Unlike Pablo Picasso, Georges Braque paintings were devoid of iconological commentary and were concerned purely with pictorial space and composition. George sought after balance and harmony in his compositions, particularly through papier colles, a pasted paper collage technique that he and Pablo invented in 1912.
Georges took papier colles, a pasted paper collage technique that he and Pablo Picasso invented in 1912, one step further, through the gluing of cut-up advertisements into his Georges Braque paintings. This was actually a foreshadowing of modern art movements concerned with critiquing media, including Pop art.
Georges Braque paintings took a drastic change in 1907 after Georges seeing Pablo Picasso’s breakthrough work in Les Demoiselles d’Avignon. The encounter led to an intimate friendship and artistic camaraderie between the two painters. They would get together every single day to discuss and assay the ideas that were forming in their individual heads and to compare their respective works.
Georges and Pablo worked in synchronicity until Georges’ return from war in 1914. Georges felt that Pablo betrayed their Cubist systems and rules, when Pablo began painting figuratively. It was then that Georges decided to work on his own Georges Braque paintings.
Georges Braque paintings returned to focus on still life, by 1918, when Georges felt he had sufficiently explored the possibilities offered by the papier colles technique. A more limited palette was noticeable in Georges’ first post war solo show in 1919. Regardless of this, Georges steadfastly adhered to Cubist rules in his depiction of objects from multi-faceted perspectives in geometrically patterned ways.
In the 1930s, Georges Braque paintings portrayed Greek horses and deities, stripped of their symbolism and viewed through a purely formal lens. They were exercises in calligraphy because they were not strictly about figures, rather more about sheer lines and shapes.
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