Seascape. L’Estaque

Georges Braque

Marina. L´Estaque

Braque, Georges

Argenteuil, 1882 - París, 1963

Seascape. L'Estaque, 1906

© Georges Braque, VEGAP, Madrid, 2015

Signed lower left: ''G. Braque''.
Carmen Thyssen-Bornemisza Collection on loan to the Thyssen-Bornemisza Museum, Madrid

Oil on canvas

59 x 72,4 cm

CTB.1997.30

Artwork history

  • Artist Collection, after 1950

  • Maurice d’Arquian, Brussels

  • Marlborough Fine Art, Ltd., London, 1960

  • Lawrence S. Pollock, Dallas (TX)

  • Christie’s Auctions, New York,  lot 141,  November 11,  1997

  • Carmen Thyssen-Bornemisza Collection

1950

XXV Biennale Internazionale d'Arte, Venecia, n. 2, p. 47

1960

Masters of Modern Art from 1840 to 1960, Londres, Marlborough Fine Art, n. 64, p. 65

1978

Dallas Collects: Impressionist and Early Modern Masters, Dallas (TX), Dallas Museum of Fine Arts, n. 85

1989 - 1997

Exposición, Dallas (TX), Dallas Museum of Fine Arts, en préstamo

1998 - 1999

Masterworks from the Carmen Thyssen-Bornemisza Collection, Tokio, Tokyo Metropolitan Art Museum; Takaoka, Takaoka Art Museum; Nagoya, Matsuzaka Art Museum; Sendai, Miyagi Museum of Art, n. 77, p. 172

1999

Do impresionismo ó fauvismo: A pintura do cambio de século en París. Colección Carmen Thyssen-Bornemisza, Santiago de Compostela, Centro Galego de Arte Contemporánea, n. 31, p. 96

2000

Del post-impresionismo a las vanguardias. Pintura de comienzos del siglo XX en la Colección Carmen Thyssen-Bornemisza, Valencia, IVAM Centre Julio González, n. 11, p. 50

2000

Los años fauves. 1904-1908, Barcelona, Centre Cultural Caixa Catalunya, n. 2, p. 46

2001

Landschaften von Brueghel bis Kandinsky. Die Ausstellung zu Ehren des Sammlers Hans Heinrich Baron Thyssen-Bornemisza, Bonn, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, n. 69, p. 178

2002

Braque, Madrid, Museo Thyssen-Bornemisza, n. 1, p. 52

2005 - 2006

Right under the Sun. Landscape in Provence from Classicism to Modernism (1750-1920), Marsella, Musée des Beaux-Arts; Montreal, Museum of Fine Arts, n. 15, p. 248, fig. p. 202. (sólo en Montreal)

2006

Im Licht des Südens. Französische Landschaftsmalerei vom 1800 bis 1930, Hamburgo, Hamburger Kunsthalle

2011

La tradición moderna en la Colección Carmen Thyssen. Monet, Picasso, Matisse, Miró, Málaga, Museo Carmen Thyssen Málaga, p. 114, lám. p. 115

2012 - 2013

Rusiñol, Monet, Gauguin, Sunyer. El paisaje en la Colección Carmen Thyssen, Gerona, CaixaForum; Tarragona, CaixaForum; Lérida, CaixaForum, n. 54, p. 166, lám. p. 167. (solo Gerona)

2013 - 2014

Matisse and the Fauves, Viena, Albertina, n. 74, p. 318, lám. p. 130

2018

Mediterráneo. Una Arcadia reinventada. De Signac a Picasso. Museo Carmen Thyssen Málaga, Cat. 48, p. 116-117.

2019 - 2020

Inspiration Matisse. Kunsthalle Mannheim, Kunsthalle Mannheim Foundation, Germany. Cat. 31, p. 55.

  • -Freeman, Judi: The fauve landscape. Benjamin, R. … [et al.]. [Exhib. Cat. Los Ángeles, Los Angeles County Museum of Art – London, Royal Academy of Arts, 1990-91]. Los Ángeles, Los Angeles County Museum of Art – New York, Abbeville Press, 1990 , p. 230, lám. 246 p. 232.

  • -Christie, Manson & Woods International Inc.: Impressionist and Modern Paintings, Drawings and Sculpture, part I. [Auction Cat]. NewYork, November 11,  1997, pp. 110-113, lám.

  • -Colección Carmen Thyssen-Bornemisza. Arnaldo, Javier (ed.). 2 vols. Madrid, Fundación Colección Thyssen-Bornemisza, 2004, vol. 2, p. 276, lám. p. 277 [Sheet by Tomàs Llorens]

  • -Borobia, Mar y Alarcó, Paloma (eds.): Museo Thyssen-Bornemisza. Obras escogidas. Madrid, Fundación Colección Thyssen-Bornemisza, 2011, p. 208, lám. p. 209.

  • -Shiff, Richard: “Infinition”. En Georges Braque. Pioneer of Modernism. [Exhib. Cat.]. New York, Acquavella Galeries, 2011, pp. 28-45., cit. p. 36, fig. 3, p. 37.

  • -Alarcó, P. y Borobia, M. (eds.): Guía de la colección. Museo Thyssen-Bornemisza. Madrid, Museo Thyssen-Bornemisza, 2012, p. 284, lám. p. 285.

  • -Widauer, Heinz y Grammont, Claudine (eds.): Matisse and the Fauves [Exhib. Cat. Albertina 2013-2014]. Colonia, Wienand, 2013 , cit. p. 113.

  • -Mediterráneo. Una Arcadia reinventada. De Signac a Picasso. Museo Carmen Thyssen Málaga, [Exhib. Cat.], 2018. Cat. 48, p. 116-117.

  • -Inspiration Matisse.  Kunsthalle Mannheim, Germany. [Exhib. Cat. Kunsthalle Mannheim. Curators: Kropmanns, P. & Lorenz, U.],  München, Ed. Prestel-Verlag, Kunsthalle Mannheim Foundation, 2019. Cat. 31, p. 55.

Expert report

Braque had met Matisse at the 1906 Salon des Indépendants. Matisse, who was deputy secretary of the Salon and member of the accrochage committee, was submitting Le Bonheur de vivre. Braque presented seven paintings which he later destroyed. From then on he joined the fauves group. In May he showed two paintings in the first exhibition of the Cercle de l’art moderne, a group formed, among others, by Braque himself and by Friesz in Le Havre, the latter’s native city. In June Friesz and Braque travelled to Antwerp, where they painted together a series of landscapes which, as far as Braque is concerned, can be considered the real beginning of hisfauve period. In October Braque and Friesz went to L’Estaque, a small town with a fishing port near Marseilles, which had already been depicted by Cézanne in last decades of the 19th century. There they spent the autumn and the beginning of the winter of 1907.

Seascape. L’Estaque is one of the pictures Braque executed during that stay. In its size and subject it can be related to L’Estaque Port, today in the Statens Museum for Kunst in Copenhagen. The stylistic comparison of these two paintings leads us to think that the one we are analysing must have been previous to the Copenhagen version. The trees framing the port view recall the composition of The Joy of Life. Actually, it is a compositional scheme typical of Claude Lorrain’s landscapes, with masses of trees on the right and the left, framing, as if they were theatre backdrops, a distant scene with the horizon blurred by the bright light. None of the landscapes painted by Braque in L’Estaque shows this scheme as clearly as the picture we are analysing, and none of them is so close to Matisse’s masterpiece in the colour choice and the lineal rhythm of the tree branches.

Braque kept this painting for many years and it still belonged to him when it was included, with six others, in the special room reserved for the fauve painters in the Venice Biennale of 1950. The exhibition commissioners were Jean Cassou, Douglas Cooper, Georges Duthuit, Jean Leymarie, Roberto Longhi, C. L. Ragghianti, Arnold Rüdlinger, and Denis Sutton.

In recent bibliography this painting appears with the title Landscape in L’Estaque. The title it has in this catalogue is that of the Biennale catalogue, the only time it was exhibited while Braque was alive.

Tomàs Llorens