Research Point: Andy Warhol, Louise Bourgeois and Yong Ho Ji

This blog post has corralled together an unusual grouping. The first is an obvious choice for an art student. The recent retrospective at Tate Modern, which I missed out on, included the instantly recognisable Marilyn Monroe portraits by Warhol, in all their unabashed glory. This art, with the colour and nutritional value of a fondant fancy, is at once unique, and trashily disposable. It captured a zeitgiest in a throwaway world where pop was king.

Andy Warhol attached himself to a beatnik counter-culture, associating with the music world via singers such as Nico and the band The Velvet Underground. A reputedly shy man originating from Slovakia, Warhol was a successful self publicist by proxy. He was reputed to have championed the career of Jean Michel Basquiat having met him whilst Basquiat was selling work on the street.

His images shout about celebrity and the nature of consumerism. A silk screen dream of the banal. But in amongst the brash and the infamous, the Monroes and the Campbell’s Soup Cans, was to be found a delicate sensitivity for the frail and transient nature of human beauty in the form of the delicate line drawing, “Boy with Flowers” (1955-57).

I hope to get a chance again to see his work in person. However I suspect this may not come my way twice in one lifetime.

Louise Bourgeois

The famous spider that took up temporary residence in Tate Modern’s yawning space during opening of Tate Modern in May 2000 is said to be a representation of the artist’s mother, or, at least representative of the artist’s relationship with her mother. A more rationally “phobic” symbol would have been difficult to find. Perhaps one could be forgiven for misinterpreting the relationship? Bourgeois said of her mother that she was, “deliberate, clever, patient, soothing, reasonable, dainty, subtle, indispensable, neat, and useful as an araignée. She could also defend herself, and me, by refusing to answer ‘stupid’, inquisitive, embarrassing personal questions.”

Seen from below there are eggs cradled within the arachnid’s giant abdomen. Did Louise Bourgeois feel like those eggs? Vulnerable enough, I’m certain. To be faced with the drop from such an unconventional embrace? And that is your childhood? To be so cradled? I do wonder whether, through being handled thus by her nearest and dearest, Louise Bourgeois was then driven to produce art far beyond the imagination of other mortals, who instead enjoyed the comforts of a warm fur-lined basinet.

My Inner Life 2008 Louise Bourgeois 1911-2010 Lent by the Tate Americas Foundation, courtesy of the Easton Foundation and Osiris 2016 http://www.tate.org.uk/art/work/L03833

The Voice Says Yes 2009 and I Give Everything Away 2010 were a series of etchings by Louise Bourgeois. These appear to be abstract representations of how she feels about “being”. I confess that I have been to so many exhibitions in the past that I’m not certain whether I saw this one, or if I simply caught these images online. Context is so key and this exhibition took place prior to my commencement of the degree course. Placing it in the context of an important exhibition from an artist nearing the end of her life, was not in my mind at the time, if in fact I was even there.

Yong Ho Ji

Scratching around for some originality in representing animals in art I found myself rejecting the cute and cuddly in favour of those more phobia-inducing critters. Yes, spiders included. This artist is included as contrast, a bit of fast food in the midst of Cordon Bleu.

I suspect there may be a risk of becoming a one-trick pony for this artist who has made a name for himself by cutting up old tyres and rearranging them to form wild beasts. I do hope he doesn’t meet this fate of typecasting. I included “that Korean tyre guy” in my trio of lifeform representational artists, as he too includes a spider-like creature with just three legs. This tri-ped appears less caustic and dangerous than Louise Bourgeois’s spider, possibly due to the artist’s chosen medium. One imagines if it were possible to touch one of his sculptures that it would be slightly warm and give way to a degree under the slightest pressure. This is in stark contrast to the Bourgeois spider which is serious in its portrayal of humanity. The Bourgeois spider looms large and out of reach to mere mortals. Yong Ho Ji’s creature gives the impression of being prone to toppling and having its belly tickled at a moment’s notice with little risk of remonstration.

The medium, recycled tyres, does at least remind me of the wasted resources we steal away on a daily basis from our fellow creatures and the tentative hold we each have on life on earth.

References:

Tate (no date a) Andy Warhol – Exhibition at Tate Modern, Tate. Available at: https://www.tate.org.uk/whats-on/tate-modern/exhibition/andy-warhol (Accessed: 1 April 2021).

Tate (no date b) ‘Boy with Flowers’, Andy Warhol, 1955–7, Tate. Available at: https://www.tate.org.uk/art/artworks/warhol-boy-with-flowers-ar00271 (Accessed: 1 April 2021).

Tate (no date c) ‘My Inner Life’, Louise Bourgeois, 2008, Tate. Available at: https://www.tate.org.uk/art/artworks/bourgeois-my-inner-life-l03833 (Accessed: 1 April 2021).

Tate (no date d) ‘Spider’, Louise Bourgeois, 1994, Tate. Available at: https://www.tate.org.uk/art/artworks/bourgeois-spider-al00354 (Accessed: 1 April 2021).

Mutant Spider by Ji Yong-Ho (2006). Available at: http://www.artnet.com/artists/ji-yong-ho/mutant-spider-K512jtIOeZLiwZcCnucm5Q2 (Accessed: 1 April 2021).

Project 10 (Task 3) Research Point: Paul Catherall: Down and Out in Paris and London

Paul Catherall Down and Out in Paris and London (2013)

I have tried to work out how Paul Catherall has achieved this lino cut which, to me, feels strongly reminiscent of cubist works by Georges Braque and Pablo Picasso. I have no idea whether George Orwell, the author of the book Down and Out in Paris and London, for which this image is the cover design, was an aficionado of Absinthe-fuelled meanderings in amongst the narrow streets of Montmartre. I haven’t read the book. However, this is how it makes me feel and think as a view this image. Even the colour of the ink used hints at the wicked green fairy. It does at least make me curious about the contents of the book.

The clean lines and overlapping colours suggest the character of both cities viewed through a slightly skewed lens. This is the image that first prompted me to revisit an earlier sketch I had produced during the previous unit Drawing Skills. My approach to this image, of several women engaged in yoga warrior poses, had been inspired by the work of the cubist movement. I had first experimented with layers on my multi-colour linocut in the previous part of the intro to Printmaking unit. Paul Catherall’s work was very much in mind as I designed and cut the lino for Bottle Alley. I then used his work as a springboard to start a larger scale image for the theme of Life Form with several figures.

Paul Catherall’s image is a consistently skewed view without any figures present. My image of Yoga Warrior Poses is a little confused by comparison. Limbs intermingle. Some of my figures appear to have essential limbs completely missing, whereas others have more than their fair share. Also, I feel I have produced something with inadvertently salacious undertones in that the figure on the left appears to be about to strike the bared and vulnerable rear of another, more central figure. I have spent too much time on this, however. Although the outcome is not ideal, it does have some interesting shapes and colour combinations.

Since starting this reduction lino cut, I have reviewed my degree pathway choice. I have been transferred from the Drawing Pathway to the Illustration pathway. While I take both seriously, I feel myself breathe a huge sigh of relief in the fact that Illustration feels so much more apt to my approach to mark making. To me, art should be a fun activity. Art with a capital “A” always appears to be so serious.

Paul Catherall’s work, used here for illustration purposes for the Orwell book, would comfortably straddle both art camps. It is both commercial and manages to convey a glacially cool quality to recognisable pieces of architecture such as Tate Modern and Battersea Power Station. This artist shows the simple beauty that is not always immediately apparent in such structures. He does this in a seemingly effortless way by selection and simplification of its most prominently recognisable features. This is what I appreciate about the work he produces, that simplicity equates to beauty.

Maureen Walker Warriors in the Sun (2021) Reduction linocut

I’m not certain that I have achieved this level of effortless simplicity in my rendition of the yoga poses. Bottle Alley however, is simple and suggests a sense of emptiness and isolation that is inherent in an out of season seafront in an impoverished town during lockdown.

References:

Paul Catherall RE, Down and Out in Paris & London (no date) Bankside Gallery. Available at: https://www.banksidegallery.com/artists/181-paul-catherall-re/works/18966/ (Accessed: 18 March 2021).

George Orwell (2013) Down and Out in Paris and London. Penguin Modern Classics.

Part 2: Research Point: Block Printmaking Artists

On the 9th Jan I wrote the following paragraph in my blog post “Tate Modern: Matisse’s Cut Out Exhibition”

“I feel that the reason that Matisse’s cut outs have so much impact is that his wealth of knowledge around effective colour and tonal contrast, as well as his awareness of the conventions of composition, are so well established from his years of painting experience. His subtle hints at the nuances of the human form keep me highly engaged, both in the quality of the outcome as well as the use of the medium, especially given his physical condition at that time in his life.”

I’d like to add the above image the better to illustrate my point. The parallels between his cut outs and the effect a cut piece of lino has on white paper is clear from looking at these “Blue Nudes”. They are also faintly reminiscent of white on blue Wedgewood Jasperware ceramics, Though clearly the figures are less classic in design, the impact of the colour combination reminds me of these pieces.

Moving on,

Caroline Macey

Rock and a Hard Place

I love this work, not only due to its subject matter of the hardship inherent in a life on the periphery of survival. I like it because it attempts to tell a story about the challenges of life lived in a sometimes harsh and uncaring society. The bold contrasting elements in black against bleak white illustrates life’s struggles well. This artist does a lot of her prints in this stark black on white way. Her work is distinctive and often seems apocalyptic in nature. Her figures appear to be animated in a symbolic manner, rather than evocative in a decorative way, such as those in an Angela Harding print, for example. I had trouble showing an example for comparison, though Angela Harding’s website is well worth a visit. Her combined lino cut and silk screen print “Salt Path” is a wonderful example of this, having been created to complement a book with a bitter sweet storyline.

I like the above image of “Rock and a Hard Place” so much that I have ordered a print. I feel that, due to her individuality, this artist is definitely one to watch.

Shelley Burgoyne

This artist has inspired me to work more fully with my drawing practice alongside printmaking. Her use of near-abstract forms using pen and ink, in her work “memory of the blanket story” for example are stimulating in that I feel myself drawing something, if not similar, then certainly something in response to having viewed it. Or, at least to dig work I have already produced out of my Drawing 1 portfolio and to rework it further using the impetus inspired by Shelley’s work.

S Burgoyne “Memory of the Blanket Story” Textile Stitch Print 60 x 84 cm

Morgan Doyle

Again, viewing this artist’s work leads me to a hunger for more personal exploration of my own. This is particularly true in the area of mixed media collage techniques. The urge to cut up the imperfect prints I have produced as well as the packing paper I have used to protect surfaces in my studio, is strong. Though I have yet to give in to this urge, due to the limitations I place on my time as well as my own fear of failure, having viewed these artists’ work, I shall do so very soon.

References:

Sh elley Burgoyne – Memory of the Blanket Story (no date) SHELLEY BURGOYNE. Available at: http://www.shelleyburgoyne.co.uk/memory-of-the-blanket-story.html (Accessed: 24 February 2021).

admin (no date) ‘IMG_0605-Chinese-Landscape-500h | MORGAN DOYLE RE / Aritst Painter / Printmaker’. Available at: http://www.morgandoyle.com/img_0605-chinese-landscape-500h/ (Accessed: 24 February 2021).

Angela Harding | Linocut Print | Salt Path for Raynor Winn (no date). Available at: https://angelaharding.co.uk/products/salt-path?variant=29697060634737 (Accessed: 16 February 2021).

Caroline Macey (no date). Available at: http://carolinemacey.co.uk/ (Accessed: 16 February 2021).

Tate (2014) Henri Matisse: The Cut-Outs – Exhibition at Tate Modern, Tate. Available at: https://www.tate.org.uk/whats-on/tate-modern/exhibition/henri-matisse-cut-outs (Accessed: 13 January 2021).

Tate Modern: Matisse’s Cut outs Exhibition

Henri Matisse certainly knew how to use colour combinations effectively. The way he describes shapes with minimal style led me to come away from this exhibition clutching a swathe of postcards depicting this artist’s work. That, together with a feeling that my senses had been highly stimulated, made this a memorable exhibition.

We visited Tate Modern back in 2014 to see this. I remember enjoying it. But I now feel mystified when having just read the suggestion on the Tate website that Matisse was the inventor of a “new medium”.

“In his late sixties, when ill health first prevented Matisse from painting, he began to cut into painted paper with scissors to make drafts for a number of commissions. In time, Matisse chose cut-outs over painting: he had invented a new medium.” (Tate.org 2014)

For the sake of accuracy, did he not just take one that was already very much in existence and dare to lend it credibility by his highly effective adoption of it? It does beg the question, did someone not think of it before then? For how long have we had paper, scissors and paste at our disposal? Surely these were not invented in 1936 when this series of artworks were first produced?

As a creative species, it’s not altogether unrealistic to hint at the possibility of suggesting that the true evolution of that medium came about from an individual or a group of the female persuasion? Thus deemed “unworthy” by those incumbents of the lofty marble halls of the art world, that same group have gone on unnoticed and therefore unmentioned into the annals of time.

Though these “women scorned” may well have been unmoved by ego, disinterested in being “recognised” as artists, or simply figments of my own active imagination, I feel the need to mention the real possibility of their existence regardless.

I feel that the reason that Matisse’s cut outs have so much impact is that his wealth of knowledge around effective colour and tonal contrast, as well as his awareness of the conventions of composition, are so well established from his years of painting experience. His subtle hints at the nuances of the human form keep me highly engaged, both in the quality of the outcome as well as the use of the medium, especially given his physical condition at that time in his life.

Since writing this post I have been sent a link to The Economist “Stick ’em Up” article on “the Surprising History of Collage”. Evidently the world’s moved on since 2014, Doh!

References:

Samuel Reilly (2019) ‘Stick ‘em up! A surprising history of collage’, The Economist, 24 July. Available at: https://www.economist.com/1843/2019/07/24/stick-em-up-a-surprising-history-of-collage (Accessed: 13 January 2021).

Research Point: Monoprints: Tracey Emin

Image from One Thousand Drawings (Emin, T. 2009)

Due to COVID-19 restrictions, The Royal Academy are forced to close their doors on The Tracey Emin and Edward Munch exhibition, as well as The Late Summer Exhibition. So, as with many others, having re-booked once already, I am yet again left disappointed. The following blog post may be heavily reliant upon internet research. Luckily though, I have a copy of Emin’s “One Thousand Drawings” (2009) on my shelf.

A hefty volume by anyone’s standards, the aforementioned book shows hours upon hours of spontaneous work. I feel Tracey Emin, setting her internal filter aside, has poured her soul out onto the page. Amid many crossings out, she writes; “I am the custodian, the curator of the images that live in my mind.” (2009) She goes on to say “Every image in this book…has first entered my mind – travelled through my heart, my blood – arriving at the end of my hand.” (Emin. T. 2009)

I like the fact that these drawings, rather than mere progressions toward a finished outcome, have been presented together as a collection of outcomes in themselves. Though there is little evidence of concern around anatomical accuracy – or of light and shade in terms of representational reality – light and shade of another kind are prevalent here. These images are illustrative of harrowing emotional experiences – drawing from “life” – rather than “Life Drawing “.

At first I thought it was just a rip-off book filled with crap drawings. But now, given the context, I view them differently. There is both an immediacy and a sense of urgent imperative about them that is almost alarming.

If we compare, the diners appear animated in one image. In stark contrast, the other depicts a similar scene from a different angle. We as viewers have been cast as the diner at the head of the table. All eyes are upon us. They regard us expectantly as though awaiting disappointment. It is as though Emin puts us in her shoes – to experience life through her eyes. As she feels the heat of social scrutiny, so do we – at least we can imagine.

Tracey Emin, in the face of opposition from critical eyes and tongues, takes her art seriously. I see that she has respect for her art in the way that she has expressed herself – in this case – through the medium of drawing, and back-drawn monoprints. Therefore, others have taken her art seriously. At least her publisher appears to have done. The galleries who exhibit her work evidently do, unless driven entirely by monetary forces.

I question whether an artist needs the approval of everyone in “The Establishment.” Then I find myself questioning the definition of that word/phrase. I wonder what it means to “establish” oneself as an artist. Is it just the ability to sell stuff? If so, Etsy and the like would count as “establishment”. Who exactly do we mean when we say that? Gallery owner; monied individuals; or is it all just smoke and mirrors? Perhaps it’s simply the ability as an artist – like any other celebrity – to kick up a right stink about ourselves?

References:

Emin. Tracey. (2009) One Thousand Drawings. New York: Rizzoli International.

Research Point: Still Life: Part 4 of 4

Vincent Van Gogh

I chose the Van Gogh as I drew the featured image above partly as a more optimistic reaction to it.

I bought the jug at a charity shop with the intention of putting yellow flowers in it to offset the blue. I found a full unused set of Conte sticks at a car boot sale for a bargain price and used these to create my drawing. I feel I have taken Van Gogh’s subject of these gorgeous flowers and produced an enlivened atmosphere. My flowers are far from overblown. As I use a complementary colour palette, it brings them to life in a vibrant way. Van Gogh was no doubt going for an atmosphere with a bit more gravitas. He appears to be expressing a melancholy state with his late blooms all but died off. His palette is very “buttery” and similar earthy colours have been used to depict this timeless and iconic image. However, these have also been trimmed with cobalt blue which, in my opinion, saves the over all effect from being too bland. Given the man’s untimely end, the artist’s use of brush strokes surely must be expressive of his general state of mind.

I would, of course, like to do more than draw “pretty pictures”. Personal expression around a subject comes partly naturally, through mark-making, but also through one’s colour and compositional choices. Perhaps I am wrong to think that expressions of joy are less “serious” than those of melancholy. Although it would be beneficial to be taken seriously as an artist. I feel it would be necessary to take oneself seriously first, but then not all of the time, surely, and only in as far as life in general should be viewed thus.

Ethel Sands

I saw this painting by Ethel Sands in the Fitzwilliam Museum the last time I visited Cambridge. Perhaps it was the blue patterned jug that caught my eye (There was one very similar item in the gift shop which I narrowly avoided buying) I like that the artist has “sneaked” a landscape into her still life. It avoids being too “chocolate box” by the use of primary colours and by the inclusion of the view onto the cemetery. Apart from first noticing the jug in the foreground, the sight of the crosses through the window dominate this image for me, though they take up so little space on the canvas. It’s as though Ethel Sands was pointing out the fact that death is never far away from us, even during uplifting summer days. It reminds me that just because we live in a land of plenty, doesn’t mean we always shall.

Sands, Ethel; Still Life with a View over a Cemetery; The Fitzwilliam Museum; http://www.artuk.org/artworks/still-life-with-a-view-over-a-cemetery-4566

References

Still Life with a View over a Cemetery | Art UK (no date). Available at: https://artuk.org/discover/artworks/still-life-with-a-view-over-a-cemetery-4566 (Accessed: 7 November 2020). Vincent van Gogh | Sunflowers | NG3863 | National Gallery, London (no date). Available at: https://www.nationalgallery.org.uk/paintings/vincent-van-gogh-sunflowers (Accessed: 7 November 2020).

Research Point: Still Life (part 3 of 4)

Georgia O’Keeffe

Oriental Poppies (O’Keeffe. 1927) speaks to me of unabashed sensuality – both in the viewing as well as (I dare to assume) in the process of creation itself. In an article with Griselda Pollock interviewing the artist (tate.org.uk), the possibility of her work having been “reduced by” associations with sexuality, is discussed. I would debate that by focussing on sexuality in art, one is somehow debasing the art – art being an extension of oneself. I don’t think sexuality or sensual pleasure, or their expression, are “out of bounds”. Surely this is more of a hangover from our puritanical protestant history, than something which should be encouraged right here, right now. I think that a woman, as well as a man, (if she is brave enough to do so) can express sensual associations through her work. Denying oneself this is surely to deny oneself a whole avenue of personal expression? Equality of the sexes means being on an even footing across the board, right? Failing that, we at least have the right to have our work, and therefore ourselves, treated with due respect. But I do agree that to focus solely upon the sensual aspects at the expense of other facets of the artist’s work, is a blinkered view.

In an ideal world, women would be able to express their sexuality/sensuality through their art, as men have for years, without fear of being branded “harlots” or becoming limited to doing that exclusively. In art, the possibilities are without bounds, except for those limitations the artists themselves place on their projects in order to enhance their practice. But, alas we do not live in that utopian fantasy.

Judy Chicago

It must have been incredibly frustrating for women artists, prior to the 1960s/70s sexual revolution, to attempt to elbow their way into a male dominated Art world. But this is what they eventually did. Women today are benefiting from that gender struggle. Although the fight for equality goes on, it is difficult to generalise about women’s struggles as though we were not all individuals. Do we benefit by grouping ourselves together as a generalised amorphous entity? Women’s rights need to be fought on an individual basis, I feel.

While not strictly speaking a “still life”, Judy Chicago’s installation speaks of the disparity between the sexes. As an artist of the female persuasion myself, I baulk at the level of confrontation involved in careers such as Judy Chicago’s. Women are not to be generalised as though we work as one unit. Women, as men, are subject to the ravages of daily life. The continuation of demands for men to change their behaviour needs to be directed back toward women as well. Who among us is letting the side down on a daily, moment by moment basis? My own hand could be up in the air right now. We do what we can. But we need to choose our battles wisely.

Lisa Milroy

More like a section from a wallpaper pattern than the pleasing arrangement of items one has come to expect from a still life, there is something of the pub wall art about this that I rather like. It is an “OCD” approach to the genre. It does what it says on the tin. It is a collection of light bulbs. Whether it seeks to represent anything beyond that, I have no idea.

Squeak Carnwarth

Not strictly a still life, more of a message of hope. It is welcome right now.

References:

‘Artwork-Squeak Carnwath’. Accessed 7 November 2020. http://www.squeakcarnwath.com/. ‘Still Life with a View over a Cemetery | Art UK’. Accessed 7 November 2020. https://artuk.org/discover/artworks/still-life-with-a-view-over-a-cemetery-4566. Tate. ‘Artist Interview: Judy Chicago’. Tate. Accessed 7 November 2020. https://www.tate.org.uk/whats-on/tate-modern/exhibition/ey-exhibition-world-goes-pop/artist-interview/judy-chicago. ———. ‘Griselda Pollock on Georgia O’Keeffe – Talk at Tate Modern’. Tate. Accessed 7 November 2020. https://www.tate.org.uk/whats-on/tate-modern/exhibition/georgia-okeeffe/griselda-pollock-on-georgia-okeeffe. ———. ‘“Light Bulbs”, Lisa Milroy, 1988’. Tate. Accessed 7 November 2020. https://www.tate.org.uk/art/artworks/milroy-light-bulbs-t05217.

Research Point: Still Life (part 2 of 4)

Research into various artists’ approaches to still life:

Giorgio Morandi

I like the subtle use of oil colour which I feel expresses the fragile lightness of these objects. The artist has treated the spaces between with equal importance as the items depicted.

Roy Lichtenstein

There’s something deceptively “disposable” about this image. It’s a little like a photo of food in a fast food joint. The contrasting primary colours have inpact as well as hinting further at the country of origin with the red, white and blue.

Armand Fernandez

I feel that, if I were so inclined, I could become rather offended at this piece. It suggests that a human being can be summed up by a collection of the detritus of her life. But, as I am not in the habit of taking offence at anything much, I shall view this with an open mind. Perhaps the artist had his heart broken recently, or had an unpleasant relationship with his mother? Perhaps the presence of the pedestal is significant. It appears to be an insecure arrangement, a glass case balanced precariously upon a plinth, as though one push could send it tumbling.

References:

Tate. ‘“Condition of Woman I”, Arman (Armand Fernandez), 1960’. Tate. Accessed 3 November 2020. https://www.tate.org.uk/art/artworks/arman-condition-of-woman-i-t03381. ———. ‘“Sandwich and Soda”, Roy Lichtenstein, 1964’. Tate. Accessed 3 November 2020. https://www.tate.org.uk/art/artworks/lichtenstein-sandwich-and-soda-p77811. ———. ‘Search Tate. ‘“Still Life” Giorgio Morandi’. Tate. Accessed 3 November 2020. https://www.tate.org.uk/search?q=Giorgio Morandi.

Research Point: Still Life (part 1 of 4)

Research into various artists’ approaches to still life:

Georges Braque

These first two images leave me mystified as to how they were produced. I find it intriguing that Braque came to cubism after suffering and recovering from a brain injury. It’s as though the objects were viewed through a kitsch 1970s frosted glass window pane. I like them. This is not due only to their visual complexity but because they are aesthetically pleasing and balanced compositions.

The following work I find less appealing due to the colour choices the artist has made. It’s as though he was using up left over paint from his palette after completing a far superior outcome. Although, having said that, there is a quality of light from the reflective surfaces of the objects that keeps me looking.

Glass on a Table 1909-10 Georges Braque 1882-1963 Bequeathed by Sir Antony Hornby through the Friends of the Tate Gallery 1988 http://www.tate.org.uk/art/work/T05028

This next image I really like a lot due to its lightness of touch. It is a line drawing using graphite on paper. I wish I had drawn it myself.

Still Life 1924 Georges Braque 1882-1963 Bequeathed by Elly Kahnweiler 1991 to form part of the gift of Gustav and Elly Kahnweiler, accessioned 1994 http://www.tate.org.uk/art/work/T06804

References:

Tate. ‘“Bottle and Fishes”, Georges Braque, c.1910–12’. Tate. Accessed 2 November 2020. https://www.tate.org.uk/art/artworks/braque-bottle-and-fishes-t00445. ———. ‘“Glass on a Table”, Georges Braque, 1909–10’. Tate. Accessed 2 November 2020. https://www.tate.org.uk/art/artworks/braque-glass-on-a-table-t05028. ———. ‘“Mandora”, Georges Braque, 1909–10’. Tate. Accessed 2 November 2020. https://www.tate.org.uk/art/artworks/braque-mandora-t00833. ———. ‘“Still Life”, Georges Braque, 1924’. Tate. Accessed 2 November 2020. https://www.tate.org.uk/art/artworks/braque-still-life-t06804.

http://www.people.vcu.edu/~djbromle/modern-art/02/Georges-Braque/index.htm. Accessed 2 November 2020