The breadth of his taste is reflected in the many kinds of instruments (he collected them) and the sheer number of representations of them found in still lifes from throughout his Cubist years (1908-14), in addition to the diverse musical allusions conveyed as soon as he introduced letters and words into his images, from late 1911-12 on. The artist's interests extended from folk and popular genres to the classical repertory. Gertrude Stein's 1922 word portrait of Braque includes what is, for this experimental writer, a particularly clear phrase: "So much musical permission." 2 Stein found noteworthy the wide range of Braque's musical references and likely also his actual playing in the company of friends. For them, music was an "abstract" art, without specific referents, and thus an appropriate parallel to their experimentation with non-representation. Several of Braque's contemporaries in the early twentieth century, notably Vasily Kandinsky and FrantiŠek Kupka, explored visual equivalents of sound, but not musical instruments. But one does not find musical instruments in his many still lifes, which generally depict fruits, ceramics, and drapery. The formalist view of Cubism enshrined Paul Cézanne as its stylistic forebear. A close focus uncovers a considerable strain of popular art alongside Braque's classical allusions. Yet Braque said this in 1954, when the formalist view of Cubism was dominant, and his statement likewise but-tressed the idea of "pure painting." Now we might wonder why he was surrounded by instruments, what they were specifically, and what kind of music was played on them. In part this neglect of subject matter flows from Georges Braque's reflection, "During this period I painted a lot of musical instruments, first of all because I was surrounded by them, and also because their forms, their volume, came into the ken of the still life as I understood it." 1 This often-quoted reasoning has been accepted by many commentators, who have emphasized the very contrasts of line / volume and solid /void in stringed instruments as predestined for Cubist concerns.
Musical instruments seem so integral to Cubism that they are not readily considered as a choice that developed over time.
Lauder Collection, Metropolitan Museum of Art, New York, October 2014, pp. Your purchase has the potential to make a positive impact on the world while adding a great piece of art to your collection.Essay published in Cubism: The Leonard A. CHARITY: By purchasing this stunning painting, you acquire beautiful artwork and support a noble cause, as 10% of the sale will be donated to different charities. The painting is carefully packed in a special box to ensure it reaches its destination without damage.
It is stretched and mounted on a stretcher, making it installation-ready for homes or offices. The artist's signature on the back adds an individual touch and a connection between the viewer and the creator. DETAILS: This oil painting on canvas has a certificate that verifies its authenticity and adds value to its uniqueness. This painting will bring joy and inspiration to those who view it and will serve as a reminder of the beauty and creativity in the world around us. It reminds me of the power of art to capture the spirit of a time and place and to transport us to new worlds. Looking at this painting, I feel a sense of excitement and possibility. With this piece, I wanted to convey the energy and vitality of Paris in the early 20th century, a time of great artistic and cultural innovation. As an artist, I strive to capture the essence of a moment or a feeling in my work. Creating this painting was a profoundly personal experience for me. The use of bright, contrasting colors adds to the vibrancy and excitement of the scene. The layers of geometric shapes and patterns in my painting evoke a sense of depth and movement, as if the city is constantly shifting and evolving.
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