Posts tagged Braque
“Will you not allow that I have as much of the spirit of prophecy in me as the swan? For they, when they perceive that they must die, having sung all their life long, do then sing more lustily than ever, rejoicing in the thought that they are going to the god they serve.” – Socrates, Phaedo, 85.
[In art there is only one thing that matters: what cannot be explained.]
which Braque sculpted in 1939/40) is also looking right, along with the large white arrow which prevents the bird’s movement from reigning over the composition.
The bird is in full flight in Atelier IV, its orbed wings suggest the artist’s palette as it approaches the easel.
The converging lines no longer suggest rays of light; perhaps the fractured lines represent the flight of the bird through curtains, or past window mullions and wainscotting, or even picture rails, mahl stick, and the display easel Braque often used to show his work.
But these linear areas play an important role in the spatial structure of the picture which depends on an elaborate play of verticals and diagonals helped by lines of direction.
The bird and easel dominate as the brushes in the vase point upward to the bird, while the brushes in the palette point horizontally toward the Mozarabic decoration.
Braque believed that an artist experienced beauty “… in terms of volume, of line, of mass, of weight, and through that beauty [he] interpret[s] [his] subjective impression…”
He described “objects shattered into fragments… [as] a way of getting closest to the object…Fragmentation helped me to establish space and movement in space”.
Braque had adopted a monochromatic and neutral color palette in his earlier works, in the belief that such a palette would emphasize the subject matter.
These later paintings embody a form-in-color, as if muted by cool, gauzy Normandy coastal light; edges sharpened; objects occupying equal visual weight in the composition; with sensations heightened, as his complex structure of form, line and color invite the eye to move in an endless course through the composition, in search of a resting point.
One important element in many of Braque’s paintings—adding to their perceived depth and approachability—is his technique for applying a ground layer to the canvas before beginning to paint.
These were of two types: white and black. White ground, a highly textured material recalling stucco or fresco, was applied methodically.
“I prepare the ground of my canvases with the utmost care, for it is the ground that supports the entire picture, like the foundation of a house.”
About half of the paintings in the exhibition were prepared with either white or black ground. Black ground added a sense of depth and atmosphere, as their matte, unsaturated surfaces highlighted the flatness of the picture plane. Fine grains of variegated sand, both sparsely mixed with paint and scattered on top, further emphasized the materiality of the surface.
The artist rarely covered the entire undersurface of his painting, allowing portions of his work to become part of the finished composition.
The black ground is incorporated into The Napkin Ring (1929), serving as the base color for the blue and green veins of the marbled background and as the color of the table, otherwise defined only by an outline of yellow paint.
The lines are usually masculine but only when you are sure they are feminin, it’s the masculine part – we know that sometimes even them have feminin features, right? -.
Objects are from the same material . Even if they are fruits or simple objects, they look alike. They form the same structure.