guitar sheet music and glass
redeemable guitar sheet
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“In Guitar, Sheet Music, Glass, Picasso assembled his collage from seven pieces ofpaper, cut and pasted to a wallpaper ground. Each of these pieces of paperremains a discrete representational element within the composition, which as awhole represents a guitar hanging on a wall. …[T]he central portion of theguitar’s body appears as a negative shape, defined only by the paper elementsthat surround it. …The effect of transparency is all the more remarkable in thecollage for having been achieved with opaque and clearly flat shapes. Againstthe seemingly transparent surface of the hollow and partly overlapping the bluebridge of the guitar, Picasso pasted a white circle representing a sound hole,thereby reenacting the reversal of recessed and projecting forms that hadanimated the constructed “Guitar”. This reversal is, however, just one example ofthe many figure / ground reversals that traverse the whole of Picasso’s collageproduction. In Guitar, Sheet Music, Glass, each element is at once a figure to be readagainst the wallpaper ground and a miniature field of representation in its ownright and therefore functions as a synecdoche of the picture as a whole. Themost obvious example of this may be the white rectangle bearing the depiction ofa Cubist glass, but each of the other pieces of paper have also been treated asrepresentational surfaces. Moreover, … pictorial signifiers in this collage seem totake on value only because of the relational system within which they areimbedded. The guitar is given conflicting profiles, curved on the left,straight-edged on the right. These formal antinomies are repeated in the smalldrawing of the glass, again with the curved profile appearing at the left and thestraight-edged at the right.
“Picasso, … takes special delight in newspaper titles, often choosing to engagein a play of all the possible puns contained in the word journal, which is also thegeneric name of all newspapers. One of the better-known examples is Guitarand Wineglass, … in which “LE JOU” (The game) appears just above the title ofan article, “LA BATAILLE S EST ENGAGE [E] (The battle has begun). Thisphrase has been interpreted as alluding both to the Balkan Wars and to thebegin
ing of the challenge of collage itself as a new pictorial form.”
In the early 1900s, young artists in Paris yearned to move beyond the realistic portrayals of objects and landscapes that shaped much of the history of painting. To break from the past, they reduced objects to fragmented geometric shapes and angles, and experimented with new ways of presenting images from multiple perspectives within a single painting. While past artists showcased perspective and dimension in their works, younger artists like Pablo Picasso and Georges Braque created flat scenes that merge the subject and surface as one. They also experimented with forgoing paint altogether, pasting everyday items like newspapers and sheet music to the canvas. The results of their cumulative efforts was later termed Cubism.
What shapes did Pablo Picasso use to create his piece Guitar, Sheet Music, and Glass and how can similar shapes be used to create other instruments?
Picasso: Guitars 1912-1914
That sculpture is the centerpiece of this MoMA show. Picasso made it in Paris sometime in the fall or winter of 1912. About the size of a real guitar, it now looks achingly fragile and was, of course, never playable. And it embodies many of the aesthetic questions that Cubism raised:
For guitar. Classical. Score.
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