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Le Pyrogène et le quotidien Gil Blas
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About the object

Georges Braques Le Pyrogène et le quotidien Gil Blas is a highly important early cubist canvas by the artist which has remained in the same familys private collection since it was acquired directly from Braques dealer, Daniel-Henry Kahnweiler. Not just a prime example of the crucial months in 1909 where Braque continued to further refine his Cubist idiom, Le Pyrogène et le quotidien Gil Blas is also the first painting of either Braque or Picassos to make use of lettering in its composition, a device that would become a recognized attribute of the movement (Picasso and Braque, Pioneering Cubism, Op. cit., p. 364). Levels of humor and metaphor surround this first foray into word-inclusion. Louis Vauxcelles, a critic who worked for Gil Blas had become one of the most outspoken voices against the new art, with much of his distain focused directly on Braque. In March of 1908 he stated In the presence of Mr. Braque, I am positively losing my foothold. This is savage, resolutely, aggressively unintelligible art (reproduced in Picasso and Braque, Pioneering Cubism, Op. cit., p. 351). Alvin Martin delves into Braques decision to include the newspaper in Le Pyrogène et le quotidian Gil Blas: Braque painted the letters GIL B onto forms representing a folded newspaper. Behind this paper appears his pipe a personal artifact which had become his attribute Above the pipe is an object that appear to be a candle or match holder. Braques choice of title and his subject matter again create a multi-leveled meaning. A pyrogène is  something that starts a fire or which, by extension, is inflammatory. The subject matter of Braques paintingcomprise objects which both ignite and inflame. They are painted in the cubist style which was inflammatory in both the eyes of the public and critical taste, particularly to the critic of Gil Blas. Metaphorically, the picture remarks on the inflamed relationship between the artist represented by his pipe and the critic symbolized by his paper (Braque, The Papiers Collés, Op. cit., p. 69)\nSigned Braque (on the reverse)
US
NY, US
US

notes

Please note there is an Irrevocable Bid on this lot.

medium

Oil on canvas

creator

Braque, Georges

dimensions

13 3/4 by 10 3/4 in.

exhibition

Basel, Kunsthalle, G. Braque, 1933, no. 29 Paris, Galerie de France, Douze Peintures de Georges Braque 1908-1910, 1943, no. 8 Paris, Orangerie des Tuileries, Georges Braque, 1973-74, no. 31, illustrated in the catalogue New York, The Museum of Modern Art, Picasso and Braque, Pioneering Cubism, 1989-90, n.n., illustrated in color in the catalogue

literature

Georges Isarlov, Georges Braque, 1932, no. 75, p. 16 (dated 1910) “Georges Braque” in Cahiers d’art, 1933, illustrated p. 13 Jean Paulhan, Braque, le Patron, Geneva & Paris, 1947, illustrated p. 75 Henry Hope, Braque, New York, 1949, illustrated p. 48 (dated 1910 and titled The Match Holder) Nicole Worms de Romilly & Jean Laude, Catalogue de l’œuvre 1907-1914, Braque Le cubisme fin 1907-1914, no. 53, illustrated in color p. 108 Isabelle Mood-Fontaine & E. A. Carmean, Jr., Braque, The Papiers Collés (exhibition catalogue), National Gallery of Art, Washington, D.C., 1982-83, illustrated p. 69

provenance

Galerie Kahnweiler, Paris Roger Dutilleul, Paris (acquired from the above) Thence by descent

signedDate

Signed Braque (on the reverse)

time_period

Painted in 1909.

time_range_end

1909

artist_range_end

1963

time_range_start

1909

artist_range_start

1882

consignmentDesignation

Property from the Prestigious Collection of Roger Dutilleul, Paris

creator_nationality_dates

1882 - 1963


*Note that the price is not recalculated to the current value, but refers to the actual final price at the time the product was sold.

*Note that the price is not recalculated to the current value, but refers to the actual final price at the time the product was sold.


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