Picasso’s first construction, the 1912 paper Guitar, has long been considered the maquette for the later version executed in sheet metal (ca. spring–summer 1914). Instead, the paper Guitar should be seen as the inaugural work of modern sculpture. The materiality, facture, formal structure, and presentation of the 1912 Guitar show it to be related to contemporary collages and constructions. Picasso’s reuse of fragments of existing pictorial codes and materials constitutes a form of bricolage, while his de-skilled technique allows the paper Guitar to reflect on contemporary labor conditions and to become a conceptual model for subsequent works.
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