He resolved the problem posed by the vast canvas by using large blocks of colour, giving the work as a whole strength and simplicity.
Les Oiseaux noirs (1956–57 or 1960 depending on the sources, Adrien Maeght collection) are representative of the bird concept, as are À tire d'aile (1956–1961, Center Pompidou Paris).
Braque examined the place at length and declared that he would decide whether to accept the commission only after asking his wife's opinion.
[7] Reconnecting with his first job as a painter and decorator, Georges Braque announced the chosen theme and the compensation he would require.
He directed his assistant Pierre Pallut to climb to the top of a large ladder with pieces of sky to judge the chromatic effect.
These models were gouaches on paper, part of which was presented at the Georges Braque 2013 exhibition at the Galeries nationales du Grand Palais, Paris.
Duncan Phillips, who could not finance the purchase of one of the works exhibited at the Aimé Maeght gallery in 1956, asked Braque for authorization to reproduce one of the birds in bas-relief.
[13] The Birds of the Louvre also fascinated Alfred Hitchcock, who commissioned a mosaic replica applied to a wall for his garden in Scott Valley in the Santa Cruz Mountains, California.