Braque's oil paintings of 1908–1913 began to reflect his new interest in geometry and simultaneous perspective. He conducted an intense study of the effects of light and perspective and the technical means that painters use to represent these effects, appearing to question the most standard of artistic conventions. In his village scenes, for example, Braque frequently reduced an architectural structure to a geometric form approximating a cube, yet rendered its shading so that it looked both flat and three-dimensional by fragmenting the image. He showed this in the oil painting "House at L'estaque". In this way, Braque called attention to the very nature of visual illusion and artistic representation.
Beginning in 1909, Braque began to work closely with Pablo Picasso, who had been developing a similar approach to oil painting. At the time Pablo Picasso was influenced by Gauguin, Cézanne, African tribal masks and Iberian sculpture, while Braque was mostly interested in developing Cézanne's idea's of multiple perspectives. “A comparison of the works of Picasso and Braque during 1908 reveals that the effect of his encounter with Picasso was more to accelerate and intensify Braque’s exploration of Cézanne’s ideas, rather than to divert his thinking in any essential way.” The invention of Cubism was a joint effort between Picasso and Braque, then residents of Montmartre, Paris. These artists were the movement's main innovators. After meeting in October or November 1907, Braque and Picasso, in particular, began working on the development of Cubism in 1908. Both artists produced paintings of monochromatic color and complex patterns of faceted form, now called Analytic Cubism.
A decisive moment in its development occurred during the summer of 1911, when Georges Braque and Pablo Picasso painted side by side in Céret, in the French Pyrenees, each artist producing paintings that are difficult—sometimes virtually impossible—to distinguish from those of the other. In 1912, they began to experiment with collage and papier collé.
Beginning in 1909, Braque began to work closely with Pablo Picasso, who had been developing a similar approach to oil painting. At the time Pablo Picasso was influenced by Gauguin, Cézanne, African tribal masks and Iberian sculpture, while Braque was mostly interested in developing Cézanne's idea's of multiple perspectives. “A comparison of the works of Picasso and Braque during 1908 reveals that the effect of his encounter with Picasso was more to accelerate and intensify Braque’s exploration of Cézanne’s ideas, rather than to divert his thinking in any essential way.” The invention of Cubism was a joint effort between Picasso and Braque, then residents of Montmartre, Paris. These artists were the movement's main innovators. After meeting in October or November 1907, Braque and Picasso, in particular, began working on the development of Cubism in 1908. Both artists produced paintings of monochromatic color and complex patterns of faceted form, now called Analytic Cubism.
A decisive moment in its development occurred during the summer of 1911, when Georges Braque and Pablo Picasso painted side by side in Céret, in the French Pyrenees, each artist producing paintings that are difficult—sometimes virtually impossible—to distinguish from those of the other. In 1912, they began to experiment with collage and papier collé.
The chateau at la Roche - Guyon, 1909.
Oil on canvas.
Violin and Newspaper (musical forms), 1912.
Oil, charcoal and pencil on canvas
Piano and Mandola, 1910. Oil on canvas.
Violin and Pitcher, 1919. Oil on canvas
Source (image & text): http://www.georgesbraque.org/index.jsp
I've included Braque's work in my research as his work has directly influenced the work of Hockney, although he works using a different medium the principles of their work are linked with the use of lines. I feel Hockney saw the 'lines' in Braque's work as links to the edges of each individual image he took, creating a frame for each piece of detail.
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