Braque, Georges - Glass Violin & Notes - postcard

• Art Postcard

   

• Work of art title: Glass, Violin and Notes
• Artist (if known): Georges Braque (1882-1963)
• Media or other details: 
• Publisher / Gallery: Museum Ludwig, Cologne
• Postally used:  yes
• Stamp & postmark details (if relevant): 16p Humber Bridge stamp - posted in London 1983
• Size: Modern
• Notes & condition details:

NOTES:

Size: 'Modern' is usually around 6in x 4in or larger / 'Old Standard' is usually around 5½in x 3½in. Larger sizes mentioned, but if you need to know the exact size please ask as this can vary.

All postcards are not totally new and are pre-owned. It's inevitable that older cards may show signs of ageing and use, particularly if sent through the post. Any faults other than normal ageing are noted.

Stock No.: A67

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Postage & Packing:

UK (incl. IOM, CI & BFPO): 99p

Europe: £1.60

Rest of world (inc. USA etc): £2.75

No additional charges for more than one postcard. You can buy as many postcards from me as you like and you will just pay the fee above once. (If buying postcards with other things such as books, please contact or wait for invoice before paying).

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NOTE: All postcards are sent in brand new stiffened envelopes which I have bought for the task. These are specially made to protect postcards and you may be able to re-use them. In addition there are other costs to sending so the above charge is not just for the stamp!

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Text from the free encyclopedia WIKIPEDIA may appear below to give a little background information:

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Georges Braque^[p] (13 May 1882 – 31 August 1963) was a major 20th century French painter and sculptor who, along with Pablo Picasso, developed the art style known as Cubism.

...

Braque's paintings of 1908–1913 began to reoresent his new interest in geometry and simultaneous perspective. He conducted an intense study of the effects of light and perspective and the technical means that painters use to represent these effects, seeming to question the most standard of artistic conventions. In his village scenes, for example, Braque frequently reduced an architectural structure to a geometric form approximating a cube, yet rendered its shading so that it looked both flat and three-dimensional by fragmenting the image. He showed this in the painting "House at L'estaque".

Beginning during 1909, Braque began to work closely with Pablo Picasso, who had been developing a similar style of painting. At the time Pablo Picasso was influenced by Gauguin, Cézanne, African tribal masks and Iberian sculpture, while Braque was interested mainly in developing Cézanne's idea's of multiple perspectives. “A comparison of the works of Picasso and Braque during 1908 reveals that the effect of his encounter with Picasso was more to accelerate and intensify Braque’s exploration of Cézanne’s ideas, rather than to divert his thinking in any essential way.”^[1] The invention of Cubism was a joint effort between Picasso and Braque, then residents of Montmartre, Paris. These artists were the style's main innovators. After meeting during October or November 1907,^[2] Braque and Picasso, in particular, began working on the development of Cubism during 1908. Both artists produced paintings of monochromatic color and complex patterns of faceted form, now termed Analytic Cubism.

A decisive time of its development occurred during the summer of 1911,^[3] 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. During 1912, they began to experiment with collage and papier collé.

Their productive collaboration continued and they worked closely together until the beginning of World War I during 1914 when Braque enlisted with the French Army, leaving Paris to fight in World War I.

French art critic Louis Vauxcelles first used the term Cubism, or "bizarre cubiques", during 1908 after seeing a picture by Braque. He described it as 'full of little cubes', after which the term quickly gained wide use although the two creators did not adopt it initially. Art historian Ernst Gombrich described cubism as "the most radical attempt to stamp out ambiguity and to enforce one reading of the picture - that of a man-made construction, a colored canvas."^[4] The Cubist style spread quickly throughout Paris and then Europe.