 乔治·布拉克 两张王牌
作品介绍
Composed of harmonious planes of seamlessly interlocking
colour, pattern, line and form, Les deux as (The Two Aces)
exemplifies Georges Braque’s great mastery of the still-life, a
genre which he spent his life exploring. Painted in 1929, Les deux
as dates from what John Richardson has described as a period of
‘frenzied experimentation’ (J. Richardson, Georges Braque, London,
1959, p. 20) for Braque, a time when the artist, reaching maturity,
began to explore a range of possibilities that the still-life
provided. The two aces of the title radiate from the composition;
at once weighty and opaque, and at the same time feather-light as
they seemingly float above the faceted tabletop on which they lie.
It is colour, however, that comes to the fore in this painting,
arranged throughout the composition with an effortless ease. The
same cubist fragmentation of perspective and form is in evidence,
yet, in contrast to the near-monochrome paintings that Braque and
his cubist comrade Pablo Picasso painted during this earlier stage,
in the present work, the composition is flooded with rich,
jewel-like facets of colour. Against the soft blue dish, the yellow
and orange peach in the centre of the painting glows like a golden
orb, around which an array of green tones is placed in perfect
accord.
 乔治·布拉克 两张王牌 局部
The combination of varying planes of fattened patterning in
Les deux as is reminiscent of Braque’s synthetic cubist style.
Moving away from the rigorous and somewhat austere form of early
Cubism – now known as Analytic Cubism – in around 1912, Braque
began introducing textures, patterns and real fragments of paper
into his paintings, overlaying them to build up collage-like
compositions. This pioneering technique, known as papier-collé,
allowed Braque, along with Picasso and Juan Gris, to play with
reality and illusion, representation and mimesis. While the glass,
blue dish, fruit and playing cards are all realistic, readable
objects, within Braque’s composition they lose their everyday
identity and serve also as abstract shapes and forms. Braque had a
unique ability to transform the everyday ephemera of life into
paintings that are at once monumental and intimate, majestic and
subtle, capturing the way in which objects interact and coexist
within space. Braque reflected that ‘Once an object has been
integrated into a picture, it accepts a new destiny and at the same
time becomes universal… And as they give up their habitual
function, so objects acquire a human harmony. Then they become
united by the relationships which spring up between them, and more
important between them and the picture and ultimately myself. Once
involved in this universality, they all draw closer together,
because we have human eyes, and then they refer uniquely to
ourselves’ (quoted in D. Cooper, exh. cat., Braque: The Great
Years, Chicago, 1972, p. 111).
局部细节
 乔治·布拉克 两张王牌 局部  乔治·布拉克 两张王牌 局部  乔治·布拉克 两张王牌 局部  乔治·布拉克 两张王牌 局部  乔治·布拉克 两张王牌 局部  乔治·布拉克 两张王牌 局部
画家简介
乔治·布拉克(Georges
Braque，1882—1963)，法国立体主义绘画大师，1882年生于塞纳河畔的阿让特伊。与毕加索早期作品属印象派和野兽派。与毕加索合作，直到1914年，共同发起立体主义绘画运动。最早将字母糅合进绘画，将颜料与沙子混合作画和使用拼贴画法。晚年作品包括静物画和风景画，风格渐趋现实主义。他的影响实际上并不比毕加索小。并且，“立体主义”这一名称还是由他的作品而来。
作品资料
The Two
Aces
作者 乔治·布拉克 （1882～1963）
尺寸 24.3×35cm
作品分类 西画雕塑>油画 油彩 画布
创作年代 1929年作
估价 GBP 300,000-400,000
成交价 GBP 341,000
专场 印象派及现代艺术（晚间拍卖）
拍卖时间 2017-06-27
拍卖公司 佳士得伦敦有限公司
拍卖会 2017年6月拍卖会
签名及日期：G Braque 29（左下）
來源
巴黎及紐約保羅．羅森伯格 (1938年前)
紐約詹姆斯．彭德爾頓
紐約E．V．托爾畫廊
美國私人收藏 (1971年購)；2006年5月2日，紐約佳士得，拍品編號44
現藏家購自上述拍賣
展览历史
1938年 巴黎保羅．羅森伯格畫廊展覽
相关文献
《Cahiers d'Art》，1930年，編號1，第9頁 (插圖)
〈Georges Braque〉《Cahiers d'Art》，1933年，第60頁 (插圖)
Maeght編 《Catalogue de l’oeuvre de Georges Braque: Peintures
1928-1935》，巴黎，1962年，圖號33 (插圖)
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本文图片及文字资料均来自佳士得官方网站，局部细节图片系阴山工作室所加。
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