ABSTRACT
In the last years of Erik Satie's life, Georges Braque was one of his closest friends. The guitar in the painting shares one characteristic with all of the innumerable guitars, mandolins and violins in Braque's paintings: the strings are not continuous. Braque's guitars almost never have six strings; they normally have five, four, or three - or no strings visible. Just as Braque's guitars generally have the wrong number of strings, so his musical staves generally have the wrong number of lines - three, four, or six, almost never five; and they never bear notes that add up to any identifiable piece of music. Braque published only one book of his own words: his Cahier, which was the work of a lifetime. However, Braque proceeds to a more personal interpretation of the traditional intermedial function in the way he presents the relationship between painting and poetry.
