Editing Georges Braque (section)

==Cubism==
[[File:Georges Braque, 1909, Still Life with Metronome (Still Life with Mandola and Metronome), oil on canvas, 81 x 54.1 cm, Metropolitan Museum of Art.jpg|thumb|Georges Braque, late 1909, ''Still Life with Metronome'' (''Still Life with Mandola and Metronome''), oil on canvas, 81 x 54.1 cm, [[Metropolitan Museum of Art]]. Gift from the [[Leonard Lauder|Leonard A. Lauder]] Cubist Collection]]
[[File:Georges Braque, 1909-10, La guitare (Mandora, La Mandore), oil on canvas, 71.1 x 55.9 cm, Tate Modern, London.jpg|thumb|Georges Braque, 1909–10, ''La guitare (Mandora, La Mandore)'', oil on canvas, 71.1 x 55.9 cm, [[Tate Modern]], London]]
[[File:Violin and Candlestick.jpg|thumb|Georges Braque, 1910, ''Violin and Candlestick'', [[San Francisco Museum of Modern Art]]]]
Braque's paintings of 1908–1912 reflected his new interest in geometry and simultaneous [[perspective (graphical)|perspective]]. He conducted an intense study of the effects of light and perspective and the technical means that painters use to represent these effects, seeming to question the most standard of artistic conventions. In his village scenes, for example, Braque frequently reduced an architectural structure to a geometric form approximating a cube, yet rendered its shading so that it looked both flat and three-dimensional by fragmenting the image. He showed this in the painting ''[[Houses at l'Estaque]]''.<ref>{{Citation |last=Braque |first=Georges |title=Landscape at L'Estaque |date=1906 |url=https://www.artic.edu/artworks/119521/landscape-at-l-estaque |access-date=2025-01-07}}</ref>

Beginning in 1909, Braque began to work closely with [[Pablo Picasso]] who had been developing a similar [[Proto-Cubism|proto-Cubist]] style of painting. At the time, Pablo Picasso was influenced by [[Gauguin]], Cézanne, [[African masks]] and [[Iberian sculpture]] while Braque was interested mainly in developing Cézanne's ideas of multiple perspectives. "A comparison of the works of Picasso and Braque during 1908 reveals that the effect of his encounter with Picasso was more to accelerate and intensify Braque’s exploration of Cézanne’s ideas, rather than to divert his thinking in any essential way."<ref>Fry 1966, p. 71.</ref> Braque's essential subject is the ordinary objects he has known practically forever. Picasso celebrates animation, while Braque celebrates contemplation.<ref>{{cite magazine| first = Jed| last = Perl | title = Relevance of Irrelevance | url = http://www.tnr.com/article/the-picture/96651/georges-braque-picasso-cubism | magazine = The New Republic | date = 2011-10-26 | access-date = 2011-10-28}}</ref> Thus, the invention of Cubism was a joint effort between Picasso and Braque, then residents of [[Montmartre]], Paris. These artists were the style's main innovators. After meeting in October or November 1907,<ref>Picasso, P., Rubin, W. S., & Fluegel, J. (1980). ''Pablo Picasso, a retrospective''. New York: Museum of Modern Art. {{ISBN|0-87070-528-8}} p. 99,</ref> Braque and Picasso, in particular, began working on the development of Cubism in 1908. Both artists produced paintings of monochromatic color and complex patterns of faceted form, now termed [[Analytic Cubism]].<ref>{{Cite web |last=Rewald |first=Authors: Sabine |title=Cubism {{!}} Essay {{!}} The Metropolitan Museum of Art {{!}} Heilbrunn Timeline of Art History |url=https://www.metmuseum.org/toah/hd/cube/hd_cube.htm |access-date=2025-01-07 |website=The Met’s Heilbrunn Timeline of Art History |language=en}}</ref>

A decisive time of its development occurred during the summer of 1911,<ref>{{Cite web|url=http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Pablo%20Picasso&page=1&f=People&cr=5|archive-url=https://web.archive.org/web/20130210022232/http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Pablo%20Picasso&page=1&f=People&cr=5|url-status=dead|title=Solomon_R._Guggenheim_Museum|archive-date=February 10, 2013}}</ref> when Georges Braque and Pablo Picasso painted side by side in [[Céret]] in the French Pyrenees, each artist producing paintings that are difficult—sometimes virtually impossible—to distinguish from those of the other.<ref>{{Cite web |title=Pablo Picasso {{!}} Landscape at Céret |url=https://www.guggenheim.org/artwork/3427 |access-date=2025-01-07 |website=The Guggenheim Museums and Foundation |language=en-US}}</ref> In 1912, they began to experiment with [[collage]] and Braque invented the ''[[papier collé]]'' technique.<ref>Cooper, Philip. ''Cubism''. London: Phaidon, 1995, p. 14. {{ISBN|0714832502}}</ref>

On 14 November 1908, the French art critic [[Louis Vauxcelles]], in his review of Georges Braque's exhibition at [[Daniel-Henry Kahnweiler|Kahnweiler]]'s gallery called Braque a daring man who despises form, "reducing everything, places and a figures and houses, to geometric schemas, to cubes".<ref>{{Cite web|url=https://gallica.bnf.fr/ark:/12148/bpt6k7521008s|title=Gil Blas / dir. A. Dumont|date=November 14, 1908|website=Gallica}}</ref>

Vauxcelles, on 25 March 1909, used the terms "bizarreries cubiques" (cubic oddities) after seeing a painting by Braque at the Salon des Indépendants.<ref>[http://gallica.bnf.fr/ark:/12148/bpt6k7536065n Louis Vauxcelles, ''Le Salon des Indépendants'', Gil Blas, 25 March 1909], Gallica (BnF)</ref>

The term 'Cubism', first pronounced in 1911 with reference to artists exhibiting at the [[Salon des Indépendants]], quickly gained wide use but Picasso and Braque did not adopt it initially. Art historian [[Ernst Gombrich]] described Cubism as "the most radical attempt to stamp out ambiguity and to enforce one reading of the picture—that of a man-made construction, a colored canvas."<ref>[[Ernst Gombrich]] (1960) ''Art and Illusion'', as quoted in [[Marshall McLuhan]] (1964) ''[[Understanding Media]]'', p.12 {{cite web |url=http://www9.georgetown.edu/faculty/irvinem/theory/McLuhan-Understanding_Media-I-1-7.html |title=McLuhan: Understanding Media |access-date=2007-09-04 |url-status=dead |archive-url=https://web.archive.org/web/20071011132326/http://www9.georgetown.edu/faculty/irvinem/theory/McLuhan-Understanding_Media-I-1-7.html |archive-date=2007-10-11 }}</ref> The [[Cubism|Cubist]] style spread quickly throughout Paris and then Europe.<ref>{{Cite web |title=The Cubist Epoch - The Metropolitan Museum of Art |url=https://www.metmuseum.org/met-publications/the-cubist-epoch |access-date=2025-01-07 |website=www.metmuseum.org |language=en}}</ref>

The two artists' productive collaboration continued and they worked closely together until the beginning of [[World War I]] in 1914, when Braque enlisted with the French Army. In May 1915, Braque received a severe head injury in battle at [[Carency]] and suffered temporary blindness.<ref>Oxford Art Online, "Georges Braque"</ref> He was [[trepanning|trepanned]], and required a long period of recuperation.<ref>{{Cite web |date=2014 |title=Georges Braque (1882-1963): Guitare et rhum |url=https://www.christies.com/en/lot/lot-5840868 |access-date=January 7, 2024 |website=Christie's}}</ref>

{{Blockquote| The things that Picasso and I said to one another during those years will never be said again, and even if they were, no one would understand them anymore. It was like being roped together on a mountain.|Georges Braque <ref>Berger, John. 1972. The Look of Things: Selected Essays and Articles. Penguin Books, Ltd. {{ISBN|0-14-021316-3}}</ref><ref>Huffington, Arianna S. 1988. Picasso: Creator and Destroyer. Simon and Schuster. {{ISBN|978-0-7861-0642-4}} p. 93</ref>}}