Guitar, Glass, and Bottle by Pablo Picasso

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Guitar, Glass, and Bottle by Pablo Picasso 발음듣기

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We're here in MoMA storage with Pablo Picasso's "Glass, Guitar, and Bottle" of 1913.발음듣기

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He, along with other Cubist 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.발음듣기

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By contrast, what Picasso sets the task of doing is trying to build a collage of paint.발음듣기

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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.발음듣기

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So he used all of these different tools and devices to manipulate his paint.발음듣기

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Stencils, bits of cardboard to push up against the edges of paintings. These very sharp, distinct lines.발음듣기

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Sometimes he would use, with a stencil that was cut, the jagged edges of his scissors, (Right?) would be translated over into the paint.발음듣기

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Our conservators suspect that in some areas creating skins of paint - skins of white lead paint - and then literally applying those in these shaped contours to the surface of this work - so, actually, taking the material of paint and making it a collage element literally. [LAUGHTER.]발음듣기

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The Paris Surrealists, some people like Louis Aragon and Andr? Breton, always insisted, in fact, that paste and paper were not essential to the making of collage.발음듣기

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They really described 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.발음듣기

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That made you so forcefully cognizant of the constructed nature.발음듣기

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Picasso's always engaged with this game of the true and the false, the vrai and the faux, reality and illusion.발음듣기

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And this picture sort of ups the ante of that game in this way that is absolutely remarkable.발음듣기

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