|Portrait by Henri Cartier-Bresson - 1944|
And if you do see both, I’d advise seeing Vallotton first. Braque is a bit more abstract visually, more demanding. Vallotton will feel more comfortable.
I already covered Vallotton (see Oct. 26, 2013), so now let me have a go at Braque.
|Grande nature morte brune 1932|
|Port de l'Estaque, 1906|
|Viaduct de l'Estaque, 1908|
As he turned away from fauvism, cubism was creeping into his works. By the time he painted Tête de femme in 1909, he was already more geometric, more like Picasso than Cézanne. And from there, he moved on to what he called “analytical cubism”, a style used only by Picasso and himself in which parts of an object were meant to represent the whole object... and that’s where he starts to lose me. I guess I’m not analytical enough.
|Tête de femme, 1909|
|Nature morte à la guitare, 1929|
Somewhere in all that, Braque was called up, sent to the front lines and seriously wounded in World War I. After his trepanation, it took him an entire year to paint again. Then a decade later he worked with Diaghilev and the Russian Ballet, creating both sets and costumes. And in 1953 he painted Les Oiseaux - The Birds - for the ceiling of one of the rooms in the Louvre Museum.
|Femme à la palette, 1936|
Besides, he, like me, lived in Montmartre - and just around the corner! - so maybe that makes us kindred spirits under the skin.
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