Clarinet, Guitar and Compotier - Georges Braque
Archival giclée
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Description
A seminal work of Analytical Cubism by Georges Braque, featuring a deconstructed still life of musical instruments and a compotier within an oval frame.
Georges Braque painted Clarinet, Guitar and Compotier in 1911, a period when he and Pablo Picasso were developing the analytical phase of Cubism. This work demonstrates the systematic deconstruction of objects into geometric planes. The composition is contained within an oval format, which was a common choice for Braque during these years to soften the edges of his fragmented subjects.
The painting features the familiar motifs of the studio: a clarinet, a guitar, and a compotier. Rather than depicting these items through traditional perspective, Braque breaks them down into overlapping facets. The viewer must mentally reconstruct the objects from the visual cues provided, such as the neck of the guitar or the suggestion of a musical instrument. The inclusion of stencilled lettering, specifically the letters 'L' and 'RAD', introduces a graphic element that contrasts with the painted forms. This technique draws attention to the surface of the canvas, reminding the viewer that the painting is a constructed object rather than a window into a three-dimensional space.
The palette is restricted to muted earth tones, browns, and blacks. This choice allows the focus to remain on the structural arrangement of the planes rather than on colouristic effects. The texture is varied, with some areas appearing flat and others showing subtle brushwork. The background is dark, which pushes the lighter, fragmented forms forward. This work captures the intellectual rigour of early twentieth-century modernism, where the traditional rules of representation were discarded in favour of a new visual language. It is an example of the experimentation that defined the collaboration between Braque and Picasso, as they sought to represent the totality of an object by showing it from multiple viewpoints simultaneously.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Clarinet, Guitar and Compotier - Georges Braque
Artist Biography
Georges Braque
He grew up in Argenteuil and Le Havre, the son and grandson of house painters. He apprenticed as a decorative painter, learning to imitate wood grain and marble, techniques he later used in his Cubist papiers colles. He studied at the Ecole des Beaux-Arts in Paris and exhibited with the Fauves in 1906, painting bright, loose landscapes influenced by Matisse.
Everything changed when he saw Picasso's Les Demoiselles d'Avignon in 1907. He went to L'Estaque that summer and painted landscapes that broke the scenery into geometric facets, which is what a critic called 'cubes.' The name stuck. Between 1908 and 1914 he and Picasso worked so closely that their paintings from this period are sometimes difficult to tell apart. They showed each other everything. They finished each other's ideas.
The war separated them. Braque was severely wounded at Carency in 1915: a head injury that left him temporarily blind and required trepanning. He did not paint for over a year. When he returned to work, the collaboration with Picasso was over. They remained on good terms but never worked together again.
His post-war paintings are quieter, more resolved, less competitive. The Studio series, large paintings of the interior of his Normandy studio with birds flying through the space, occupied him through the 1950s. He died in 1963, at eighty-one. Picasso outlived him by ten years.
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