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Georges Braque, L’oiseau noir et l’oiseau blanc (Black Bird and White Bird), 1960, oil on canvas, private collection, Paris. © 2014 Artists Rights Society (ARS), New York / ADAGP, Paris. Image © Leiris SAS Paris

Georges Braque: The Rule That Corrects the Emotion

Friday, Apr 25, 2014
1:30 p.m. - 2:30 p.m.

Law Building, Lower Level
1001 Bissonnet Map & Directions

Presented by Karen Wilkin, independent curator and critic.

“I like the rule that corrects the emotion" is one of Georges Braque's most celebrated aphorisms—yet he is also one of the most intuitive and unpredictable of painters. The coexistence of the Apollonian and the Dionysian that animates Braque's most powerful works is one the characteristics that sets him apart from his contemporaries and defines his achievement.

This lecture is presented in conjunction with Georges Braque: A Retrospective.

About the Friday and Saturday Afternoon Lecture Series
This series of lectures is held on Fridays at 1:30 p.m. with a repeat on Saturdays at 4 p.m. in Brown Auditorium Theater. A reception to meet the speaker and a “Your Turn to Speak” tour follow each lecture.

$5 MFAH Members
$8 Nonmembers + Museum admission
Free for Members at the Patron, Supporting, Sponsor, and Benefactor levels, up to two tickets. Leadership Circle members receive unlimited free tickets.
Secure your seat in advance! Use the "Get Tickets" button above and print at home; call 713.639.7771; or visit any MFAH admissions desk.

Friday and Saturday Afternoon Lectures at the MFAH receive generous support from Aggie and Joe Foster.

Special thanks to Adept Word Management for transcription services.

All education programs at the Museum of Fine Arts, Houston, receive endowment income from funds provided by Caroline Wiess Law; The National Endowment for the Humanities; the William Randolph Hearst Foundation; the Fondren Foundation; BMC Software, Inc.; the Wallace Foundation; the Louise Jarrett Moran Bequest; the Neal Myers and Ken Black Children’s Art Fund; the Favrot Fund; and Gifts in honor of Beth Schneider.