BRIC-A-BRAQUE by Bob Kessel
May 13th, 2011 by admin


BRIC-A-BRAQUE by Bob Kessel



CITRON by Bob Kessel





LE JOUR by Georges Braque



Georges Braque was born on May 13, 1882, in Argenteuil-sur-Seine, France. He grew up in Le Havre and studied evenings at the Ecole des Beaux-Arts there from about 1897 to 1899. He left for Paris to study under a master decorator to receive his craftsman certificate in 1901. From 1902 to 1904, he painted at the Académie Humbert in Paris, where he met Marie Laurencin and Francis Picabia. By 1906, Braque’s work was no longer Impressionist but Fauve in style; after spending that summer in Antwerp with Othon Friesz, he showed his Fauve work the following year in the Salon des Indépendants in Paris. His first solo show was at Daniel-Henri Kahnweiler’s gallery in 1908. From 1909, Pablo Picasso and Braque worked together in developing Cubism; by 1911, their styles were extremely similar. In 1912, they started to incorporate collage elements into their paintings and to experiment with the papier collé (pasted paper) technique. Their artistic collaboration lasted until 1914. Braque served in the French army during World War I and was wounded; upon his recovery in 1917, he began a close friendship with Juan Gris.


After World War I, Braque’s work became freer and less schematic. His fame grew in 1922 as a result of an exhibition at the Salon d’Automne in Paris. In the mid-1920s, Braque designed the decor for two Sergei Diaghilev ballets. By the end of the decade, he had returned to a more realistic interpretation of nature, although certain aspects of Braque’s Cubism always remained present in his work. In 1931, Braque made his first engraved plasters and began to portray mythological subjects. His first important retrospective took place in 1933 at the Kunsthalle Basel. He won First Prize at the Carnegie International, Pittsburgh, in 1937.


During World War II, Braque remained in Paris. His paintings at that time, primarily still lifes and interiors, became more somber. In addition to paintings, he also made Braque etchings, lithographs, engravings, prints and sculpture. From the late 1940s, he treated various recurring themes, such as birds, ateliers, landscapes, and seascapes. In 1954, he designed stained-glass windows for the church of Varengeville. During the last few years of his life, Braque’s ill health prevented him from undertaking further large-scale commissions, but he continued to paint, make lithographs, and design jewelry. He died on August 31, 1963, in Paris.




Feb 20th, 2010 by admin

It may be this love is a debt I am paying,
due to the destiny of my line,
and that Aphrodite is exacting a tribute of me for all my race.
Europa – this is the first beginning of our line – was loved of Zeus;
a bull’s form disguised the god,
Pasiphaë, my mother, a victim of the deluded bull,
brought forth in travail her reproach and burden.

- Ovid, Heroides



Bob Kessel’s art series “PICASSO IN PARIS” features pictures based on the works of the Pablo Picasso. These pictures are available as signed and numbered limited edition original fine art prints. Contact Bob Kessel for pricing and availability.


MINOTAUR by Pablo Picasso

Art is a human development before it is an aesthetic phenomenon, and Pablo Picasso, the twentieth century metaphysician, autobiographically represents his world translated into a personal aesthetic expression. As a Spaniard it was inevitable that the bull, the bullfight, and eventually the Minotaur, would concern Picasso.

The Minotaur, half-man, half-bull, virile and noble, but ultimately monstrous. The Surrealists loved the Minotaur and his Labyrinth as a symbol of man’s convoluted mind and animal nature.

The Minotaur myth emerged in the arts: Matisse illustrated Henry de Montherland’s Pasiphaë: Chant de Minos; Max Ernst’s Labyrinth and his Wheel of the Sun both allude to this myth, while his Spanish Physician shows a woman flirtatiously dropping her hankerchief before a minotaur-like figure; Giorgio de Chirico made many versions of sleeping The Soothsayer’s Recompense surrounded by labyrinthine colonnades, arches, and facades; and Victor Brauner depicted a wide-awake Ariadne on conveyance that Ernst Trova could have built for his Falling Man; while Masson continued his variations on the Pasiphaë-Labyrinth-Minotaur idea often greatly influenced by Picasso.

LAS MENINAS by Bob Kessel
Jun 14th, 2009 by admin


LAS MENINAS by Bob Kessel

Bob Kessel has a new art series “ART HISTORY” featuring pictures like “LAS MENINAS” shown above. Copying famous paintings is a time honored tradition among artists. Bob Kessel follows in this tradition with his take off on Velazquez’s famous painting. This picture and others are available as signed and numbered limited edition fine art prints. Contact Bob Kessel for pricing and availability.

Pablo Picasso also interpreted LAS MENINAS in several paintings.

“To me there is no past or future in art. The art of the great painters who lived in other times is not an art of the past; perhaps it is more alive today than it ever was.” – Pablo Picasso


LAS MENINAS by Velazquez


LAS MENINAS by Pablo Picasso

… and below, a takeoff of a takeoff-


PICASSO’S MENINAS by Richard Hamilton

Le déjeuner sur l’herbe by Bob Kessel
Jun 3rd, 2009 by admin


Above is an interpretation of
“Le déjeuner sur l’herbe” by Bob Kessel

Copying famous paintings is a time honored tradition among artists.
Bob Kessel follows in this tradition with his take off on Manet’s
“Le déjeuner sur l’herbe”.


Above is “Le déjeuner sur l’herbe” by Edouard Manet

This painting has been much copied,
but did you know that the arrangement of the figures in
“Le Dejeuner sur l’herbe” were themselves borrowed from
a famous 1514 engraving “The Judgment of Paris”
by Raimondi after a work by Raphael?


Above is “Le déjeuner sur l’herbe” by Raimondi

“Le déjeuner sur l’herbe” by Manet was interpreted by many artists, most notably Picasso in a series of 27 paintings, 6 prints and 140 drawings! Here is an example.


Above is “Le déjeuner sur l’herbe” by Pablo Picasso

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