Still Life with Tenora is a consummate example of Braque's papier collé (literally, pasted paper) style. The bold geometric fragments of contrasting types of paper interlaced with the figurative motifs drawn in charcoal evoke the structure of a fugue, in which two distinct melodies intertwine in a rich, sonorous composition, each acting as a foil to the other's reality.
The invention of the papier collé in 1912 by Braque and Pablo Picasso introduced a revolution in Western painting, whose repercussions are still being felt today. By pasting fragments of paper (newspaper, wallpaper, and wood-grained paper) onto their still-life compositions, they introduced real materials and textures into an art hitherto based on illusionistic renderings.
The significance of this breakthrough cannot be overestimated because through this technique these artists declared the autonomy of the painted or drawn image, and radically severed it from any attempt at representation. The fragments attached to the picture's surface rarely followed the contours or silhouettes of the drawn motifs (glasses, bottles, or musical instruments), but, paradoxically, contradicted them. Thus, they countered the conventional devices of modeling and depth perspective, and drew attention to the absolute flatness of the two-dimensional plane.
Galerie Kahnweiler, Paris. Acquired from the artist, 1913 – 1914
Kahnweiler collection and gallery stock sequestered by French Government as property of a German enemy in 1914. Fourth Kahnweiler a uction, Hotel Drouot, Paris, 7-8 May 1923, no. 14
Galerie L’Effort moderne (Léonce Rosenberg), Paris. [Purchased from Kahnweiler auction, May 1923 - ] By 1924
Amédée Ozenfant, Paris and New York. [Purchased at Kahnweiler auction, May 1923] - 1951
Nelson A. Rockefeller, New York. Purchased from Ozenfant, 1951 - 1979
The Museum of Modern Art, New York. Nelson A. Rockefeller Bequest, 1979
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