Co-organized by the Mildred Lane Kemper Art Museum at Washington University in St. museum exhibition dedicated to Braque in 16 years. So argues Georges Braque and the Cubist Still Life, 1928-1945, the first major U.S. Indeed, the artist’s exactingly internal gaze was precisely what made his work relevant to questions of art, engagement and responsibility. While his attention to the private, secluded realm of the still life suggests disengagement with historical and political circumstances, the paintings themselves convey a more complex narrative. Yet Braque’s painting was not as separate from outside events as Braque might have it. But in the 1930s, as the rise of fascism brought new urgency to questions of aesthetics and politics - questions that entered mainstream consciousness with Picasso’s Guernica (1937) - Braque’s fractured still lifes and bourgeois interiors remained emphatically inward-looking. In the early 20th century, Georges Braque and Pablo Picasso invented Cubism and shook the foundations of Western art. © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris. Oil, charcoal, and graphite on canvas, 32 x 39 5/8”. Georges Braque, Vase, Palette, and Mandolin, 1936.
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