Anemones (1924; France) by Georges Braque

Anemones - Georges Braque - 1924; France

Artwork Information

TitleAnemones
ArtistGeorges Braque
Date1924; France
Mediumoil,canvas
Art MovementExpressionism
Current LocationPrivate Collection

About Anemones

The artwork “Anemones” was crafted by Georges Braque in 1924, within the boundaries of France, employing the medium of oil on canvas. Its artistic roots lie in the Expressionism movement, and it is categorized under the genre of flower painting. At present, this work of art resides within the confines of a private collection, rendering it an exclusive piece not on public display.

Upon observing the artwork, one is immediately drawn to its vivid use of color and loose interpretation of nature’s forms. The canvas is dominated by a centralized cluster of anemones, rendered with thick, expressive brushstrokes that are characteristic of the Expressionist style. The blooms, while abstracted, reveal enough detail to suggest their floral nature and to display Braque’s fascination with organic structure and form.

The palette Braque employs is teeming with earthy hues, juxtaposed with vivid patches of yellows, oranges, and a striking deep purple all contributing to a lively and dynamic composition. Darker tones contour the flowers, lending depth to the bouquet and defining it against the more muted background. The backdrop’s texture, achieved through diverse brushwork, complements the central motif, providing a grounded, yet complex context for the blossoms.

Foreground details suggest the presence of a vase through the use of geometric shapes and patterned elements, which exhibit a slight nod to Cubism—a movement with which Braque was intimately associated. However, the focus remains firmly on the expressiveness of the flowers themselves. Braque’s signature can be discerned in the corner, unobtrusively included within the composition and preserving the overall unity of the piece.

In summary, “Anemones” represents an evocative example of Georges Braque’s work during the 1920s, encapsulating both his Expressionist leanings and hints of his Cubist phases within a single, harmonious floral composition.

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