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Discovered The Fauves at the Salon d'Automne where his friends, also from Le Havre where exhibiting, Dufy and Friesz.
Summer in La Ciotat. Winter in l'Estaque, a small port near Marseilles from which he brought several landscapes using a highly personal palette of mauves, pinks, greens and yellows.
Meets Picasso in the spring. By 1909, close friends visiting daily, discussing their work. Closest collaboration of any two artists among the Cubists, creating works between 1910 and 1912 that remain indistinguishable. Signed their canvases on the back.
Paysage de l'Estaque and L'Estaque were exhibited at the Salon de Independants.
His Petite baie de la Ciotat (Little Bay of Ciotat): "new direction in his formal exploration which slowly led him to a style of painting close to that of Cezanne, heralding the invention of Cubism."3
Fauve work, Olive Trees, landscape near La Ciotat shows his signature color harmony in his use of luminous yellows and complementary lavenders. It is the spatial ambiguity, used by Derain and Matisse to employ brilliant color that moves Braque along from fauvism to cubism. "Every form is cut off by the edge of the canvas, which flattens the illusion of recessive space."2 Use of color on p. 55.
See notes on Terrace of Hotel Mistral source 2 page 56.
Houses at L'Estaque source 2 p. 57 considered the first Cubist painting. Vauxcelles first used the term 'cubes' in reviewing that show at Kahnweiler's gallery in November 1908.
Cubism realized in Le Viaduc a l'Estaque3
Large Nude, radically geometrized female nude with a Cezanne palette of green, blue, ochre (dark earthly yellow) and red ochre.
Violin and Palette, (autumn 1909) see source 2 page 64.
SOURCES
1) Fauvism, Sarah Whitfield, Thames
and Hudson pub, 1991
2) Cubism and Culture, Mark Antliff and Patricia
Leighten. Thames & Hudson world of art, 2001.
3) Pompadeau National Modern Art Museum, Paris, 2003.
