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Still Life with a Fruit Dish

Georges Braque, French, 1882 - 1963

Made in France, Europe


Oil on canvas

23 3/4 x 32 inches (60.3 x 81.3 cm) Framed: 33 1/2 x 41 3/4 x 4 inches (85.1 x 106 x 10.2 cm)

© Artists Rights Society (ARS), New York / ADAGP, Paris

Curatorial Department:
European Painting

Object Location:

Currently not on view

Accession Number:

Credit Line:
The Samuel S. White 3rd and Vera White Collection, 1967

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Additional information:
  • PublicationMasterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art

    Together with Picasso, Georges Braque invented a new pictorial treatment of space and perspective that came to be known as Cubism. This colorful painting presents a still life made up of elements typically found in Cubist paintings of the early twentieth century: a large fruit dish, a glass, a newspaper, a pipe, and pieces of fruit arranged on a wooden table. Created in the mid-1930s, Still Life with a Fruit Dish is a collage-like composition in which each element is rendered in jagged lines, accentuated by the design of the pink, black, green, red, and yellow fabrics surrounding the table. Although reminiscent of Braque's earlier Cubist works, this large-scale still life is much more colorful than these paintings, which were usually rendered in more muted tones. In Still Life with a Fruit Dish, Braque integrated foreground and background into a unified complex whole, so all objects seem to share a single plane. This still life exemplifies Braque's poetic reinterpretation of Cubism later in his career. Emily Hage, from Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art (2007), p. 124.


With Paul Rosenberg & Co., Paris [1]; sold to Samuel S. White, 3rd (1876-1952), Ardmore, PA, probably late 1930's [2]; bequest of Vera White (Mrs. Samuel S. White, 3rd) to PMA, 1967. 1. Rosenberg was Braque's dealer from 1923 onward. The painting may have been exhibited in 1937 at the Rosenberg gallery as "Pommes, verre et pipe" (60 x 81 cm.), although it depicts a pipe, glass, and lemons, not apples. This exhibition is also cited by Henry Gardiner in the White Collection catalog entry (PMA Bulletin, vol 63, nos. 296 and 297, January-March 1968 and April-June 1968). 2. See letter in curatorial file from Elaine Rosenberg (Paul Rosenberg & Co.) dated February 14, 2002, which states that the painting was most likely sold to S.S. White in Paris, thus before Rosenberg left Paris in 1940. See also Gardiner, White Collection catalog, no. 5, p. 79, stating that the painting was purchased by the Whites in Europe in the late 1930's.