The Guitar: “Statue of terror”

the Guitar “Rules of terror” is a work of Georges Braque, realized in November 1913. It is a question in this work of introducing an object having a material reality distinct from strictly pictorial reality, playing at the same time as reference so that he represents and like surfaces coloured. One finds the oval space seen in width, already used in several paintings of the same time, which tightens the composition and can also be a metaphor of the table, glaze of objects. But the ellipse drawn with the charcoal and encircled gouache, is registered here by the painter in the traditional rectangle, the margins announcing a framework.
In the center of the table a Guitare appears whose form is cut out in a raised paper of a drawing to the Fusain which clarifies the significance of cutting: cord and Rosette of the instrument. A line intervenes to underline of white the volume of the case. The charcoal also defines plans being able to be interpreted like musical sheets of paper, posters or ranges. A stemmed glass is drawn like the partition of close music. Somebody (Jean Laude) noticed that, private their notes, these ranges musical functioned like “an echo of the cords of the instrument” . Among the announcing leaflets of the spectacles, one notices one of them, evoked by large drawn letters imitating those which one obtains with the Pochoir, introducing the word “CONCERT”. Direct is besides the first to introduce the letter of printing works into painting. One distinguishes another, quite real, stuck on the paper of the bottom, giving the programme of a representation of the “Trivoli-Cinema” of Sorgues.
Other stuck papers, one black, the other false wood of trade, act like coloured surfaces. They constitute another play on the various levels of reality. The choice of a paper false-wood refers to the material in which the instrument is built. The recourse to the comb to paint false-wood and the technique of the false-marble in painting is due to Braque.

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