Fine Art Poster
From $29
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.
Woman with a Mandolin - Georges Braque
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A seminal work of Analytic Cubism, this 1910 painting by Georges Braque deconstructs the human form and instrument into a complex grid of geometric planes.
Painted in 1910, Woman with a Mandolin represents the height of the Analytic Cubist period. During this time, Georges Braque and Pablo Picasso worked in close proximity, systematically deconstructing traditional perspective. This work exemplifies the movement's rejection of mimetic representation in favour of a fragmented, multi-faceted view of the subject.
The composition is organised around a series of interlocking planes and geometric facets. The figure of the woman and the instrument are broken down into their constituent parts, then reassembled across the canvas. This technique forces the viewer to reconstruct the subject mentally, rather than passively observing a static scene. The palette is restricted to a monochromatic range of ochres, greys, and browns, which serves to focus attention on the structural arrangement of the forms rather than on colouristic effects.
Braque employs a shallow pictorial space, where the background and foreground merge into a unified grid. The mandolin is suggested through curved lines and angular shapes, which echo the contours of the figure. This approach allows the artist to represent the object from multiple viewpoints simultaneously. The brushwork is controlled and deliberate, reinforcing the architectural quality of the composition. By stripping away extraneous detail, Braque emphasises the essential geometry of the subject matter. This piece remains a primary example of the early twentieth-century shift toward abstraction, reflecting the period's fascination with the mechanics of vision and the nature of reality in art.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
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
Complete The Look
Woman with a Mandolin - Georges Braque
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 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 $89
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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