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Mark Harden's Artchive Braque, Georges
Violin and Pitcher
Paris, [early 1910]
Oil on canvas
46 x 28 3/4 in. (117 x 73 cm.)
Kunstmuseum Basel
Romilly 59

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John Golding, "Cubism: A History and an Analysis, 1907-1914":

"The move towards [a] more complex kind of painting reaches a climax in the still lifes that Braque painted late in 1909 and early the follwing year, for example 'Violin and Pitcher'. These paintings give the sensation that Braque has felt his way visually around each object and examined its relationships with the other objects around it from several viewpoints. By rendering the areas between the objects in a tactile, material fashion, Braque succeeds in fusing objects and space into a spatial continuum composed of small, fluid, interpenetrating planes. It is this concrete rendering of the space around the highly fragmented objects that gives these paintings a sensation of almost unprecedented complexity. The intense visual concentration and the technical discipline underlying these paintings transmits itself to the spectator in a feeling of tension, almost of unrest...[These paintings] mark the final phase of the first period in Cubist painting. Both painters, and Braque in particular, seem to have realized that the technique of Cubist painting must become more suggestive, more abstract."