Although numerous studies deal with cubism and some discuss the representation of instruments like theguitar in cubist still-life constructions by Picasso and Juan Gris, practically none have addressed therelation between this modern vision of the guitar and musical thought of the time. While this musicaldebate attempted to synthesise elements of tradition and the avant-garde, and paralleled the emergence of the concept of “modern classicism”, it was often underpinned by cubist ideas.
There is a growing body of literature on the re-emergence of the classical guitar in the 20th century andits international dissemination in the 1920s. However, little work has been undertaken on the impact of thevisual arts in shaping critical constructions of the instrument, and the aesthetics and the repertory of its protagonists.
Ruth Piquer Sanclemente,Michael Christoforidis