1.L'Estaque (small village northwest of Marseille, autumn 1910)
Answers to 2. and 3. from John Golding, "Cubism: A History and an Analysis, 1907-1914":
2. "Braque had...begun to transform [his work] into tighter, more arbitrary compositions, [with] emphasis on [a] vertical and horizontal structure broken by forty-five degree diagonals...'Bottle and Fishes'...shows the new compositional methods carried a step further.
3. The table top and the bottle provide the main compositional accents, while the remainder of the surface is broken down in secondary vertical and horizontal sections. Through these planes the bodies of the fish, fragmented and dislocated, can be traced in a series of subsidiary diagonals. Only their heads remain immediately legible, and these provide the spectator with a starting point for the reconstruction of the subject."
From "The A-Z of Art: The World's Greatest and Most Popular Artists and Their Works", by Nicola Hodge and Libby Anson:
4. "Braque's large compositions incorporated the Cubist aim of representing the world as seen from a number of different viewpoints. He wanted to convey a feeling of being able to move around within the painting."
All of that was available on Google.
