True to his training, Braque enjoyed working with many different materials, noble or banal, such as stone, wood, earth, metal or plaster. In 1922, during his rupture with cubism and the debut of this thematic work, he created the canephors, the most significant of these panels. In 1925, three years after he moved into his new house constructed by the architect Auguste Perret on the rue du Douanier (renamed rue Georges Braque), he would reprise the canephor theme on two interior panels.
The valorization of these interior panels shows how Braque valued art for its place within life, within a domestic sphere, as much as for its conceptual value of line and volume. These panels were further shown in museums worldwide. Jean Leymarie, Braque’s biographer, said these panels “harmonized with both the atmosphere of the room and with its rustic furniture.”
Braque worked on decorative panels his whole life. One of those most famous of these pieces was a fine piece of inlay wood marquetry called le Canard (The Duck – 1956). These decorative panels were both considered as art and as furniture. La Cruche et le Compotier (The Jug and the Fruit Bowl), remarkable and renowned, and originally part of Braque’s living room, was later exhibited worldwide.
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