George braque cubism biography template

1910-12

Bottle and Fishes

Braque depicted both bottles and fishes throughout his entire painting career, and these objects stand as markers to differentiate his various styles.

This poster template can be printed on 12 x 18 inch paper in black and white.

CONTENTS ON THE FRONT: 

• Space to illustrate a portrait of Georges Braque
• Fill-in timeline template where students can list key event dates and happenings 
• A speech bubble to write a memorable quote in 
• Lines to list three important friends, family members, or colleagues who influenced the Cubism movement artist's life
• An area to write 5 interesting facts
• Personal reflection prompts to help students think about how they might apply characteristics from Georges Braque's life within their own life 

CONTENTS ON THE BACK: 

• Source citation area 
• Researcher info space for students to write their name, class section, teacher, and research date 
• Teacher grading feedback space 

This activity is perfect for an art class, history lesson, or informative writing assignment.

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  The hilly landscape of L’Estaque is rendered through the reduction of natural elements into highly simplified geometries, such as circles, lines, and curves, always with very vivid colors (unlike other proto-Cubist paintings, in which usually tended monochromatic colors in the brown range were used) thus keeping present his predilection for Fauvism.

  Braque sent seven paintings dated to this period to the 1908 Salon d’Automne, but five of them were rejected.

  

  In the latter half of the 1930s, Braque embarked on painting his Vanitas series, through which he existentially considered death and suffering. He grew up in Le Havre and trained to be a house painter and decorator like his father and grandfather. The Fauve period lasted for a couple of years and was characterized by geometrically rendered landscapes, as shown in the painting The Olive Tree (1906), in which the forms are soft and filled not by outlines but by bright colors that do not adhere to reality.

  A decisive moment in its development occurred during the summer of 1911, 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. Braque was most interested in showing how objects look when viewed over time in different temporal spaces and pictorial planes.

  Often the cubist works, especially the analytical ones, required a very demanding effort indeed on the part of the viewer to understand the real subject represented, which was often revealed only by reading the title of the work in order to more accurately imagine the source image.

  World War I conditioned his relationship with Picasso, and upon his return from the front Braque settled back in Normandy, where he devoted himself to landscape paintings while resuming painting figuratively.

  The Life of Georges Braque

  Georges Braque was born in Argenteuil on May 13, 1882 to Charles Braque (painter and decorator) and Augustine Johannet, but spent his childhood and youth in Le Havre, Normandy.

  Another typical feature of Analytic Cubism is the union of perspective planes on the single surface of the painting, as seen in Violon et Palette (1909) and The Mandola (1910), two paintings in which Braque’s fondness for musical instruments, which he surrounded himself with and which he often portrayed while managing to suggest the vibration they produce when played, is also present.

  Experimentation with volumes, however, led to very complex outcomes, and Braque’s works dated between 1909 and 1911 are hardly decipherable to the outside eye.

  Dating from this period are the series of Ateliers (1948-1955) and Birds (1955-1963), The Jug and the Fish (1941), and The Billiards (1943). He described it as 'full of little cubes', after which the term quickly gained wide use although the two creators did not initially adopt it.

  The drastic change in Braque's painting style can be directly attributed to Picasso. Also at the Centre Pompidou are L’Olivier at L’Estaque (1905-06), The Jug (1941) and The Billiards (1943) and other works. In 1899, at age seventeen, Braque moved from Argenteuil into Paris, accompanied by friends Othon Friesz and Raoul Dufy.

  Early Training

  Braque's earliest paintings were made in the Fauvist style.

  It was here that he met Marie Laurencin and Francis Picabia.