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In 2009, artist Robert Goetzl (also a first co us in to C hr is M a r t in) wa s co mmi ssi o ned to create a n e p ic wo r k of a r t d ep i c t i ng Ma r t i n’ s longstanding history—its family, its sound and i t s s t o r y. A f t e r s i x ye a r s i n t h e m a k i n g , t h e s ix- pa ne l se r ies of 4' by 3' cont i g uo us mura l s wa s completed a nd now ha ngs p ro mi nent l y i n the lobby of Martin’s Visitors Center. As richly textured as the music of the Martin guitar, t he murals are dimensional—most ly painstakingly painted, but also incorporating mixed media of collage and found objects. Certainly a labor of love fo r G o e t z l , he re f l e c t s o n t he p ro j ec t: “ I rea lize d t he e no r m ity of t he p ro j ec t—not j ust in sco p e b ut a lso in imp o r ta nce to t he fa mi l y a n d to t h e te n s o f t h o u s a n d s o f p e o p l e w h o wo uld b e lo o k ing at it. ” Vis it t he M a r t in G uitar fa c to ry, l o cated i n N a za ret h, Pa ., to view t he m u ra l i n p erso n, o r yo u ca n p urcha se a p ri nt si g ned by C ha ir m a n a nd C EO C hri s Ma r t i n IV o nl i ne at M a r t inG uita r.co m / 18 33 Sho p. M A R T I N G U I TA R . C O M |

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MARTIN | The Journal of Acoustic Guitars: Volume 7