![]() Scraps of cloth, paper doilies, and old photographs all went into her collage. ![]() Collage work of art put together from fragments Indeed, reality is invoked in phrase-like fragments, like a sentence, which combine to create a rich constellation of meanings. Rather than trying to accurately represent reality, Braque is playing with textures, shapes, and composition to construct a painting that is half recognizable and half symbolic. When first observing Fruit Dish and Glass, one might recognize a glass filled with grapes and pears, but these elements are flattened and distorted versions of actual objects. It can act as the foreground, the background, or both. He noticed that because the paper looks realistic and yet it is flat, and pasted on, it undermines spatial relationships. He may also have wished to use the paper to create a visual pun about the nature of representation. Braque then may have found it amusing to incorporate the woodgrain paper in his piece. Braque may have been drawn to this paper because he was trained in a technique called trompe-l'oeil which allowed him to create pictorial effects that resemble woodgrain and marble finishes, but are made with paint and a special wide comb. Braque was inspired to create this piece after visiting an Avignon shop where he purchased a roll of faux bois paper, simulating oak paneling and consisting of two kinds of printed motifs on a dark beige background. We experience this in the sukkah through a thatched ceiling, representing the abstract element, and the concrete - the halachic and the spiritual.The Viaduct at L'Estaque Georges Braque, Le Viaduc à L'Estaque, (The Viaduct at L'Estaque), 1908, oil on canvas Fruit Dish and Glass 1912, papier collé and charcoal on paperįruit Dish and Glass (1912) is most notable for being the first papier collé, a technique which Braque invented. We learn in Masechet Sukkah that the dimensions of the inside space of the Sukkah is derived from that of the ark in the temple: that only above ten handbreaths (tefachim) of space, above our heads, is where the Shechina resides and communicates down with the inhabitants of the earth. This also includes a surface of Schach- the rectangle abstracted from nature that embodies the Shekinah and the spiritual dimension within creation.Īnd above the Schach: Heaven. ![]() It is precisely the manipulation of geometric shapes that succeeds in defining a spatial experience for man. (I.e, constructing walls under the Schach of the plant) And the Torah - with the help of the Halachic tradition - sketches a plan for assembling a space exactly like this. The trees are no longer just nature, and the house is no longer simply an independent building.ĭuring Sukkot, we are invited to build a new space composed of constructed surfaces integrated with natural surfaces. Another effect this style has is a union created between the various objects within the composition. The viewer may now feel the essence of the growth, the essence of the inanimate objectI. The effect for the viewer is to draw attention to the abstract spiritual plane present within the concrete reality of the landscape. The result of this early stage analytical-cubism is the dismantling of elements and their reassembly into geometric forms of oil on canvas, emphasizing the fundamental essence of creation. This construction is presented to the viewer through the glasses of an artist progressing towards Analytical Cubism: We see trees transforming into semi-abstract geometric shapes, bushes or grass appearing as green triangles, and the building next to it appearing as an amalgamation of rectangles. The Parc at Carrières-Saint-Denis (1909), presents a landscape of trees in a garden, next to brown rectangular surfaces making up a building.
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