Georges Braque. Man with a Guitar. Céret, summer 1911-early 1912

Georges Braque Man with a Guitar Céret, summer 1911-early 1912

  • Not on view

In this painting, the subject indicated by the title is barely decipherable: the figure has been broken into individual facets, to the point of its dispersal in space. Rendered in a limited palette of brown, green, and gray tones, the shapes seem to shift and interpenetrate, oscillating between surface and void before finally dissolving into an atmospheric background. Nevertheless, it is not an abstract picture. To keep the painting tethered to the real world, Braque included several identifiable details, such as the man’s profile at the top, a sharp angle that seems to represent the crook of his elbow, the guitar’s sound hole, and a realistically painted nail and coil of rope.

The artist began Man with a Guitar in the summer of 1911, a high moment in the development of the style that came to be known as Analytic Cubism. Rather than depict depth through traditional perspectival recession, Braque, together with Pablo Picasso, sought to create a new, nonnaturalistic vocabulary for articulating form, challenging the orthodoxy of illusionistic space in painting. Braque later recalled that in this intense period he and Picasso visited one another’s studios every day: they were “like mountain climbers roped together.”

Publication excerpt from MoMA Highlights: 375 Works from The Museum of Modern Art, New York (New York: The Museum of Modern Art, 2019)

Braque painted Man with a Guitar in a mode that came to be called Analytic Cubism. In works created in this style, he and Pablo Picasso experimented with different types of representation to challenge the orthodoxy of illusionistic space in painting. Here Braque paired an accessible, lifelike rendering of a nail and rope, at left, with a nearly indecipherable rendering of a human figure playing a guitar. Braque and Picasso's collaboration was so close when they developed Analytic Cubism that Braque later compared them to two mountaineers, bound together. In order to remove the mystique of the maker from their paintings, they both habitually signed the back of their works instead of the front.

Gallery label from 2011.
Medium
Oil on canvas
Dimensions
45 3/4 x 31 7/8" (116.2 x 80.9 cm)
Credit
Acquired through the Lillie P. Bliss Bequest (by exchange)
Object number
175.1945
Copyright
© 2019 Artists Rights Society (ARS), New York / ADAGP, Paris
Department
Painting and Sculpture

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This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.

Acquired from the artist by Daniel-Henry Kahnweiler (1884-1979), Galerie Kahnweiler, Paris, 1911 [1]; sold to Wilhelm Uhde (1874-1947), Paris, before 1914; seized during the war by the French government as enemy property and sold through Hôtel Drouot, Paris, May 30, 1921 [2]. Marcel Fleischmann, Zurich, [c. 1924] [3]; sold through Paul Drey, New York to The Museum of Modern Art, New York, 1945 [4].

[1] Douglas Cooper and Gary Tinterow, The Essential Cubism: Braque, Picasso, and their Friends, 1907-1920, exh. cat. London: The Tate Gallery, 1983, no. 16: "The artist to Galerie Kahnweiler, Paris (photo no. 1019), 1911."
[2] Vente de biens allemands ayant fait l'objet d'une mesure de séquestre de guerre. Collection Uhde: Tableaux modernes, Hôtel Drouot, Paris, May 30, 1921, no. 4: Figure. Buyer not known.
[3] See Douglas Cooper and Gary Tinterow, The Essential Cubism: Braque, Picasso, and their Friends, 1907-1920, exh. cat. London: The Tate Gallery, 1983, no. 16. Included in the exhibitions Georges Braque, Kunsthalle Basel, April 9 - May 14, 1933, no. 49 (Mann mit Gitarre); and Georges Braque, Palais des Beaux-Arts, Brussels, November-December 1936, no. 9 (L'homme à la guitare).
[4] On extended loan to The Museum of Modern Art, New York from 1939 until sold in 1945. Included in the exhibition Modern Masters from European and American Collections, January 26-March 24, 1940, no. 19.

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