Notebook V

Georges Barque went South in 1905 under Matisse’s influence. And he painted many wonderful works full of light and color in the prescribed Fauvist manner. All good things come to an end though, and ambitious Georges changed his allegiances to hook up with Picasso leaving behind a sore and unhappy Matisse. At some point in 1907 (probably late in that year) Pablo showed Braque and a few other close friends his Demoiselles. No one knew what to make of it, but that painting really rattled Braque’s cage.
In the south color is taken for granted – it’s everywhere – the endless blue sky, the reflective sea and beautiful green landscapes – all of it electrified by the magnificent light. But what isn’t really understood about that light is that it also changes the way one sees things- changes one’s relationship to space, form and structure. Picasso was Southern – through and through – and instinctively understood this kind of visual abstraction. Braque, a Northerner, had to come to an understanding of this kind of vision through Cezanne’s example and Picasso’s techniques. Over the summer of 1908 in Estaque Georges made a series of radical new paintings, and in November of that same year he showed this work with Kahnweiler – Cubism had officially begun.

Chez Kahn Weiler, 28, rue Vignon. — M- Braque est un jeune homme fort audacieux. 
L’exemple déroutant de Picasso et de Derain l’a enhardi. Peut-être aussi le style de Cézanne et les ressouvenirs de l’art statique des Egyptiens l’obsèdent-ils outre mesure. Il construit des bonshommes métalliques et déformés et qui sont d’une simplification terrible. Il méprise la forme, réduit tout, sites et figures et maisons, à des schémas géométrique à des cubes. Ne le raillons point, puisqu’il est de bonne foi. Et attendons. 
Louis Vauxcelles” [Review of Georges Braque’s Exhibit 11-14-1908]

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