morte la guitare. The painting bridges the gap between the high Cubist paintings of 1910 and 1911 and the still-life compositions Braque would create later in 1918 and 1919. These particular works are sculptural in their depiction of space and convey the sense of bas-relief, an influence no doubt of the sculptor Henri Laurens with whom Braque became very friendly (see lots 622, 645 and 648).
As Braque began to focus increasingly on the still-life as his chosen subject, as demonstrated in Nature morte la guitare he worked frequently in larger scale. "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 characterized by large forms and overall looseness and a rich, more varied palette of colours used, as a rule, descriptively. This reveals an attempt on the part of Braque to 'humanize' this 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).