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Georges Braque died on 31st August 1963. On the 3rd September 1963, two parallel memorial services were held for Braque - one in the Cour Carree at the Louvre, and the other onboard the SS France.
Six days before Braque's death, the SS France had set sail from Le Havre to New York. On board were the 113 jewels Braque had made in collaboration with Baron Heger de Loewenfeld (and shown at the Louvre between 21st March and 13th May 1963, the day of Braque’s 81st birthday).
In the Cour Carree at the Louvre, “...under the fasts of national funerary and in front of his casket covered by the French flag and Beethoven’s Heroic March, André Malraux brought him [Braque] the homage of the entire Nation."
There’s an audiovisual clip of Malraux bringing Braque “the homage of the entire Nation” here.
On that same day, the 3rd September 1963, "the entire [United States of] America at the initiative of his Excellency Hervé Alphand, Plenipotentiary and Extraordinary Ambassador of the French Republic, joined with fervor the funeral ceremony officiated aboard the ship France in the New York harbor...”.
[‘Métamorphoses de Braque’ (Éd. F.A.C., Paris, 1989)]
I can’t help but think (and I’ve been thinking this for a very long time now), that the SS France should be dry docked in the Cour Carree – that the two parallel memorial events should now become the one location.
The photograph of Braque's Paris studio was taken on 31st August 2005.
Note on SS France
The SS FRANCE was launched by Madame Charles De Gaulle on 11th May 1960 and, at the time, was the longest (but not largest) Atlantic liner. She measured 1,035 X 109 ft (315.5 X 33.7 m) and weighed 66,348 GRT. Her sea trials began on 19th November 1961, and she made her maiden Trans-Atlantic crossing from Le Havre to New York on 3rd February 1962.
On the removal of government subsidies, the SS France was retired from service in 1974. On her final voyage back to Le Havre in September 1974, she was seized and anchored in the channel by French trade unionists protesting at the loss of their jobs. In 1979, she was bought by the Norwegian Cruise Line and renamed Norway.
Working Notes May 2008
"...the Ateliers are a microcosm of the painter's professional universe...canvases and frames are stacked; on a lectern is a pile of sketchbooks which Braque claims he uses as `cookerybooks' to provide ideas and suggest subjects for compositions...tables are laden with artists' materials, while others are covered with pots, vases, musical instruments, bowls of fruit, pieces of sculpture, objets trouvés, philodendron plants and all kinds of odds-and-ends...".
[John Richardson: 'The Ateliers of Braque', Burlington Magazine XCVII no. 627, June 1955]
"I no longer believe in anything. Objects don't exist for me except in so far as a rapport exists between them or between them and myself. When one attains this harmony, one reaches a sort of intellectual non-existence - what I can only describe as a state of peace - which makes everything possible and right. Life then becomes a perpetual revelation. That is true poetry."
[George Braque]
This is, on one level, a very simple enquiry – what happened to Braque's studio objects after his death? I've just mailed this question to Alex Danchev.
Wouldn't it be something to find those things that triangulated so essentially with painter and painting?
It isn't possible to assess to what extent Braque arranged his affairs before his death (Danchev reports that Braque, slipping in and out of consciousness, asked for his palette when close to death, and this suggests the painter had a sense of on-going project, of unfinished business, and not of termination or extinction). So let's assume that Braque simply left everything to his wife, Marcelle. Or maybe he left all his studio objects to Mariette Lachaud, his studio assistant for over thirty years. Maybe this is as simple as finding a couple of Wills and understanding the distribution of Braque's Estate.
This could just be a case of chasing the paperwork, and of seeing where this takes us.
Or maybe some provision was made (by Braque, by Marcelle?) whereby the studio objects were dispersed along with the late paintings. The seven volumes of Braque's Catalogue Raisonne (Maeght Editeur, Paris) don't extend beyond 1957, and, therefore, are not of much use in this instance. Certainly Marcelle Braque made a bequest to the Musee National d'Art Moderne before her death in 1965. Also, some of the late paintings went to Aime Maeght. I've just noticed that the provenance for some of the paintings from the 1940s and 1950s in Golding's catalogue for 'Braque The Late Works' is given as "Collection of the artist". What does this mean? Who now holds this collection?
I'm sure I've seen somewhere a partial inventory of the objects shown in some of Braque's paintings... Anyway, to do a full inventory would be fascinating. But better still would be to draw and paint these objects (or the 'rapport' with and between these objects) in the hope that this would make "everything possible and right" (again). Perpetual revelation?
Alex Danchev has replied very promptly. He says: "I'm sorry to say that I think they [the studio objects] are either dispersed or inaccessible. After Marcelle's death, the Braque estate passed to the Laurens family...legally, the inheritor is now Quentin Laurens, the director of the Galerie Leiris."
Yes, that's also part of the big loop the other day. I was doing something for [XXXX], and started talking about Lefebvre’s understanding of conceived space and Soja’s ‘thirding-as Othering’ and 'thirdspace', and from this I went to Ingold's notion of taskscape. And that's when I came back to Braque in terms of the triangulation of painter/painting/objects. What Zen calls 'not two'. It was this recognition of Braque's studios (the paintings and the physical spaces) as taskscapes that got me to chasing the objects.
By the way, John Golding, in his review of Danchev’s ‘Georges Braque A Life’ [1], notes that it was Marcelle that started Braque reading Dostoevsky. And Danchev notes that (page 17) that Braque “treated” his studio assistant, Mariette Lachaud, to a copy of Dostoevsky’s ‘White Nights’ following the Liberation of Paris in 1944. I’m now also starting to see Braque’s late Studios in the context of Bakhtin’s 'Forms of Time and of the Chronotope in the Novel' [in 'The Dialogic Imagination'] – chronotope, "the place where the knots of narrative are tied and untied”.
“In White Nights the apparent idyll of the dreamer's romantic fantasies disguises profound loneliness and estrangement from 'living life'. Despite his sentimental friendship with Nastenka, his final withdrawal into the world of the imagination anticipates the retreat into the 'underground'...” [Amazon.co.uk].
The full story is at http://penref.blogspot.com/2007/10/fyodor-dostoevsky-white-nights.html
Dostoevsky’s ‘White Nights’ (A Sentimental Story from the Diary of a Dreamer) opens with a possibly telling quote from Ivan Turgenev:
"And was it his destined part
Only one moment in his life
To be close to your heart?
Or was he fated from the start
to live for just one fleeting instant,
within the purlieus of your heart."
In 1944, Braque would have been 61, and Mariette Lachaud 30 years old. As Danchev quotes Braque, “I prefer the man to the artist. Cezanne was not an artist, but Manet was. If you follow me.”
[1] ‘In Braque's Studio’ by John Golding (‘Georges Braque: A Life’ by Alex Danchev): New York Review of Books Volume 54, Number 10 - June 14, 2007
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