Georges Braque, Viaduct in Estaque , Fall 1907, 65.1 X 80.6, Minneapolis, The Minneapolis Institute of Arts Painting Wild 'm was impressed by what she had again, and it suited me ... It was a very enthusiastic and paint it to suit my age I was twenty-three years ... As I did not like romance, this painting I liked physics. This lasted for the time new things. I realized that there was the climax in pouvaitpas it last. How? When I returned for the third time in the South, I realized that the excitement that filled me during my first visit and I had sent my pictures were not the same. I saw that there was something else.
had to find other ways to my nature ... When we reflect, it changes the color of a thing ... I was impressed by Cezanne, for his pictures that I had seen at Vollard, I felt there was something more secret in this painting masks (...) Negroes also have opened a new horizon. They allowed me to get in touch with things instinctive, events that would direct the cons false tradition, which I hated.
Georges Braque (interview with Dora VALLIER), "Braque painting and us', Cahiers d'Art , I, 1954
Georges Braque, Viaduct to estaque , June-July 1908, 72.5 X 59, Paris, Musée National d'Art Moderne 
Georges Braque, Houses at L'Estaque , August 1908, 73 X 60, private collection 
Georges Braque, Port in Normandy, Le Havre and Paris, May-June 1909, 96.2 X 96 , 2, Chicago, The Art Institute of Chicago 
Pablo Picasso, Landscape with Bridge , Spring 1909, 81 X 100, Prague, National Gallery 
Pablo PICASSO Factory in Horta de ebro , Horta de Ebro, Summer 1909, 53 X 60, St. Petersburg, the Hermitage Museum 
Pablo PICASSO Tank Horta de Ebro , Horta de Ebro, Summer 1909, 60 X 50, private collection 
Georges Braque, Château de la Roche-Guyon , Summer 1909, 92 X 73, Eindhoven, Stedelijk Van Abbe Museum 
Georges Braque, Violin and Palette , Paris, Fall 1909, 92 X 43, New York, The Solomon R. Guggenheim Museum The traditional view does not satisfy me. Mechanized as it is, this perspective does not in full possession of things. It starts from a point of view and is not removed. But the view is a little thing. It's like that throughout his life draw profiles into believing that man has only one eye ... When it came to think so, everything changed, you have no idea how much! ... What attracted me a lot - and that was the direction of Cubism mistress - was the materialization of this new space that I felt. So I started doing mostly still lifes, because in nature there is a dead space touch, I would almost say manual. I wrote the rest: "When a still life is no longer in reach, it ceases to be a still life. "... This responded to the desire for me I always had to touch the thing and not only to see it. It is this space that attracted me a lot because it was the first Cubist painting, the search space. The color was only a small role. Color it was only the light side that concerned us. Light and space are two things that touch, is not it? and we all felt ... We called abstract!
Georges Braque (interview with Dora VALLIER), "Braque painting and us', Cahiers d'Art , I, 1954
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