Picasso'nun "Gitar, Bardak ve Şişe" İsimli Eseri

we're here in moma storage with pablo picasso's glass guitar and bottle of 1913 he along with other Cuba's painters notably Georges Braque and Juan Gris had begun to introduce non art materials into their fine art pictures things like wallpaper or newspaper a few snippets of which you see here by contrast what picasa sets the task of doing is trying to build the collage of pain the result is really one of Picasso's most complex paintings of the Cubist period in terms of its facture and the variety of its surface effects so he used all these different tools and devices to manipulate his his paint stencils bits of cardboard to push up against the edges of paintings these very sharp distinct lines sometimes he would use with a stencil that was cut the jagged edges of his scissors right would be translated over in into the paint our conservators suspect that in some areas creating skins of paint skins of white LED paint and then literally applying those in these shape contours to the surface of this so actually taking the material of paint and making it a collage element literally the Paris sorella some people like Louis errigal and Andre Breton always insisted in fact that paste and paper were not essential to the making of collage they really describe collage as an operation that set out to produce a work of art that wasn't a seamless unity that wasn't a coherent whole that made you so forcefully a parent of the constructed nature Picasso's always engage with this game of the true and the false the frame the faux reality and illusion and this a picture sort of ups the ante of that game in this way that is absolutely remarkable