Audio Stop 4

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A wood table is piled with stylized and abstracted objects, including a jug, lemons, a knife, guitar, newspaper, and a smoking pipe in this horizontal still life painting. The objects are made up of areas of mostly flat color and many are outlined in black, creating the impression that some shapes are two-dimensional and assembled almost like a collage. We look down onto the top of the table and at the front, where the grain of the wood is painted in tan against a lighter background. Concentric black and white circles make up the knob on the face of the table’s single drawer. There are two rows of objects on the table. Along the front, near the left corner of the table, the knife hangs with its blade slightly over the open drawer. A newspaper with the title “LE JOUR” rests next to the knife. Next to the newspaper are two yellow pieces of fruit, near the front right corner of the table. Behind the fruit, the right third of the pitcher is marine blue and the left two thirds is mostly straw yellow, with one round olive-green area near the handle. Next to the pitcher is a tobacco pipe, and, at the back left edge of the table, the guitar. The instrument rests on its side so the front of the soundboard faces the viewer, and the neck extends to our left. The instrument is bisected lengthwise into two halves that appear to be spliced together, and the edges and features of the halves are not symmetrical or aligned with each other. The bottom half of the guitar is painted a beige color, and is curved like a typical guitar body. The top half is painted black, and the contour of the instrument’s body rises into two pointed peaks instead of mirroring the rounded forms below. The sound hole is markedly smaller on the bottom half, and the two halves of the hole do not exactly line up. A rectangular form behind the table could be a screen. The left side is fern green, the right side black. Behind the screen is a wallpapered wall above wood paneling. The wallpaper is patterned with teardrop shapes, dots, and zigzagging lines in fawn brown against parchment white. The artist signed and dated the painting in the lower right corner, “G Braque 29.”

Georges Braque

Still Life: Le Jour, 1929

East Building, Ground Level — Gallery 103-B

女子头像

莫蒂里安尼

乔治·布拉克与毕加索密切合作，于 1910 年左右共同开创了立体主义艺术风格。这幅画作呈现了布拉克晚期创作生涯的典型画风；在这一时期，他将立体主义元素融入到静物和其他创作主题中。在这幅作品中，桌子的木纹、背景壁纸的设计和报纸上的文字，共同彰显了图案和纹理的交织之美。

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NARRATOR:

人类的眼睛如何感知我们周围的世界？这是乔治·布拉克 (Georges Braque) 和巴布洛·毕加索 (Pablo Picasso) 二十世纪初期在立体主义上探索的问题之一。任何描画立体空间幻觉的尝试均已烟消云散。相反，立体派画家通常将物体压扁并且抽离出来，从各种视觉角度展现它们。

哈里·库珀 (Harry Cooper)，现代艺术策展人和负责人。

HARRY COOPER:

这肯定是一张真正的桌子，我们似乎能直接看到桌子的底部，略高于抽屉；我们无法窥探到里面。然而，我们也像是几乎从上方看着桌面。

每当我看着这幅画，都感觉那把刀就像突然出现一样。它似乎正漂浮在空间中，有点像放在桌子的边缘。它似乎已经在 [laughs] 图像的其他地方完成了一些工作。图像当中有许多东西被切割成一片片。这里能看到画家对绘画程序的一种俏皮的自我审视，也就是按立体主义的做法，把现实剪切成一片一片，把它翻转过来，然后以从未见过的方式重新拼接起来。

NARRATOR:

如果这幅作品让您觉得看起来像拼贴画，这绝非意外。布拉克和毕加索都尝试过将纸片粘贴到画布上以创作出所谓的立体派粘贴画。

HARRY COOPER:

但他们很快就舍弃粘贴画，并且转而发展成看起来像拼贴画的绘画。画面的某些部分经过精心绘画，会让我们误以为自己正在看着实际的木材花纹或水果的剪贴描绘。所以这里有种机巧运用在里面，而我认为这是关于立体主义的另一个重要方面，对现实的多层面和表现的多层面的机巧运用。

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