Their respective Cubist works were indistinguishable for many years, yet the quiet nature of Braque was partially eclipsed by the fame and notoriety of Picasso.

The Fauves, a group that included Henri Matisse and André Derain among others, used brilliant colors to represent emotional response.

[5] The same year, Braque's style began a slow evolution as he became influenced by Paul Cézanne who had died in 1906 and whose works were exhibited in Paris for the first time in a large-scale, museum-like retrospective in September 1907.

The 1907 Cézanne retrospective at the Salon d'Automne greatly affected the avant-garde artists of Paris, resulting in the advent of Cubism.

In his village scenes, for example, Braque frequently reduced an architectural structure to a geometric form approximating a cube, yet rendered its shading so that it looked both flat and three-dimensional by fragmenting the image.

Both artists produced paintings of monochromatic color and complex patterns of faceted form, now termed Analytic Cubism.

[15] Vauxcelles, on 25 March 1909, used the terms "bizarreries cubiques" (cubic oddities) after seeing a painting by Braque at the Salon des Indépendants.

[16] The term 'Cubism', first pronounced in 1911 with reference to artists exhibiting at the Salon des Indépendants, quickly gained wide use but Picasso and Braque did not adopt it initially.

Art historian Ernst Gombrich described Cubism as "the most radical attempt to stamp out ambiguity and to enforce one reading of the picture—that of a man-made construction, a colored canvas.

[18] The two artists' productive collaboration continued and they worked closely together until the beginning of World War I in 1914, when Braque enlisted with the French Army.

He developed a more personal style characterized by brilliant color, textured surfaces, and—after his relocation to the Normandy seacoast—the reappearance of the human figure.

[26] In 1962 Braque worked with master printmaker Aldo Crommelynck to create his series of etchings and aquatints titled L’Ordre des Oiseaux (The Order of Birds),[27] which was accompanied by the poet Saint-John Perse's text.

[35] During the period between the wars, Braque exhibited a freer, more relaxed style of Cubism, intensifying his color use and a looser rendering of objects.

The paintings taken were Le pigeon aux petits pois (The Pigeon with the Peas) by Pablo Picasso, La Pastorale by Henri Matisse, L'Olivier Près de l'Estaque (Olive Tree near Estaque) by Georges Braque, La Femme à l'Éventail [fr] (Woman with a Fan) by Amedeo Modigliani and Nature Morte aux Chandeliers (Still Life with Chandeliers) by Fernand Léger and were valued at €100 million ( $123 million USD).