This landscape by the co-founder of cubism was painted in a region of France frequented by Cezanne: coastal L'Estaque. Not unnaturally, Braque's faceted brush-work resembles Cezanne's, while at the same time hinting at the fragmented system of application he was destined to perfect with Picasso. Though it had its genesis in landscape - Braque at La Roche-Guyon, Picasso at La Horta - the cubist method found its purest expression in still life. This painting has elements of that genre, from the object-like character of the houses and tree, to their flattening thrust into the plane of the picture. Braque's shifting of forms in space, indeed his shifting of space itself, announce the fourth dimension of cubism. The landscape is understood almost exclusively in spatial terms, though not without a dramatic connotation specific to the early days of the movement. 'Landscape with houses' has a rawness that would convert to refinement within the year. The palette of browns, greens and unemphatic blues is already, at this date, quintessentially cubist.
AGNSW Handbook, 1999.
From the Gallery Shop
House and trees
Paysage de La Roche-Guyon Paysage avec maison Maisons. La Roche-Guyon
oil on canvas
65.5 x 54.0 cm stretcher; 88.3 x 76.3 x 4.5 cm frame
Signature & date
Signed l.l. verso canvas, black oil "G Braque". Not dated.
© Georges Braque/ADAGP. Licensed by Viscopy, Sydney
Shown in 11 exhibitions
Georges Braque, an American tribute, Saidenberg Gallery, New York, 07 Apr 1964–02 May 1964
The years of ferment: the birth of twentieth centry art 1886-1914:
- University of California Art Galleries, Los Angeles, Los Angeles 24 Jan 1965–07 Mar 1965
- San Francisco Museum of Art, San Francisco 28 Mar 1965–16 May 1965
- Cleveland Museum of Art, United States of America 13 Jul 1965–22 Aug 1965
The heroic years: Paris 1908-1914, The Museum of Fine Arts, Houston, United States of America, 20 Oct 1965–08 Dec 1965
Summer loan exhibition: Paintings, drawings and sculpture from private collections, 1966, The Metropolitan Museum of Art, New York, 08 Jul 1966–31 Aug 1966
Summer loan exhibition including the McIlhenny and Staempfli collections, Philadelphia Museum of Art, United States of America, May 1968–15 Sep 1968
Three years on: acquisitions 1978-81, Art Gallery of New South Wales, Sydney, 15 Oct 1981–01 Dec 1981
Picasso and Braque: pioneering cubism, The Museum of Modern Art, United States of America, 24 Sep 1989–16 Jan 1990
Picasso and Braque: die Gebürt des Kubismus, Kunstmuseum Basel, Basel, 25 Feb 1990–04 Jun 1990
Georges Braque et le paysage: de l'Estaque à Varengeville 1906-1963, Musee Cantini, Marseille, 01 Jul 2006–01 Oct 2006
Paths to abstraction 1867-1917, Art Gallery of New South Wales, Sydney, 26 Jun 2010–19 Sep 2010
Matisse and the moderns, 25 Apr 2015–25 Oct 2015
Edwin Suermondt, Aachen/Germany
Perls Galleries, New York, New York/New York/United States of America, stock number 5031. Perls Galleries records are now in collection of the Archives of American Art, Smithsonian Institution, Washington, D.C.
Fine Arts Associates, New York/New York/United States of America, dates unknown, sold to Mrs George Staempfli. Fine Arts Associates business records, now in the collection of the Archives of American Art, Smithsonian Institution, Washington, D.C., contain an undated sales record 'Paintings by Georges Braque sold by Fine Arts Associates, New York' page 3, listing the painting as sold to Mrs George Staempfli. Reel 4051 Otto and Ilse Gerson Papers, 6. Business records, a. Miscellaneous purchase and sales records.
George W. and Emily Staempfli, circa 1960-circa 1968, New York/New York/United States of America, by 1960, listed in 'Cubism and Twentieth Century Art' by Robert Rosenblum 1960 as collection of Mr and Mrs George W Staempfli. Lent in 1968 to the exhibition 'Summer loan exhibition including the McIlhenny and Staempfli Collections' at the Philadelphia Museum of Art.
Thomas Gibson Fine Art, pre 1977, London/England, Purchased by Galerie Beyeler from Thomas Gibson Fine Art 1977. Letters sent to Thomas Gibson Fine Art, 11 March and 14 October 2003 asking for information on when and from whom they acquired the painting. No response.
Galerie Beyeler, 1977-25 Jan 1980, Basel/Switzerland, Purchased by the AGNSW from Galerie Beyeler 1980. Galerie Beyeler stock no. 8814.
Referenced in 24 publications
Felix A. Baumann, Walter Feilchenfeldt and Hubertus Gassner (Editors), Cezanne and the dawn of modern art, Ostfildern, 2004, (illus.). this work is not in this exhibition but is referred to in the catalogue
Yve-Alain Bois, Picasso and Braque a symposium, 'The Semiology of Cubism', pg. 169-208, New York, 1992, 184 (illus.). pl. 12. Symposium held at MOMA 10-13 Nov. 1989 in conjunction with the exhibition 'Picasso and Braque: Pioneering Cubism'
Edmund Capon and Jan Meek (Editors), Portrait of a Gallery, 'European 20th Century Art', pg. 91-95, Sydney, 1984, 91 (colour illus.).
Nicole Worms de Romilly and Jean Laude, Braque: cubism 1907-1914, Paris, 1982, 85 (illus.). cat.no. 33
Renee Free, Art and Australia, 'European Acquisitions: 1972-83', pg. 63-67, Sydney, Spring 1984, 66, 67 (illus.).
Renée Free, The Art Gallery of New South Wales collections, 'The Western Heritage, Renaissance to Twentieth Century', pg. 108-172, Sydney, 1994, 145 (colour illus.).
Renée Free, Three years on: a selection of acquisitions 1978-1981, 'European Art', pg. 27-36, Sydney, 1981, 31 (colour illus.). cat.no. 2
Renée Free, Art Gallery of New South Wales collection series 4, 'Georges Braque 1882-1963. Houses and trees. 1909', pg. 5-8, Sydney, Winter 1983, 5 (illus.).
Renée Free, Art Gallery of New South Wales handbook, 'European', pg. 36-56, Sydney, 1988, 50 (illus.), 51.
Bruce James, Art Gallery of New South Wales handbook, 'Western Collection: Paintings and Sculpture', pg. 17-77, Sydney, 1999, 53 (colour illus.).
Martha Kapos (Editor), The Post-Impressionists: a retrospective, 'Introduction', pg. 29-34, Connecticut, 1993, 29 (illus.).
Susan Lee (Editor), Art investigator, 'New Visions - Cubism', pg. 182-83, Port Melbourne, 1998, 182 (colour illus.).
Terence Maloon, Paths to abstraction 1867-1917, Sydney, 2010, 214 (colour illus.).
Rodney Milgate, Art and Australia (Vol. 18, No. 2), 'Artists Choice No. 6: Georges Braque', pg.150-151, Sydney, Summer 1980, 150, 151 (colour illus.).
Musee Cantini, Georges Braque et le paysage: de l'Estaque à Varengeville 1906-1963, Paris, 2006, 129 (colour illus.). cat.no.20
John Richardson (Editor), Georges Braque, an American tribute, New York, 1964.
Robert Rosenblum, Cubism and twentieth century art, London, circa 1960, 42 (illus.). as 'View of La Roche-Guyon' 1909
William Rubin, Picasso and Braque: pioneering cubism, New York, 1989, 112 (colour illus.).
Sotheby's New York, Sotheby's New York: the eye of a collector, works from the collection of Stanley J. Seeger, New York, May 2001, 99 (colour illus.). illustrated in reference to cat.no. 26 'La Maison. La Roche-Guyon'
Wendy Symonds (Editor), Look, 'Close-ups of the Collection', pg. 6, Heidelberg, Feb 1997, 3 (colour illus.), 6.
Alfred Werner, Raoul Dufy, New York, 1970, 23 (illus.). fig.no. 19, as 'View of La Roche-Guyon' collection Mr & Mrs George W. Staempfli, N.Y.
Drew Westen, Psychology: mind, brain & culture, Queensland, 1999, 132 (colour illus.).
Donald Williams and Barbara Vance Wilson, From caves to canvas: an introduction to western art (Second edition), 'De-Construct and Re-Construct: Cubism and its followers', pg.240-250, Sydney, 1998, 243 (colour illus.).
Donald Williams and Barbara Vance Wilson, From caves to canvas: an introduction to western art, 'De-Construct and Re-Construct: Cubism and its followers', pg.216-224, Sydney, 1992, 219 (colour illus.).