Resurrection of the Bird - Georges Braque
Archival giclée
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Description
A 1959 lithograph by Georges Braque featuring a minimalist, symbolic bird motif in a balanced composition of black, yellow, and soft pink.
Georges Braque, a central figure in the development of Cubism, shifted his focus in his later years towards a more poetic and symbolic exploration of form. Resurrection of the Bird, produced in 1959, exemplifies this period of his career. The work moves away from the rigid geometric fragmentation of his earlier output, favouring instead a fluid, organic approach to composition.
The image features a stark, black silhouette of a bird, which appears to emerge from or interact with a soft, pinkish-grey ground. Opposite this, a bright yellow form provides a sharp chromatic contrast, framing a negative space that suggests the shape of a wing or a second avian form. The lithographic process allows for a subtle layering of colour, where the textures of the ink remain visible, adding a tactile quality to the flat planes of the design.
Braque often returned to the motif of the bird during the 1950s, viewing it as a symbol of freedom and movement. In this print, the bird is not depicted with anatomical precision, but rather as a simplified, essential shape. The composition relies on the balance between the heavy, dark mass of the bird and the lighter, more ethereal yellow area. By reducing the subject to its most basic visual components, Braque invites the viewer to consider the essence of flight rather than a literal representation. This print, published by Galerie Maeght in Paris, reflects the artist's mastery of printmaking techniques, where he utilised the medium to experiment with colour relationships and spatial ambiguity. It remains a clear example of his late-career synthesis of abstraction and natural observation.
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Manufacturing
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
Resurrection of the Bird - 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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