Georges Braque invented EL CUBISMO

In 2013 marked 50 years since the death of Braque (1882-1963)andParis held a retrospective of his work. The show, with over 200paintings, was able to visit this summer at the Guggenheim inBilbao.

In the first decade of the twentieth century, social changesproduced by electricity, aviation, psychoanalysis, the theory ofrelativity were echoed in artistic creation. In Vienna, Trieste,Moscow, Proust, Joyce , Schoenberg, Stravinsky rehearsing otherways of making literature and music.

And in Paris Picasso and Braque dislocated forms and spacelooking for a break according to the perception of the newreality.

The two painters plastic based searches postimpressionists,especially Cézanne, end up inventing Cubism, a type ofrepresentation that contradicted the way they look and build apainting considered common in the West since the Renaissance.

To Braque Fauvism Hall of Fall 1905 was a revelación La colorautonomy regarding the form and use of intense primary colorsand complementary chromatic explosion created astranger: " Matisse and Derain have opened the way for me topaint " , said then .

In 1907 Apollinaire introduced Picasso to Braque wasterminated its Period Rosa and worked on the large canvaswould Demoiselles d'Avignon .

Braque joined in Montmartre of the Groupe du Bateau-Lavoir. There were Picasso, Max Jacob, Marie Laurencin,Guillaume Apollinaire, Juan Gris, Erik Satie, Vlaminck, GertrudeStein and her brother Leo, and soon Fernand Léger, Dalaunay,Marcel Duchamp, Francis Picabia ...

PICASSO , 1907, Les Demoiselles d'Avignon , OL / lz, 2.44 x 2.34

It picasso in painted Les Demoiselles d'Avignon Five naked on alarger scale than natural occupying a vague space withoutperspective but imponente. Era an image that defied the usualsensitivity, and could vaguely remember a wild version ofCézanne's bathers from which Picasso owned a copy from 1899. TheSpanish painter had long worked with Cezanne idea that "all

forms of nature can be reduced to the sphere, the cone andcylinder"

The painting by Matisse shocked even her fierce primitivism. Butthe calm Braque, though surprised, asked Picasso to see thecanvas. Then he painted the Grand Nu was a radical break withits previous paint and scored: "The painter does not try to rebuild a story, but to build apictorial fact"

That summer retired Braque painting at L'Estaque, nearMarseilles, because it was a favorite of Cézanne and painteddistinta. Encajaba so flat and geometric shapes drawn to thesurface, denying or distorting the traditional deep place.

In the faces of the figures were traces of African black art,Gauguin Women and the Iberian sculpture. The fund created anirrational, impractical space such as El Greco.

Braque , Large Nude, 1907, OL / lz, 139 x 101 Braque , 1907 LÉstaque houses Picasso, 1909, Horta de Ebro

Cubism was the result of a work "the lemon" between Picassoand Braque. Although each initial merit is attributed, the stepstaken show that both contributed decisively.

"Individual contributions to the formation of cubist style are difficult todisentangle, but it would be a mistake to see in Picasso a dominantinfluence. Certain passages painted by Braque in L'Estaque in the summerof 1908 are very clear announcements that Picasso painted in Horta deEbro in the summer of 1909 (cf. Casa de l'Estaque, 1908, Braque, withfactory Horta, 1909, Picasso). Braque has maintained throughout his careera stylistic integrity is one of the virtues of the Picasso can not brag and thisintegrity dates from the formative phase of Cubism." Herbert Read

Picasso , 1911, Collage with wire and rope.

TOWARDS CUBISMO. The essence of Cubism was a multiple and simultaneous use of theperceived vision.

Braque and Picasso buscaban capture on canvas simultaneously ofmultiple vision applied to objects that are seen in threedimensions in all its facets, which are obtained only when theyare around and included therefore the time. The result wereflat, two-dimensional images in a space that also fleeing three-dimensional.

The first cubist paintings were exhibited at the GalerisKahnweiler in 1908. When Braque and Picasso to the new mode ofperception invented they added the collage, opened unexpectedways for art.

The collage -the papiers collés grid Braque or rubber or other materialsPicasso and glued to canvas both- added another dimension ofreality to the reality of painting. It was a device that addedto the painted "harsh reality". Later Dada and Surrelismoadopted it for his expressive and explosive power and reappearedin the second half of the century in the neodadá movements, pop,and conceptual and was incorporated into the visual arts(painting, sculpture ...)

Guillaume Apollinaire art critic and poet friend,differed Analytical Cubism and Synthetic Cubism. In the first,which lasted until 1913 images are decomposed into small flat-facet surfaces and create geometrised difficult tointerpret. A from the incorporation Collage starts SyntheticCubism you looked closer to visual reality but multipleperspectives and the tendency to pursue such dimensionality.

Cubism, such as breaking step, tough 1909 until 1914. That yearthe outbreak of World War II and many artists had to join thefrente. Algunos die or be seriously injured as Braque andlicensed in 1916 after a long convalescence.

Fauvist Braque, until 1907

Braque / Analytical Cubism

Braque / Synthetic Cubism

In 1917. - after being licensed as a fighter returns to Parisand meets with his fellow poets and musicians, Gray, Satie ...

Begins a long period when Braque still by far the footsteps ofPicasso.Muertas.Profundiza natures Pinta especially on theissue but it does radical innovations. The critic ClementGreenberg in Art and culturereflect on it:

"We will never know for sure whether to blame or not to war thelarge differences observed in the subsequent evolution ofBraque, or the lack of evolution. It seems as if he hadabandoned inventiveness, and since then continues with more orlower fidelity address that marks Picasso. "[...]" And yet howto explain these sudden flashes of ingenuity and prophecy thatoccur in certain hallucinatory works [...] in the early fifties?"

Twenties. canephori coinciding with a classicist periodPicasso Pinta girls carrying fruit taken from the Greek worldin which harmonizes Cubist forms with classical proportionsgravity.

30s indoor scenes

Matisse shadows ...While the rooms, surrounded by "are crossed braques "that stopoften thought as a possibility, if since 1917 overall Braque wasdedicated to making Cubism, which was radical avant-classicismin the sense of achieving a painting of fullness, timelessquality of good old paint. Text that the poet and critic Apollinaire wrote for his firstexhibition of 1908 in part can be applied to his entire careeras an artist, especially that "tends passionately beauty ..."

". ..He here Georges Braque An admirable life. passionately tends to beautyand it would seem that reached without difficulty His compositions haveharmony and wholeness that one expects;. attest their decorated taste andculture guaranteed by instinct. Finding itself the elements of syntheticreasons that represents has convertidoe n a creator and nothing becauseeverything around him. His spirit has willfully caused the twilight of reality,and behold, a universal revival is made plastically in and out of it". . .Guillaume Apollinaire

Braque, 1956

In its final stage did stylized images of birds and landscapeswith a marked tendency to abstraction that suggest " thosesudden flashes of ingenuity and prophecy that occur in certainhallucinatory works [...] in the early fifties? " to terms, withthe authority that is recognized Clement Greenberg.

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Hillol.Sarkar@ago-inc.com

Nov 23, 2014www.ago-inc.com