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At this time, Picasso painted using monochromatic colors, and chose themes and subjects that were expressive of sadness, tragedy and sorrow. Pablo Picasso is known for his Cubism, but this painting was created well before that, during his ‘Blue Period.’ This period occurred after Picasso experienced the death of a close friend who committed suicide. The guitar was painted to seem as big as the frail man. The proportion of the man to his guitar is also noteworthy. There is nothing else in the painting to avert the eye, and gives the viewer a closer more intimate view into the man, and at the details of his physique. The man and his guitar cover most of the area. If this painting were a photograph, it could be referred to as ‘zoomed in’ or a close-up. Once, as I follow the line of the guitar neck, and twice as I follow the line of the right foot, both of which continue off the painting. It seems the painting is closed, but in two places my eyes are led off the painting. They could be thought of as united, except for Picasso’s use of color that separates them. The man and the guitar are close together in terms of space. He seems weary, and lacks the strength to keep his head up. However it is easy to imagine horizontal lines, as I look at the man’s head bent over, and crossed legs. The painter uses contour lines to outline the thin, seemingly malnourished, form of the man’s body. These were the focal points that my eyes were led to because of Picasso’s use of color. Finally, I noticed his bony legs and wiry arms. I was then led to the man’s head, with his white hair, gaunt face and neck.

I wanted to know why he was alone, dressed in rags and what the guitar had meant to his life.Īt first sight, my eyes took in the beautiful guitar because it shone bright in contrast to the somber gray scale hues surrounding it. My heart went out to the old, blind man in the painting, as if he were real and sitting in front of me. I had never viewed this painting before and as I was scanning through the online pages, it caught my eye immediately. It can now be found at the Art Institute of Chicago. It was painted in 1903, in Spain, and thought to be finished the following year in Paris. Along with discussions of important new books, MQ publishes review essays on a wide variety of significant new music performances and recordings.On JanuI observed an artwork entitled The Old Guitarist, by Pablo Picasso. In addition, a fifth section entitled 'Primary Sources' features discussions on issues of biography, texts, and manuscripts reflections on leading figures personal statements by noted performers and composers and essays on performances and recordings. Regular sections include 'American Musics', 'Music and Culture', 'The Twentieth Century', and an 'Institutions, Industries, Technologies' section which examines music and the ways it is created and consumed. The journal focuses on the merging areas in scholarship where much of the challenging new work in the study of music is being produced.

Over the years it has published the writings of many important composers and musicologists, including Aaron Copland, Arnold Schoenberg, Marc Blitzstein, Henry Cowell, and Camille Saint-Saens. The Musical Quarterly, founded in 1915 by Oscar Sonneck, has long been cited as the premier scholarly musical journal in the United States.