After Georges Braque
Heidi Melano - Pélias et Nélée - image-1
After Georges Braque
Heidi Melano - Pélias et Nélée - image-2
After Georges Braque
Heidi Melano - Pélias et Nélée - image-1After Georges Braque
Heidi Melano - Pélias et Nélée - image-2

Lot 299 Dα

After Georges Braque Heidi Melano - Pélias et Nélée

Auction 1134 - overview Cologne
31.05.2019, 17:00 - Modern Art
Estimate: 60.000 € - 80.000 €

After Georges Braque
Heidi Melano

Pélias et Nélée
1962/1963

Mosaic plate. After a motif by Georges Braque. Glazed colour mosaic stones and few white granite stones on cement in steel frame 119.5 x 159.3 cm Mounted on a steel framework (143 x 162 x 60.5 cm). The mosaic marked with the name of 'G Braque' (underlined) lower right. One of 3 exemplars. Created after the eponymous gouache resp. after the last colour lithograph by Georges Braque from 1962/1963 (Vallier 184, Mourlot 144. Poster motif for the exhibition "Les Bijoux de Braque", Musée des Arts Décoratifs, Paris, March/April 1963). Posthumous execution, Édition Armand Israël, Paris 2005.

The work for the shimmering pool at the Fondation Maeght in Saint-Paul-de-Vence is surely one of the best-known mosaics by George Braque. Like other important mosaics based on artists' designs, it was the work of the mosaicist Heidi Melano, who - together with her husband Lino Melano - achieved international distinction at that time, not least through their collaboration with other artists, such as Marc Chagall and Fernand Léger.
The present mosaic “Pélias et Nélée”, which was created posthumously by Heidi Melano, is a variation on one of Georges Braque's most famous motifs. In Greek mythology Pelias and Neleus were brothers - sons of Poseidon, god of the sea. The artist's eponymous gouache, which he had taken up again and repeated in 1963 in a final colour lithograph created before his death, served Heidi Melano as her design. Compositionally and stylistically these related works recall the ceiling painting that Georges Braque carried out in 1953/1955 for the Salle Henri II in the Louvre; they are a direct quotation of the ornamentally concentrated formula for a pair of birds on a blue ground.
In an interview at that time, Georges Braque mentioned how he had observed large birds in the vast sky above the Camargue: an incomparable experience that had touched him profoundly as an artist. Giving pictorial form to the birds' flight, in its free and unbound movement, would become a central artistic task in his late oeuvre. Braque had here found his way to an abstract composition that seems virtually emblematic.

Certificate

With a certificat from Armand Israël, Paris; the piece will be included in the catalogue raisonné of George Braque currently under preparation.

Literature

Heger de Loewenfeld/ Raphael de Cuttoli, Les Métamorphoses de Braque, Paris 1989, with illus. p. 31, 58; Armand Israël, Georges Braque, L'Artisan de génie, exhib. cat. Levallois 2014, p. 59 with colour illus.; Armand Israël, Georges Braque & Les Précurseurs de l'art moderne et contemporain, exhib. cat. Mas D'Artigny, Saint-Paul de Vence, 2015, p. 68 with colour illus.

Exhibitions

Peking/Nanking 2012 (Palace Museum/ Art Museum of Nanjing University of the Art), Georges Braque.The First Exhibition in China of a Founder of Cubism; Saint-Dié-des-Vosges 2013 (Musée des Métamorphoses de Georges Braque)