Who draws the crowd and plays so loud? Guitar Heroes at the Met

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Guitar Heroes: Legendary Craftsmen from Italy to New York

Jayson Kerr Dobney

Guitar production began in Europe in the early fifteenth century, gradually replacing the quieter and less versatile lute. From southern Germany production moved to Italy: eventually as far south as Naples, which became an important centre. Then luthiers, or stringed instrument makers, emigrated to the United States in the nineteenth century, taking with them a tradition of making traditional violins, mandolins and guitars. 

Guitar workshops, many of them based in the New York metropolitan area, adapted to changes in musical tastes and produced newer types of instrument.  In the 1930s the Italian American makers became particularly known for their archtop guitars.  The three archtop guitar makers who are the focus of the Metropolitan Museum’s exhibition, and of the catalogue, are John D’Angelico (1905–64), James D’Aquisto (1935–95) and John Monteleone (b.1947). 

Very simply put, an archtop guitar differs from an ordinary guitar in that its front is not flat, but carved out and braced.  It has a floating bridge like a violin, the strings are braced at the bottom and it has f-holes instead of the normal guitar’s round sound hole.  Many of these elements are from the violin, some from the lute, some from the mandolin and, of course, the acoustic guitar.  All contribute to a construction that can cope with steel strings, making a much bigger sound than a normal acoustic guitar.   It became a popular instrument with some of the twentieth century's best-known jazz/big band/country and rock performers, some of whom (such as Paul Simon) have lent to the exhibition. 

The Metropolitan museum’s large musical instrument collection is rich in stringed instruments. These days museums are always trying to figure out ways to bring in new visitors (particularly people who ordinarily wouldn't step inside a museum) and someone had the clever idea that by focusing on the archtop guitar (none of which are in the collection, they're all loans), new visitors might be enticed.  And then the museum’s Italian stringed instruments (many of the oldest violins and lutes are in the exhibition), could also be highlighted.  The catalogue concludes with a good essay on the history of the museum's collection of Italian violins, some of which are still occasionally used today in recitals at the museum.

This catalogue is a treat whether or not you’re knowledgeable about stringed instrument construction, plus it's clearly written, with no jargon, and is beautifully illustrated.  Its format is that of a magazine because the museum has already published the text in its quarterly bulletin and has made a reprint to use as a catalogue for the exhibition, which runs until 4 July.

One of the advantages of going to the exhibition itself is being able to see a film, made in 1986, of James D’Aquisto in his workshop, building an archtop guitar.  If you can't get there, however, this lovely publication will go a long way toward informing you about the history of this fascinating instrument and three important craftsmen.

A multimedia guide to the exhibition, developed by the museum’s Digital Media Department, is available as a free download from iTunes.  Visit www.metmuseum.org

This book is published by the Metropolitan Museum of Art, New York and Yale University Press, 2011.48 pp.  80 col illus. ISBN 978-1-58839-422-4