Published by Maeght éditeur, Paris c. 1956, Georges Braque Hommage à J. S. Bach, 1956 is part of a series of lithographs and etchings that were based upon artist Georges Braques (Argenteuil-sur-Seine, 1882- Paris, 1963) original watercolors, gouaches and paintings. Numbered from the edition of 300 in pencil in the lower left margin, this work was printed in collaboration with Georges Visat under the direction of Braque; Visat's name is engraved in the plate in the lower left. Hand signed by Georges Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) in pencil in the lower right margin, this original etching was based on an original painting created between 1911 and 1912.

Georges Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) was very involved in the printing process, overseeing either the engraver or lithographer, correcting the proofs when necessary. Exhibiting the artist's revolutionary style and technique, this work is an impressive visual translation of the emotional effect music has on the artistic mind. Utilizing a cubist dislocation and reinterpretation of form which Braque is famed for, hints of the subject matter of this work are apparent upon close inspection.

Just below the center of the work the letters 'BACH JS' reveal to the viewer what the artist is illustrating, a visual interpretation of the beauty and splendor of classical music. Composed primarily in natural earth tones of brown, yellow, black, tan and grey, the linear dissection of the page appears like music notes on a scale at varying heights, lengths and tones in a unified composition. The painterly quality of the work adds a richness of depth and texture, giving the viewer a visual sense of the layered effect sound can create when it is a masterpiece. Pieces of musical instruments are revealed as one looks closely at the work, at the right a curved end of a stringed instrument makes us wonder if it could be a violin or a cello and from what musical work the artist was inspired by. The 'S' curves at the center of the image appear to be a continuation of the same instrument, with hints of the base and strings dispersed nearby. At the center, Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) uses deeper tones of brown and grey, and as the work expands out the edges of the page he uses lighter and brighter hues, giving a sense of lightness to the image.

Catalogue Raisonné & COA:

Georges Braque Hommage à J. S. Bach, 1956 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the final sale of the work).

1. Vallier, Dora, Braque: The Complete Graphics, 1982, listed as Maeght no. 1019 on page 293.
2. Mullins, Edwin, The Art of Georges Braque, original painting listed as cat no. 49 on pg 73.
3. de Romilly, Nicole Worms and Jean Laude, Braque: Cubism 1907-1914, 1982,original painting listed as cat no 122 on pg 157.
4. Rubin, William, Picasso and Braque: Pioneering Cubism, 1989, original painting listed on pg 215.
5. A Certificate of Authenticity will accompany this work.

About the Framing:

Georges Braque Hommage à J. S. Bach, 1956 is framed to museum-grade, conservation standards, presented in a complimentary moulding and optical grade Plexiglas.

Why Georges Braque and JS Bach?

The comparison between Braque and Bach is often made in terms of their artistic approaches and philosophies. Both artists are recognized for their deep engagement with structure and form within their respective disciplines. Braque's work in Cubism, with its deconstruction and reassembly of objects, can be analogized to Bach's use of counterpoint, where independent musical lines are combined to create a harmonious whole. Despite the temporal gap, their works share a common thread of intricate construction and innovative reimagining of traditional forms.