Georges Braque — Gallery of Paintings Created Between 1900 and 1961
The works of French painter Georges Braque (1882–1963) occupy a key place in the history of modern art. After moving to Paris, the artist joined the Fauvists, and most of his early works were created in this style. However, everything changed in 1907 when Braque met Pablo Picasso and saw his legendary painting "Les Demoiselles d'Avignon" in the studio. The artists began collaborating in 1909, developing a style that would later be named Cubism. As one of the founders of Cubism, Braque, alongside Pablo Picasso, revolutionized the understanding of form, space, and perception in painting.
The fruitful collaboration lasted until the beginning of World War I, when Braque enlisted in the French army. In one battle, he was seriously wounded and returned to painting only in 1917. During his recovery from injury, the artist developed a unique personal style, which he remained faithful to for the rest of his life.
Braque's method of decomposing form involved analyzing objects down to their geometric essence — challenging traditional notions of perspective and volume. His works from 1908–1914 became a pivotal stage in the development of European painting.
We have selected over 50 paintings by Braque for publication for several reasons:
- – to show the evolution of his style from Fauvism to Cubism and further to avant-garde;
- – to demonstrate the artist’s mastery across genres—from still lifes to landscapes;
- – to give the viewer an opportunity to experience the inner harmony and logic of forms in one of the great innovators of the 20th century.
Braque's paintings invite viewers to contemplate everyday life from a new perspective, reflecting Braque’s ability to find meaning and poetry in simple things.
Georges Braque Gallery - Landscapes 1900-1961.
Braque took his first serious step forward in his personal artistic journey in 1905, when at the Autumn Salon exhibition he entered a room filled with Fauvist paintings and found himself caught up in a whirlwind of unrestrained color. This gallery presents landscapes by Georges Braque spanning half a century of his creative work — from early Fauvist experiments to mature works in the style of Cubism and abstract expressionism. Each landscape reveals a unique vision of nature through the prism of innovative approaches to color, composition, and light.
Georges Braque - Le parc monceau
1900, 12 × 12 cm
Georges Braque - Boats on the Beach
1906, 50 × 70 cm
Georges Braque - Die Bucht bei Antwerpen
1906, 60 × 81 cm
Georges Braque - Landscape at L’Estaque
1906, 60 × 73 cm
Georges Braque - Landschaft bei L’Estaque
1906, 59 × 72 cm
Georges Braque - L’Estaque
1906, 37 × 47 cm
Georges Braque - L’Estaque
1906, 58 × 72 cm
Georges Braque - Marine L’Estaque
1906, 59 × 72 cm
Georges Braque - Paysage de L’Estaque
1906, 60 × 73 cm
Georges Braque - The Port de L’Estaque the Pier
1906, 60 × 73 cm
Georges Braque - La Golfe des Lecques
1907, 38 × 46 cm
Georges Braque - Landscape in L’Estaque
1907, 50 × 61 cm
Georges Braque - L’Olivéraie
1907, 38 × 46 cm
Georges Braque - Maison sur la Colline
1907, 46 × 38 cm
Georges Braque - Le Port de La Ciotat
1907, 64 × 81 cm
Georges Braque - Paysage à L’Estaque
1907, 63 × 79 cm
Georges Braque - Usine à L’Estaque
1907, 60 × 49 cm
Georges Braque - Houses at L’Estaque
1908, 54 × 46 cm
Georges Braque - Houses at L’Estaque
1908, 73 × 59 cm
Georges Braque - Chemin à L’Estaque
1908, 46 × 38 cm
Georges Braque - Le Viaduc de L’Estaque
1908, 73 × 60 cm
Georges Braque - Maisons et Arbre
1908, 40 × 32 cm
Georges Braque - Trees at L’Estaque
1908, 73 × 60 cm
Georges Braque - Trees at L’Estaque
1908, 80 × 60 cm
Georges Braque - El Parque de Carrières Saint Denis
1909, 38 × 46 cm
Georges Braque - Harbor in Normandy
1909, 81 × 80 cm
Georges Braque - Landscape with Houses Winter
1909, 46 × 39 cm
Georges Braque - L’Église de Carrières Saint Denis
1909, 54 × 46 cm
Georges Braque - Le Port
1909, 40 × 48 cm
Georges Braque - Carrières Saint Denis
1910, 33 × 41 cm
Georges Braque - Mandola
1910, 71 × 45 cm
Georges Braque - The Portuguese Emigrant
1912, 117 × 81 cm
Georges Braque - Cabin and Boats
1926, 31 × 38 cm
Georges Braque - Cliff with Two Beached Boats
1926, 19 × 23 cm
Georges Braque - Barques au Sec
1928, 47 × 26 cm
Georges Braque - Barques sur les Galets
1928, 24 × 41 cm
Georges Braque - Barques sur les Galets
1928, 24 × 41 cm
Georges Braque - Falaise et Bateau Échoué
1928, 33 × 41 cm
Georges Braque - Les Trois Bateaux
1929, 33 × 49 cm
Georges Braque - La Falaise d'Étretat
1930, 43 × 73 cm
Georges Braque - Cliff and Boat
1930, 33 × 42 cm
Georges Braque - Sur la Plage
1932, 24 × 41 cm
Georges Braque - The Cabines et Bateaux
1933, 28 × 41 cm
Georges Braque - Plage aux Cabines
1937, 27 × 41 cm
Georges Braque - Stormy Beach
1938, 20 × 38 cm
Georges Braque - Profil Uranie
1942, 69 × 96 cm
Georges Braque - Barque à Varengeville
1952, 27 × 35 cm
Georges Braque - Bateau à Terre Etching
1959, 20 × 38 cm
Georges Braque - The Weeding Machine
1961, 20 × 38 cm
Georges Braque Gallery - Still Lifes 1909-1960.
Among his early works, landscapes predominated, but after starting to collaborate with Picasso and transitioning to Cubism, Braque focused on still lifes for a long time. Still lifes by Georges Braque are not just depictions of everyday objects. They represent a deep analysis of form and space, where each detail becomes part of a complex system of interrelations. These works reveal his analytical approach, as well as his love for music, literature, and silent dialogues with himself.
Georges Braque - Fruit Dish
1909, 54 × 65 cm
Georges Braque - Le Pyrogène et le Quotidien Gil Blas
1909, 35 × 27 cm
Georges Braque - Le Guéridon
1911, 41 × 32 cm
Georges Braque - Glass Pipe and Newspaper
1917, 55 × 43 cm
Georges Braque - Guitar and Jug
1917, 81 × 116 cm
Georges Braque - Verre Pipe et Poire
1917, 38 × 46 cm
Georges Braque - As de Trèfles et Verre
1918, 35 × 46 cm
Georges Braque - Guitar Clarinet
1918
Georges Braque - Rum and Guitar
1918, 60 × 73 cm
Georges Braque - Musical Instruments
1918, 64 × 92 cm
Georges Braque - Nature Morte à la Pipe
1919, 46 × 55 cm
Georges Braque - Guitare et Verre
1921, — × — cm
Georges Braque - Guitar and Still Life on a Guéridon
1921, 190 × 70 cm
Georges Braque - Fruits Verre et Bouteille
1924, 54 × 57 cm
Georges Braque - Fruits dans un Plat
1924, 33 × 55 cm
Georges Braque - Fruits Cruche et Pipe
1924, 42 × 59 cm
Georges Braque - The Bowl of Grapes
1926, 100 × 80 cm
Georges Braque - Still Life with a Basket of Fruit
1927, 53 × 93 cm
Georges Braque - Still Life with Clarinet
1927
Georges Braque - Pichet Pipe Tabac
1928, 27 × 41 cm
Georges Braque - Place des Vosges
1928, 66 × 93 cm
Georges Braque - Crystal Vase
1929, 41 × 120 cm
Georges Braque - Still Life with Glass
1929, 51 × 65 cm
Georges Braque - Still Life with Le Jour
1929, 115 × 146 cm
Georges Braque - Still Life with Lemon and Pipe
1929, 33 × 45 cm
Georges Braque - Tête de Femme
1930, 45 × 38 cm
Georges Braque - Still Live with Fruit Dish Bottle and Mandolin
1930
Georges Braque - Verre Pipe Citrons et Poire Coupée
1930, 31 × 65 cm
Georges Braque - Nature Morte à la Pipe
1931, 27 × 41 cm
Georges Braque - Vase et Fruits
1931, 27 × 35 cm
Georges Braque - Nature Morte aux Pommes
1932, 27 × 46 cm
Georges Braque - Verre et Fruits
1932, 24 × 35 cm
Georges Braque - Still Life with Fruit Dish
1933
Georges Braque - The Pink Tablecloth
1933, 97 × 130 cm
Georges Braque - Verre Fruits et Couteau
1935, 48 × 64 cm
Georges Braque - Nature Morte au Poisson
1936, 50 × 60 cm
Georges Braque - Nature Morte aux Cerises
1936, 39 × 46 cm
Georges Braque - Vase Palette and Mandolin
1936, 81 × 100 cm
Georges Braque - Brot Austern und Karaffe
1937, 54 × 65 cm
Georges Braque - Nature Morte à la Guitare
1938, 39 × 29 cm
Georges Braque - Les Fruits sur la Table
1941, 37 × 91 cm
Georges Braque - Mandoline à la Sonate
1940, 65 × 81 cm
Georges Braque - Nature Morte à la Poire
1939, 46 × 55 cm
Georges Braque - Mandoline à la Partition
1941, 107 × 89 cm
Georges Braque - Le Hachoir
1941, 64 × 80 cm
Georges Braque - La Desserte
1941, 72 × 99 cm
Georges Braque - Les Œufs dans la Poêle
1941, 38 × 78 cm
Georges Braque - La Saucière
1942, 33 × 55 cm
Georges Braque - Nature Morte à la Pipe
1942, 38 × 78 cm
Georges Braque - Nature Morte aux Poissons
1943, 28 × 45 cm
Georges Braque - Nature Morte aux Arums
1944, 54 × 73 cm
Georges Braque - Marguerites sur une Caise
1946, 81 × 60 cm
Georges Braque - Still Life à la Pipe
1949, 32 × 47 cm
Georges Braque - Atelier I
1949, 92 × 72 cm
Georges Braque - Still Life with Fruit
1949, 13 × 11 cm
Georges Braque - Still Life with Lemon
1950, 32 × 44 cm
Georges Braque - La Caisse Verte
1952, 88 × 106 cm
Georges Braque - La Lampe sur la Table
1952, 65 × 81 cm
Georges Braque - Nature Morte à la Grande Cruche
1955, 54 × 73 cm
Georges Braque - Still Life with Palette
1960, 75 × 56 cm
“House at L’Estaque” – Georges Braque’s Introduction of Cubism
Braque’s colors – gray, brown, green – are perfect for camouflage. He never sought the spotlight, preferring to hide in the shadow of popular colleagues, yet managed to remain one of the most influential figures in modern art. Georges Braque had a huge impact not only on the development of Cubism but on the entire paradigm of modern art. Matisse recalled that the painting he saw (most likely “Houses at L’Estaque”) was “truly the first image by which one could judge the origin of Cubism… We regarded it as something entirely new, sparking much discussion.”
Anatoli Gostev was inspired by Derain’s Fauvist painting in the work “River Bend” and by Braque’s interpretation of Cubism and, of course, Picasso in the works “Pine Tree”, “Still Life with Fruit”, “Magpie”, “Tolino Corner”. Here’s what he once said:
Today I feel a connection between these early explorations and my recent works, but today I no longer think the way I did then. Today expressiveness for me is not passion expressed through movement, but in the structure of the painting, where all parts — its composition and combination of color surfaces, the placement of objects and pauses — are equally valuable. Like in musical harmony — where every note is a piece of the whole.
- Anatoli Gostev (1946 - 2022)
Gostev's: an evaluation of the painting masterpieces of Georges Braque.
Evaluating the work of Georges Braque, relying on our own judgments and criteria, sense of taste, and the emotional impact of the artist-thinker, we select the masterpieces of Fauvism and Cubism by the maestro. One of the dynasty’s criteria states:
Reflection is an integral part of an artist’s talent.
The selected works by Braque include four Fauvist explorations and four Cubist ones. According to Gostev's, it is precisely the Cubism of Georges Braque that is imbued with birth, reflection, and evolution:
Georges Braque - Landscape Near Antwerp
1906, 60 × 81 cm
Georges Braque - Paysage à La Ciotat
1907, 51 × 62 cm
Georges Braque - Paysage de Provence L’Estaque
1907, 55 × 46 cm
Georges Braque - Road near L’Estaque
1907, 60 × 50 cm
Georges Braque - Woman with Mandolin
1917, 92 × 65 cm
Georges Braque - The Sideboard
1920, 81 x 100 cm
Georges Braque - Pichet et Fruits
1935, 23 × 33 cm
Georges Braque - Balance et Poisson
1941, 43 × 73 cm
Legacy and Value of Braque's Works
Today, Braque's works set records at major auctions. On May 20, 2010, the Paris Museum of Modern Art announced the theft of five paintings from its collection. Stolen were “Olive Trees near L’Estaque” (L’Olivier Près de l’Estaque) by Georges Braque, “Pigeon with Green Peas” by Pablo Picasso, “Pastoral” (La Pastorale) by Henri Matisse, “Woman with a Fan” (La Femme à l’Eventail) by Amedeo Modigliani, and “Still Life with Candlesticks” (Nature Morte aux Chandeliers) by Fernand Léger. The stolen artworks were valued at €100 million. This theft became one of the largest art thefts in recent decades and, according to experts, was likely commissioned, as such famous paintings cannot be sold at auction.
“Le Violon” (Violin), 1914 — a vivid example of Georges Braque’s transition from analytical to a more synthetic phase of Cubism. This painting already shows elements of color and decorativeness characteristic of the artist’s later periods.
The work was put up for auction at Sotheby’s in London on November 16, 2014 with an estimate of £3 million–£5 million. It found a buyer for £5.3 million, exceeding the upper estimate by nearly 77%. This was a clear signal to the market: Braque’s works, especially technically strong and rare ones, continue to attract sustained interest from collectors.
The violin appears repeatedly in Braque’s body of work — symbolically, this musical instrument became a metaphor for the harmony of form and space that the master sought so persistently in painting.
“Le Modèle” (1914) — one of the key works of the analytical Cubism period, created by Georges Braque on the eve of World War I. This painting demonstrates his desire to break down form to its geometric essence, using a muted palette and complex intersections of planes.
The work was auctioned at Christie’s in New York on May 6, 2014 with an estimate of $8 million to $12 million. It was ultimately sold for $9,125,000, slightly below the lower estimate. This result sparked discussions among experts: some linked the price drop to the high starting value, others to a temporary overheating of the Cubist artwork market.
Nevertheless, “Le Modèle” remains an important testament to the creative dialogue between Braque and Picasso, and today this work is considered one of the most interesting in their joint evolution of Cubism.
| Sale Date | Title | Price | Surplus | Auction House | City |
|---|---|---|---|---|---|
| 12-05-2016 | Mandoline à la partition (Le Banjo) | $10,245,000 | +46% above upper estimate | Christie’s | New York |
| 04-05-2010 | La Treille | $10,162,500 | +103% above upper estimate | Christie’s | New York |
| 15-05-2017 | Le Guéridon | $10,103,500 | +68% above upper estimate | Christie’s | New York |
| 06-05-2014 | Le Modèle | $9,125,000 | -24% below lower estimate | Christie’s | New York |
| 20-06-2018 | L'Estaque | £5,296,250 | -18% below lower estimate | Christie’s | London |
| 11-11-2019 | L'église de Carrières-Saint-Denis | $3,915,000 | +96% above lower estimate | Christie’s | New York |
| 06-05-2008 | Verre et pipe JOUR | $3,849,000 | +28% above upper estimate | Christie’s | New York |
| 04-05-2017 | La Pianiste | £5,400,000 | +80% above estimate | Sotheby’s | London |
| 16-11-2014 | Le Violon (1914) | £5,300,000 | +77% above estimate | Sotheby’s | London |
| 07-05-2013 | Paysage à la Ciotat | £10,180,000 | +126% above estimate | Sotheby’s | London |
| — | Guitare et rhum | $4,645,000 | +132% above lower estimate | Sotheby’s | New York |
Evaluating an artist, including investment potential, depends on many factors. With Braque, it’s his historical significance as a pioneer of Cubism and his friendship with Picasso, which never fully recovered after the war but retained a warm tone. They occasionally allowed themselves sharp comments toward each other. “Well hung,” Picasso remarked at Braque’s exhibition. “Well fired,” Braque replied at Picasso’s ceramics exhibition. But the last word belonged to Braque. In the 1950s, Picasso proposed working together again, but Braque declined. And once said: “Picasso was a great artist. Now he’s just a genius.”
Gostev Jr., Co-founder Gostev's & FABER VISUM's CEO
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