Georges Braque
Georges Braque
Georges Braquewas a major 20th-century French painter, collagist, draughtsman, printmaker and sculptor. His most important contributions to the history of art were in his alliance with Fauvism from 1906, and the role he played in the development of Cubism. Braque’s work between 1908 and 1912 is closely associated with that of his colleague Pablo Picasso. Their respective Cubist works were indistinguishable for many years, yet the quiet nature of Braque was partially eclipsed by the fame and notoriety of Picasso...
NationalityFrench
ProfessionPainter
Date of Birth13 May 1882
CityArgenteuil, France
CountryFrance
Once an object has been incorporated in a picture it accepts a new destiny.
Nature is a mere pretext for a decorative composition, plus sentiment. It suggests emotion, and I translate that emotion into art.
It is not sufficient that what one paints should be made visible. It must be made tangible.
If we had never met Picasso, would Cubism have been what it is? I think not. The meeting with Picasso was a circumstance in our lives.
If I have called Cubism a new order, it is without any revolutionary ideas or any reactionary ideas... One cannot escape from one's own epoch, however revolutionary one may be.
Painting is a nail to which I fasten my ideas.
Truth exists, only falsehood has to be invented.
The space between the dish and the pitcher, that I paint also.
With age, art and life become one.
When objects shattered into fragments appeared in my painting about 1909, this for me was a way of getting closest to the object... Fragmentation helped me to establish space and movement in space.
Art is meant to disturb. Science reassures.
Thanks to the oval I have discovered the meaning of the horizontal and the vertical.
Limited means often constitute the charm and force of primitive painting. Extension, on the contrary, leads the arts to decadence.
The whole Renaissance tradition is antipethic to me. The hard-and-fast rules of perspective which it succeeded in imposing on art were a ghastly mistake which it has taken four centuries to redress; Cezanne and after him Picasso and myself can take a lot of credit for this... ...Scientific perspective forces the objects in a picture to disappear away form the beholder instead of bringing them within his reach as painting should.