Fine Art Poster
From $39
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Still Life with Glass Carafe and Ace of Clubs - Georges Braque
Regular price
$39.00 USD
Sale price
$39.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A classic example of Analytic Cubism by Georges Braque, featuring a glass carafe and an ace of clubs rendered through fragmented planes and a muted palette.
Georges Braque, a central figure in the development of Cubism, produced this work during a period of intense experimentation with the representation of space and form. The composition features a glass carafe and a playing card, specifically the ace of clubs, arranged upon a table surface. Braque employs a restricted palette of muted greys, browns, and ochres, which was characteristic of his Analytic Cubist phase. By limiting the colour range, he directed attention toward the structural analysis of the objects rather than their surface appearance.
The painting demonstrates a departure from traditional perspective. Braque fragments the objects into overlapping planes, allowing the viewer to perceive multiple viewpoints simultaneously. The carafe is rendered through simplified, geometric volumes, while the playing card provides a flat, graphic element that anchors the composition. The background is treated with a stippled, textured application of paint, which creates a sense of depth without relying on conventional shadows or atmospheric effects. This technique emphasises the two-dimensional nature of the canvas while simultaneously suggesting the physical presence of the objects.
Braque often incorporated everyday items into his still lifes, such as musical instruments, bottles, and cards. These objects were chosen for their familiarity, allowing the viewer to focus on the formal innovations of the work. The inclusion of the ace of clubs serves as a recurring motif in his oeuvre, acting as a graphic signifier within the complex arrangement of forms. This piece reflects the rigorous intellectual approach Braque shared with Pablo Picasso during their collaboration in the early twentieth century. It remains a clear example of the shift toward abstraction that redefined modern painting, prioritising the construction of the image over the imitation of reality.
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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
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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
Complete The Look
Still Life with Glass Carafe and Ace of Clubs - Georges Braque
Regular price
From $39.00 USD
Sale price
From $39.00 USD
Regular price
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Georges Braque
Braque and Picasso invented Cubism together, and Braque got less credit. He was quieter, less theatrical, less inclined to promote himself. He said they were 'like mountaineers roped together.' Picasso got the mountain named after him.
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.
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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Fine Art Framed
From $119
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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