{"id":1559,"date":"2013-03-21T14:15:59","date_gmt":"2013-03-21T18:15:59","guid":{"rendered":"http:\/\/kolajmagazine.com\/content\/?p=1559"},"modified":"2013-03-21T15:11:04","modified_gmt":"2013-03-21T19:11:04","slug":"georges-braque-and-the-cubist-still-life-1928-1945-at-mildred-lane-kemper2","status":"publish","type":"post","link":"https:\/\/kolajmagazine.com\/content\/content\/collage-exhibitions\/georges-braque-and-the-cubist-still-life-1928-1945-at-mildred-lane-kemper2\/","title":{"rendered":"“Georges Braque and the Cubist Still Life, 1928-1945” at Mildred Lane Kemper"},"content":{"rendered":"

\"The<\/p>\n

25 January-21 April 2013<\/strong><\/p>\n

“Georges Braque and the Cubist Still Life, 1928-1945”<\/p>\n

Georges Braque (1882-1963) is one of the pioneers of collage. In 1912, he and Pablo Picasso experimented with collage and Braque came up with the technique known as a\u00a0papier coll\u00e9<\/em>. But by the 1930s, as the rise of fascism brought new urgency to questions of aesthetics and politics \u2014 questions that entered mainstream consciousness with Picasso\u2019s Guernica<\/em> (1937) \u2014 Braque\u2019s fractured still lifes and bourgeois interiors remained emphatically inward-looking.<\/p>\n

Yet Braque\u2019s painting was not as separate from outside events as Braque might have it. While his attention to the private, secluded realm of the still life suggests disengagement with historical and political circumstances, the paintings themselves convey a more complex narrative. Indeed, the artist\u2019s exactingly internal gaze was precisely what made his work relevant to questions of art, engagement and responsibility.<\/p>\n

The first major Braque show in the United States in 16 years, “Georges Braque and the Cubist Still Life, 1928-1945” features no works that are specifically collage, but the influence of collage is present in the work. Several works in the show include sand in the materials, such as\u00a0The Napkin Ring<\/em> (1929) and\u00a0The Round Table\u00a0<\/em>(1929). And the fractured nature of the still lifes is reminiscent of collage.<\/p>\n

For Braque\u2019s supporters, his emphasis on creating unfamiliar worlds represented no less than a manifesto of human freedom and an attempt to break free from history and civilization. Carl Einstein, the German Jewish art historian who organized Braque\u2019s first major retrospective \u2014 and who relocated to Paris in 1928 to edit the journal Documents <\/em>with Georges Bataille \u2014 initially planned to title his 1934 monograph on Braque \u201cLa morale de la puret\u00e9 (The morality of purity).\u201d<\/p>\n

But the war years proved difficult for the painter\u2019s circle. In 1940, Rosenberg left Paris for New York as the Nazis seized his gallery, paintings and residence. Shortly thereafter, Einstein committed suicide in the French Pyrenees while fleeing the Gestapo, and Braque himself stopped painting for a time. Conversely, under the occupation government, other contemporaries judged Braque\u2019s still lifes as sufficiently apolitical to be featured in a special exhibit as part of the 1943 Salon d\u2019automne.<\/p>\n

(adapted from the museum’s press materials<\/em>)<\/p>\n

\n

INFORMATION<\/h3>\n

Mildred Lane Kemper Art Gallery<\/strong>
\nWashington University in St. Louis
\nSkinker & Forsythe Boulevards
\nSt. Louis, Missouri 63112 USA
\n(314) 935-4523<\/p>\n

Hours:
\nMonday, Wednesday, Thursday, Saturday, and Sunday, 11AM-6PM
\nFriday, 11AM-8PM
\nClosed Tuesday<\/p>\n

MAP<\/a> | WEBSITE<\/a>\u00a0| FACEBOOK<\/a><\/p>\n

Image:<\/strong>
\n<\/i>The Round Table<\/em>
\nby Georges Braque
\n57 3\/8″x 44 3\/4″
\noil, sand, and charcoal on canvas
\n1929
\nAcquired 1934, The Phillips Collection, Washington, DC. \u00a9 2013 Artists Rights Society (ARS), New York \/ ADAGP, Paris.<\/p>\n","protected":false},"excerpt":{"rendered":"

25 January-21 April 2013<\/p>\n

“Georges Braque and the Cubist Still Life, 1928-1945” is a major U.S. exhibition of the still lifes of one of the founders of cubism and collage. Braque also invented the papier coll\u00e9<\/i> technique. <\/p>\n

Read more →<\/a><\/p>\n","protected":false},"author":6,"featured_media":1557,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","footnotes":""},"categories":[11],"tags":[],"jetpack_featured_media_url":"https:\/\/kolajmagazine.com\/content\/wp-content\/uploads\/Braque-Round_Table_PRINT11-web.jpg","jetpack_shortlink":"https:\/\/wp.me\/p2QTD7-p9","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":3577,"url":"https:\/\/kolajmagazine.com\/content\/content\/articles\/cubism-collage\/","url_meta":{"origin":1559,"position":0},"title":"Cubism & Collage","author":"Christopher Byrne","date":"17 February 2015","format":"gallery","excerpt":"On display from 20 October 2014 to 16 February 2015, \"Cubism: The Leonard A. Lauder Collection\" at the Metropolitan Museum of Art in New York featured 81\u00a0Cubist works by Pablo Picasso, Georges Braque, Juan Gris and Fernand Leger. For Issue 11 of Kolaj Magazine, we sent art critic Daniel Kany\u2026","rel":"","context":"In "Articles"","block_context":{"text":"Articles","link":"https:\/\/kolajmagazine.com\/content\/category\/content\/articles\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/georges-braque-fruit-dish-and-glass.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":2596,"url":"https:\/\/kolajmagazine.com\/content\/content\/articles\/cover-collaboration-issue\/","url_meta":{"origin":1559,"position":1},"title":"Cover Collaboration: How We Made This Issue’s Cover","author":"Christopher Byrne","date":"26 January 2014","format":"gallery","excerpt":"by Ric Kasini Kadour The cover of Issue 7 of Kolaj Magazine is the result of a collaboration among seven artists:\u00a0Allan Bealy, Michael Ziobrowski, Steven Specht, Michael Waraksa, Lita Kenyon, Amanda Fasken, Danielle Garza.\u00a0An homage to Georges Braque, the cover celebrates the essential work of the collage artist: to use\u2026","rel":"","context":"In "Articles"","block_context":{"text":"Articles","link":"https:\/\/kolajmagazine.com\/content\/category\/content\/articles\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/dear-George-web.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/dear-George-web.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/dear-George-web.jpg?resize=525%2C300&ssl=1 1.5x"},"classes":[]},{"id":8131,"url":"https:\/\/kolajmagazine.com\/content\/content\/collage-exhibitions\/collage-works\/","url_meta":{"origin":1559,"position":2},"title":"Collage Works","author":"Christopher Byrne","date":"2 May 2019","format":"gallery","excerpt":"COLLAGE ON VIEW Collage Works: Thompson | Corre | Taler at Studio Sixty Six in Ottawa, Ontario, Canada 26 April-2 June 2019 \"Collage Works\" presents the work of Amy Thompson, Kristina Corre, and Laura Taler. 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