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拍品专文
Georges Braque a accordé un intérêt majeur au thème de l'atelier et de la nature morte au cours des trente dernières années de son existence. Renvoyant à l'univers intime de l'artiste, ce sujet s'inscrit dans une longue tradition iconographique. En mettant en scène les attributs traditionnels des peintres et sculpteurs, il s'apparente à une forme d'autoportrait symbolique du métier d'artiste. Georges Braque était installé depuis une dizaine d'années en Seine-Maritime à l'heure où il réalisa cette composition. Elle regroupe un certain nombre d'éléments matériels propres à ses occupations durant cette année 1939: la palette et les pinceaux de l'artiste, un guéridon avec des fruits mais également un buste placé dans un médaillon. En effet, en plus de continuer à exercer la peinture, Braque s'était consacré essentiellement à la sculpture au cours de l'hiver. Sur le côté gauche de la toile, on remarque une tête fortement stylisée qui exprime son goût pour la création en trois dimensions. Hommage discret à son ami Picasso, initiateur avec lui du cubisme au début du siècle, elle fait écho à l'esthétique des toiles contemporaines du maître catalan. Par sa densité et ses effets de surimpression, cette composition est caractéristique des recherches plastiques menées par Georges Braque au cours des années 1930. La production de l'artiste français fait valoir sa singularité à cette époque par son homogénéité et une inventivité sans cesse renouvelée au travers de thèmes fétiches et presque obsessionnels, tels que celui des ateliers dont cette oeuvre est l'un des plus beaux exemples.
The theme of the atelier and still-life painting is central to Georges Braque's mature work. Beyond a simple reference to the artist's private world, this subject is part of a long illustrative tradition. In depicting the traditional artist's tools, the present work resembles a form of symbolic self-portraiture. The present work brings together a certain number of physical elements specific to the artist's work throughout 1939: the artist's brush and palette, a pedestal table with fruit and also a bust placed in an oval. For as well as continuing to paint, over the winter Braque had devoted himself mainly to sculpture. On the left-hand side of the canvas, a highly stylized head can be seen, expressing his taste for three-dimensional art. A discrete homage to his friend Picasso, with whom he co-founded Cubism at the beginning of the century, it echoes the contemporary canvases of the Catalan master. Through its density and overlaying effects, this composition is characteristic of the artistic research being carried out by Braque throughout the 1930s. The French artist's production in this period demonstrated its singularity by its homogeneity and ceaselessly renewed inventiveness, through favourite, almost obsessive themes such as the atelier, of which this work is one of the finest examples.
The theme of the atelier and still-life painting is central to Georges Braque's mature work. Beyond a simple reference to the artist's private world, this subject is part of a long illustrative tradition. In depicting the traditional artist's tools, the present work resembles a form of symbolic self-portraiture. The present work brings together a certain number of physical elements specific to the artist's work throughout 1939: the artist's brush and palette, a pedestal table with fruit and also a bust placed in an oval. For as well as continuing to paint, over the winter Braque had devoted himself mainly to sculpture. On the left-hand side of the canvas, a highly stylized head can be seen, expressing his taste for three-dimensional art. A discrete homage to his friend Picasso, with whom he co-founded Cubism at the beginning of the century, it echoes the contemporary canvases of the Catalan master. Through its density and overlaying effects, this composition is characteristic of the artistic research being carried out by Braque throughout the 1930s. The French artist's production in this period demonstrated its singularity by its homogeneity and ceaselessly renewed inventiveness, through favourite, almost obsessive themes such as the atelier, of which this work is one of the finest examples.