The Port of La Ciotat
1907
Painter, French, 1882 - 1963

Braque was raised in the Normandy port town of Le Havre, where he first studied art. His early work was characterized by a conservative impressionist manner derived from artists such as Eugène Boudin and Johan Barthold Jongkind. While the lessons of postimpressionism eluded him at first, he emerged as a modernist painter following his revelatory experience of fauvism at the Salon d'automne in 1905. Braque's own fauve period was a short one, occupying less than two years between 1906 and 1907. He was especially close to the painter Othon Friesz, a fellow Norman with whom he made four sojourns: to the Belgian city of Antwerp in the summer of 1906; to L'Estaque, in the south of France, in the fall; to the southern town of La Ciotat during the late spring of 1907; and back to L'Estaque in October. All four trips represent important painting campaigns during which Braque assimilated elements of fauvist style, ultimately converting them into the dense, constructive Cézannesque manner that preceded cubism.
The Port of La Ciotat, dating from spring 1907, typifies Braque's work in the south of France, where the golden tonality that distinguished his palette throughout this period had already been heightened by his exposure to the southern light of L'Estaque. In the Midi, Braque also developed an increasingly abstract technique, allowing strokes and contours to gain an autonomous presence. The result was a flat, decorative quality that Braque shared with Friesz (although Friesz' sinuous brushwork is more closely related to the graphic mannerisms of art nouveau). While The Port manifests these elements, it is somewhat more naturalistic than Braque's more radical work from mid-1907. Open areas of ground and sky relieve the denser passages, coherently evoking deep space, and the distribution of lights and darks lends plasticity to the boats in the foreground. True to the innovations of fauve painting, however, colors are almost uniformly nondescriptive. The Port also contains certain ambiguities of the kind that Braque would continue to pursue in his cubist works—areas of indeterminate space, for example, and the highly cryptic representation of distant objects (here, boats in the water) with one or two thick strokes of the brush. Extended observation reveals a latent structural element: across the top and bottom of the scene, three sets of masts function as broken vertical lines, dividing the composition into four bands.
The subject of The Port is a common one. Both Braque and Friesz painted many such harbor scenes in L'Estaque and La Ciotat. La Ciotat was a shipbuilding town, and its small harbor was dominated by a large dry dock facility that appears in the background of the present picture, where two steamers are shown. [1]
Braque began exhibiting his fauve canvases, including five works produced during his trip to the Midi, at the Salon des indépendants in the spring of 1907. By the time of his return to L'Estaque that fall, Braque, whose interest had been piqued by the posthumous retrospective of Cézanne's work at the Salon d'automne, was exploring the implications of a structural relief style that would gradually but dramatically distance him from the patterned colorism of fauve painting.
(Text by Jeffrey Weiss, published in the National Gallery of Art exhibition catalogue, Art for the Nation, 2000)
Note
1. Alvin Martin and Judi Freeman, "The Distant Cousins in Normandy: Braque, Dufy, and Friesz," in Judi Freeman, ed., The Fauve Landscape [exh. cat., Los Angeles County Museum of Art] (Los Angeles, 1990), 235.

East Building Mezzanine, Gallery 217-B
Artwork overview
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Medium
oil on canvas
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Credit Line
-
Dimensions
overall: 64.8 x 81 cm (25 1/2 x 31 7/8 in.)
framed: 88.9 x 107.3 x 6.4 cm (35 x 42 1/4 x 2 1/2 in.) -
Accession
1998.74.6
Artwork history & notes
Provenance
(Galerie Kahnweiler, Paris, no. 1037); sequestered by French government during World War I and sold by the government at (Kahnweiler collection sale, Paris, 4 July 1922, no. 44);[1] purchased by Constantin Rodenbach, Paris and Zurich; sold 28 March 1952 through (Irma Hoenigsberg, Paris and Zurich) and (René Gas for Galerie André Maurice, Paris)[2] to Mr. and Mrs. John Hay Whitney, New York; gift 1998 to NGA.
[1] Letter dated 20 May 1999 from Galerie Louis Leiris in NGA curatorial files confirms that the painting is referenced in the photo archive of the Kahnweiler Gallery, no. 1037. A photograph in NGA curatorial records is stamped Galerie Louise Leiris Gallery, rue d'Astorg, and bears the no. 1037. During the Second World War, Daniel Kahnweiler fled France and turned his gallery over to his sister-in-law, Louis Leiris, in whose name it continued to operate. The gallery was located on the rue d'Astorg between 1914 and 1957, when it moved to the rue de Monceau. It is unclear why the Leiris Gallery stamped a photograph of the picture if it had been acquired by Rodenbach at the Kahnweiler sequestration sale of 1922. Rodenbach's acquisition was recorded in the French press and it is from Rodenbach that Whitney acquired the painting in 1952.
[2] See the following documents in NGA curatorial files: letter dated 26 November 1951 from René Gas of the Galerie Maurice André, accepting purchase offer for the painting; letter dated 28 March 1952 from representative of John Hay Whitney, authorizing payment to Constantin Rodenbach for the purchase of the painting; letter dated 4 April 1952 from representative of John Hay Whitney authorizing payment to Mrs. Irma Hoenigsberg for commission on the sale. The painting was sent by air from Zurich to New York on 18 March 1952. Rodenbach is identified with a Parisian address in the 1960 Tate exhibition catalogue; Hoenigsberg had addresses both in Zurich and Paris according to documents in NGA files.
Associated Names
Exhibition History
1914
Braque, Kunsthaus Emil Richter, Dresden, 1914.
1952
Les Fauves, Museum of Modern Art, New York; Minneapolis Institute of Art; San Francisco Museum of Art; Art Gallery of Toronto, 1952-1953, no. 17, repro.
1959
Triumph der Farbe: Die Europäischen Fauves, Museum zu Allerheiligen, Schaffhausen, Switzerland; Orangerie des Schlosses Charlottenburg, Berlin, 1959, no. 56.
1960
The John Hay Whitney Collection, Tate Gallery, London, 1960-1961, no. 7, repro.
1964
Benefit for Public Education Association, Seidenberg Galleries, New York, 1964.
1978
Aspects of Twentieth-Century Art, National Gallery of Art, Washington, D.C., 1978-1979, no. 37, repro.
1983
The John Hay Whitney Collection, National Gallery of Art, Washington, D.C., 1983, no. 41, repro.
1998
Gifts to the Nation from Mr. and Mrs. John Hay Whitney, National Gallery of Art, Washington, D.C., 1998-1999, no catalogue.
2000
Art for the Nation: Collecting for a New Century, National Gallery of Art, Washington, D.C., 2000-2001, unnumbered catalogue, repro.
2004
Fauve Painting from the Permanent Collection, National Gallery of Art, Washington, D.C., 2004-2005, no catalogue.
2005
Right Under the Sun: Landscape in Provence from Classicism to Modernism (1750-1920), Centre de la Vieille Charité, Marseille; Montreal Museum of Fine Arts, 2005-2006, no. 17, repro.
2008
Georges Braque, BA-CA Kunstforum, Vienna, 2008-2009, no. 7, repro.
2011
Georges Braque -- Pioneer of Modernism, Acquavella Galleries, Inc., New York, 2011, unnumbered catalogue, pl. 5.
2013
Georges Braque, 1882-1963, Galeries nationales du Grand Palais, Paris; The Museum of Fine Arts, Houston; Museo Guggenheim Bilbao, 2013-2014, no. 16, repro.
2014
Matisse and Friends: Selected Masterworks from the National Gallery of Art, Denver Art Museum, 2014-2015, no catalogue.
2021
Georges Braque 1906-1914: Erfinder des Kubismus/Inventor of Cubism, Kunstsammlung Nordrhein-Westfalen, Dusseldorf, 2021 - 2022, no. 12, repro.
Bibliography
1956
Rewald, John. "French Paintings in the collection of Mr. and Mrs. John Hay Whitney." The Connoisseur 134, no. 552 (April 1956):138, repro.
2014
Dorfman, John. "Gleaming the Cube." Art & Antiques 37, no. 2 (February 2014): 72, 75, color fig.
Inscriptions
lower right: Braque
Wikidata ID
Q20191130