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Georges braque
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Georges Braque in front of painting; cubist; portrait; France
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One of the largest collections of paintings online. Featuring hundreds of artists and thousands of works. Large, high-quality images. Biographies, historical commentary, religious and mythological notes.
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French, 1882–1963
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Although often mentioned in conjunction with Picasso and their joint contributions to the art world, Georges Braque was a prolific artist in his own right.
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Georges Braque, 1908, Maisons et arbre
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Exploring the great 20th-century artist Georges Braque, his contribution to Cubism and his world of abstract art.
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Georges Braque, L'Aquarium, 1944. When war broke out, Braque went to Varengville-sur-Mer, an important colony of artists in the 1930s where Braque had the architect Paul Nelson build him a studio. Fish were one of the artist's recurring motifs and, echoing his anxieties early on, were predominantly black and thoughtfully austere. Towards the end of the conflict, the colours became more joyful, the brushwork lighter, and the backgrounds more translucent, as shown here.
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Georges Braque. Balustre et Crane, 1938.
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Pablo Picasso. Guitar. Céret, spring 1913. Cut-and-pasted newspaper, wallpaper, paper, ink, chalk, charcoal, and pencil on colored paper. 26 1/8 x 19 1/2" (66.4 x 49.6 cm). Nelson A. Rockefeller Bequest. 967.1979. © 2025 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Drawings & Prints
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Glass on a Table. 1910. Oil on canvas.
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Gino Severini Futurism with Cubist influence
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Fishing boats - Georges Braque - 1909
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View PORTRAIT DE FEMME By Braque Georges; oil on canvas; 21 7/8 by 13 1/2 in. 55.6 by 34.3 cm.; . Access more artwork lots and estimated & realized auction prices on MutualArt.
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Georges Braque by Jean Crespi
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In the spring of 1907, Georges Braque visited the studio of Pablo Picasso and quickly befriended him. In the years that followed (1907-1914), Picasso and Braque were essentially inseparable. As Braque recalled, "We were like mountain-climbers roped together."
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The best-selling art historian on why critics were wrong to consider cubism 'an insult to their intelligence'
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