早期的生活
乔治·布拉克出生于1882年5月13日阿让特伊,瓦尔'Oise。他在长大勒阿弗尔和训练油漆工和装饰就像他的父亲和祖父。不过,他也学习艺术绘画在晚上美术学院在勒阿弗尔,从大约1897年到1899年。在巴黎,他在给一个装饰,1902年他被授予证书。第二年他参加了科学研究院亨伯特,直到1904年还在巴黎,画。在这里,他遇见了玛丽Laurencin和弗朗西斯近来. 

野兽派
布拉克最早的作品给人深刻印象的,但在看到展出的工作艺术团体被称为“Fauves1905年”(兽),他采取了野兽派的风格。Fauves,一群包括在内亨利·马蒂斯和安德烈Derain其中,用鲜亮的色彩来表示情绪反应。布拉克与艺术家之间的合作最为紧密拉乌尔Dufy和Othon Friesz共享布拉克的家乡勒阿弗尔,开发一种更柔和的野兽派的风格。1906年,布拉克与Friesz前往L 'Estaque,安特卫普,回到勒阿弗尔油漆。 

1907年5月,他成功地野兽派画家风格的作品展出沙龙des独立。同年,布拉克的风格开始缓慢进化成为影响保罗塞尚曾于1906年去世,他的作品在巴黎展出第一次大规模,已经回顾1907年9月。1907年塞尚的回顾沙龙d 'Automne大大影响了前卫的巴黎的艺术家,导致立体主义的出现。

立体主义
布拉克1908 - 1913年的作品反映了他的新几何和同步的兴趣的角度来看。他进行了一次强烈的光线和角度的影响的研究和画家使用的技术手段来表示这些影响,似乎问题最标准的艺术惯例。村里的场景,例如,布拉克经常减少建筑结构几何形式近似一个立方体,然而呈现它的阴影,这样看起来既分裂平面和三维的图像。他展示了这幅画房子在l 'Estaque.

从1909年开始,布拉克开始密切配合毕加索在开发一个类似的吗proto-Cubist的绘画风格。当时,巴勃罗·毕加索的影响高更塞尚,非洲面具和伊比利亚雕塑虽然布拉克是感兴趣的主要是在发展中塞尚的多角度的想法。“比较在1908年毕加索和布拉克的作品表明,他遇到毕加索的影响更加快和加强布拉克塞尚的探索的思想,而不是让他的思维在任何重要的。” 布拉克的基本主题是普通对象实际上他知道永远。毕加索庆祝动画,布拉克庆祝沉思。因此,立体主义的发明是毕加索和布拉克之间的共同努力,然后的居民蒙马特、巴黎。这些艺术家风格的主要创新者。在1907年10月或11月会议后,尤其是布拉克和毕加索,于1908年开始致力于立体主义的发展。两个艺术家产生单色的绘画色彩和复杂的模式在上雕琢平面的形式,现在称为分析立体主义.

其发展的决定性的时间发生在1911年的夏天,[6]当乔治·布拉克和毕加索画并排Ceret在法国比利牛斯山脉,每个艺术家绘画,生产困难,有时几乎按区别于另一个。1912年,他们开始试验拼贴画和布拉克发明了纸贴画技术。 

法国艺术评论家路易Vauxcelles使用术语“奇异cubiques”后,1908年由布拉克看到一幅画。他把它描述为“充满小方块”。“立体主义”一词,在1911年第一次明显参照艺术家的展示沙龙des独立很快得到广泛使用,但毕加索和布拉克最初没有采用它。艺术历史学家恩斯特Gombrich立体主义描述为“最激进的试图消除歧义和执行一个读图的人造建筑,彩色帆布。” 的立体派画家欧洲风格在巴黎,然后迅速蔓延。

两位艺术家的富有成效的合作继续和他们一起密切合作,直到开始第一次世界大战1914年,当布拉克与法国军队招募。1915年5月,布拉克在战斗中收到严重的头部受伤Carency,并出现暂时的失明。他是钻孔机,需要长时间的恢复。

毕加索的事情和我说在那些年永远不会再说了,即使他们,没有人会理解他们了。这就像在山上被用绳子系在一起。

——乔治·布拉克 
以后的工作
布拉克画在1916年晚些时候恢复。独自工作,他开始温和的立体主义的严酷的抽象。他开发了更多的个人风格特点是灿烂的颜色,纹理的表面,之后他搬迁到诺曼底seacoast-the再现人类的人物。他画了许多静物画受试者在这段时间里,维护他的强调结构。这方面的一个例子是他1943年的著作《蓝色的吉他挂在艾伦纪念碑艺术博物馆.在他恢复他成了立体派艺术家的密友胡安体现.

他继续工作在他的生活的其余部分,产生相当数量的绘画、图形和雕塑。布拉克、马蒂斯一起被认为引入毕加索弗尔南多Mourlot和大多数的石版画和书的插图创建他自己在1940年代和50年代时产生Mourlot工作室。1962年布拉克与主版画复制匠奥尔多Crommelynck创建一系列蚀刻画和凹版腐蚀制题为数量des Oiseaux(鸟类)的顺序,是伴随着诗人吗圣约翰深灰色的的文本。

布拉克在巴黎死于1963年8月31日。他被埋在教堂的墓地的圣瓦莱里·Varengeville-sur-Mer,诺曼底房子的窗户他设计。布拉克的工作是全世界最主要的博物馆。

风格
布拉克相信艺术家经历过美”…在体积方面,线的质量,重量,和通过美[他]解释[s][他]主观印象……”他描述的“对象碎成了碎片…[是]一种最接近的对象…碎片帮助我建立空间和运动空间”。他收养了一个单色和中性颜色相信这样一个调色板将强调主题。

尽管布拉克开始他的职业生涯画风景,在1908年,他与毕加索,发现画的优点静物画代替。布拉克解释说,他“…开始专注于静物,因为在静物触觉,我几乎可以说手动空间…这回答渴望我一直有接触的事情,而不是仅仅看到他们在触觉空间…你测量你的对象之间的距离,而在视觉空间测量的距离相互分离的事情。这就是让我的,很久以前,从景观到静物”仍然生活也更容易,有关的角度来看比风景,允许艺术家看到对象的多重视角。布拉克的早期静物画的兴趣重燃在1930年代。

期间之间的战争,布拉克表现出自由的立体主义风格,强化他的颜色使用和宽松的渲染对象。然而,他仍然致力于立体派的方法同时视角和碎片。与毕加索,他不断地改造着他的绘画风格,生产表征和立派的图片,和合并超现实主义创意转化为他的工作,布拉克继续立体派风格,生产发光,神圣的静物画和图的组成部分。在1963年他去世时,他被认为是的资深政治家之一巴黎的学校的,现代艺术.

2010年盗窃
2010年5月20日巴黎博物馆艺术品现代de la城镇报道隔夜盗窃五绘画的集合。采取的这些画鸽子辅助小pois(鸽子豌豆)毕加索La田园曲,亨利·马蒂斯,波亚总统de L 'Estaque由乔治·布拉克(橄榄树的《埃斯塔克附近),l 'Eventail煞(fr)(女人喜欢)阿米地奥•莫迪里阿尼和大自然中辅助吊灯(与吊灯静物)弗尔南多分类帐,价值 €1亿 (1.23亿美元).窗户被打碎了中央电视台画面显示一个蒙面男人画。当局认为小偷是单独行动。那人小心翼翼地将绘画从他们的框架,他留下。

Early life

George Blake was born on May 13, 1882 in ajantui, val'oise. He grew up in Le Havre and trained painters and decorators like his father and grandfather. However, he also studied art painting at night at the Academy of Fine Arts in Le Havre, from about 1897 to 1899. In Paris, he was giving a decoration, and in 1902 he was awarded a certificate. The next year he joined the Academy of Sciences, Humbert, until 1904 in Paris, painting. Here he met Mary Laurencin and Francis recently

Beasts

Blake's first work is impressive, but at the sight of the working art group on display known as "Fauves 1905" (the beast), he took the Fauvism style. Fauves, a group of people including Henry Matisse and Andre Derain, use bright colors to express emotional reactions. The most close cooperation between Blake and artists is that Raul Dufy and Othon friesz share Blake's hometown, Le Havre, to develop a softer Fauvism style. In 1906, Blake and friesz went to L'Estaque, Antwerp, to return to Le Havre paint.

In May 1907, he successfully exhibited the works in the style of Fauvist painters in Salon des independence. In the same year, Blake's style began to slowly evolve to influence Paul Cezanne, who died in 1906. His works were exhibited on a large scale in Paris for the first time, and have been reviewed in September 1907. In 1907, Cezanne's review of salon d'automne greatly influenced the avant-garde Paris artists and led to the emergence of cubism.

Cubism

Blake's 1908 - 1913 work reflects his interest in new geometry and synchronization from the perspective. He conducted a study of the influence of strong light and angle and the technical means used by painters to express these influences, which seemed to be the most standard art practice. Scenes in the village, for example, Blake often reduces the geometry of the building structure to approximate a cube, but presents its shadow so that it appears to split both flat and three-dimensional images. He showed the picture of the house in L'Estaque

From 1909, Blake began to work closely with Picasso in the development of a similar maproto Cubist painting style. At that time, Pablo Picasso's influence on Gauguin Cezanne, African mask and Iberian sculpture although Blake was mainly interested in the development of Cezanne's multi angle ideas. "Comparing Picasso's and Blake's works in 1908 shows that he met Picasso's influence to speed up and strengthen Blake Cezanne's thought of exploration, rather than let his thought in any important way." Blake's basic theme is that ordinary objects actually he knows forever. Picasso celebrates animation, Blake celebrates meditation. Therefore, the invention of Cubism is a joint effort between Picasso and Braque, and then the inhabitants of Montmartre and Paris. Major innovators of these artist styles. After the meeting in October or November 1907, especially Braque and Picasso, they began to devote themselves to the development of cubism in 1908. Two artists produce monochromatic painting colors and complex patterns in the form of faceted, now known as analytical cubism

The decisive time of its development took place in the summer of 1911, when George Blake and Picasso painting side by side in the Pyrenees mountains of France, each artist painting, production difficulties, sometimes almost according to different from the other. In 1912, they began experimenting with collages and Blake invented the technology of paper stickers.

Louis vauxcelles, French art critic, saw a painting by Blake in 1908 after using the term "strange cubiques". He described it as "filled with little squares.". The term Cubism, which was first clearly used in 1911 by reference to the artist's exhibition Salon des, was soon widely used, but Picasso and Blake did not use it at first. Art historian Ernst Gombrich described Cubism as "the most radical attempt to disambiguate and execute a picture reading of an artificial building, colored canvas." The Cubist painter of European style in Paris, and then quickly spread.

The fruitful cooperation between the two artists continued to work closely with them until the beginning of World War I, 1914, when Blake and the French army recruited. In May 1915, Blake received severe head injury and temporary blindness during the battle. He's a drilling machine and it takes a long time to recover.

Picasso and I said in those years will never say again, even if they, no one will understand them. It's like being roped together on a mountain

——George Blake

Future work

Blake's paintings were restored later in 1916. Working alone, he began to moderate the harsh abstraction of cubism. He developed more personal styles characterized by brilliant colors, textured surfaces, and later moved to Normandy's seacoast the representation of human characters. He drew many still life paintings during this period of time, maintaining his emphasis structure. An example of this is his 1943 book "the blue guitar hanging at the Allen Memorial Art Museum." in his restoration he became a close friend of Cubist artists, Juan embodied

He continued to work in the rest of his life, producing a considerable number of paintings, figures and sculptures. Blake, along with Matisse, is thought to have introduced Picasso Fernando mourlot and most of the lithographs and book illustrations to create his own mourlot studio in the 1940s and 1950s. In 1962, Blake and the master printmaker Aldo crommelynck created a series of etchings and intaglio etchings titled the number des oiseaux (birds), which is accompanied by the poet Saint John's dark gray text.