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Violin and Palette (Violon et palette),
When Georges Braque abandoned a bright Fauve palette and traditional perspective in 1908, it was the inspiration of Pablo Picasso Cubism more Violin and Palette and Piano and Mandola. Objects are still recognizable in the paintings, but are fractured into multiple facets, as is the surrounding space with which they merge. The compositions are set into motion as the eye moves from one faceted plane to the next, seeking to differentiate forms and to accommodate shifting sources of light and orientation. In Violin and Palette, Piano and Mandola, which serves as a beacon of stability in an otherwise energized composition of exploding crystalline forms: the black-and-white piano keys all but disembodied; the sheets of music virtually disintegrated; the mandola essentially decomposed. Jan Avgikos | |
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