1929, Georges Braque, The Round Table -- Phillips Collection (Washington)
From the museum label:
This painting shows Braque's experimental techniques: he lightens the ground layers, brightens his palette with washes of pure color, increases the size of his canvas, and shows multiple and simultaneous viewpoints of objects arranged on a tabletop. By altering his paints—he added sand to the ground layers to form a stucco-like surface and combed through wet paint in areas of the table to replicate a wood grain effect—Braque calls attention to the canvas and the sensation of touch.
Duncan Phillips went to great lengths to acquire this work. When it was purchased, The Round Table was the largest, most abstract painting in the museum's collection, and to Phillips "one of the most exciting works." Comparing it to earlier examples in his collection, Phillips described Braque's art as a further distillation of "Cezanne's cubes and cones."
1929, Georges Braque, The Round Table -- Phillips Collection (Washington)
From the museum label:
This painting shows Braque's experimental techniques: he lightens the ground layers, brightens his palette with washes of pure color, increases the size of his canvas, and shows multiple and simultaneous viewpoints of objects arranged on a tabletop. By altering his paints—he added sand to the ground layers to form a stucco-like surface and combed through wet paint in areas of the table to replicate a wood grain effect—Braque calls attention to the canvas and the sensation of touch.
Duncan Phillips went to great lengths to acquire this work. When it was purchased, The Round Table was the largest, most abstract painting in the museum's collection, and to Phillips "one of the most exciting works." Comparing it to earlier examples in his collection, Phillips described Braque's art as a further distillation of "Cezanne's cubes and cones."