Modern Art Around Barcelona Depicting Man With Arms Spread Out

1937 oil painting by Pablo Picasso

Guernica
Creative person	Pablo Picasso
Year	1937
Medium	Oil on sail
Movement	Cubism, Surrealism
Dimensions	349.three cm × 776.half dozen cm (137.4 in × 305.v in)
Location	Museo Reina Sofía, Madrid, Spain

Guernica (Castilian: [ɡeɾˈnika]; Basque: [ɡernika]) is a large 1937 oil painting on canvas by Spanish creative person Pablo Picasso.^{[ane] [2]} It is i of his best-known works, regarded by many art critics as the most moving and powerful anti-war painting in history.^[three] It is exhibited in the Museo Reina Sofía in Madrid.^[4]

The grayness, black, and white painting, which is iii.49 meters (xi ft 5 in) tall and 7.76 meters (25 ft vi in) beyond, portrays the suffering wrought by violence and chaos. Prominent in the composition are a gored equus caballus, a bull, screaming women, a dead babe, a dismembered soldier, and flames.

Picasso painted Guernica at his dwelling house in Paris in response to the 26 April 1937 bombing of Guernica, a Basque Country town in northern Spain which was bombed by Nazi Germany and Fascist Italy at the request of the Spanish Nationalists. Upon completion, Guernica was exhibited at the Spanish display at the 1937 Paris International Exposition, and then at other venues around the globe. The touring exhibition was used to enhance funds for Spanish war relief.^[v] The painting soon became famous and widely acclaimed, and it helped bring worldwide attention to the Spanish Ceremonious War.

Commission [edit]

In January 1937, while Pablo Picasso was living in Paris on Rue des Grands Augustins, he was deputed by the Spanish Republican authorities to create a large mural for the Castilian pavilion at the 1937 Paris World'southward Fair. This piece was to assist heighten awareness of the war and enhance necessary funds.^[6] Picasso, who had last visited Spain in 1934 and would never return, was the Honorary Director-in-Exile of the Prado Museum.^[vii]

Picasso worked somewhat dispassionately from January until late April on the project's initial sketches, which depicted his perennial theme of an artist'south studio.^[one] And so, immediately upon hearing reports of the 26 April bombing of Guernica, poet Juan Larrea visited Picasso'due south home to urge him to brand the bombing his subject.^[1] Days later, on i May, Picasso read George Steer'south eyewitness account of the assault, which originally had been published in both The Times and The New York Times on 28 April, and abandoned his initial idea. Acting on Larrea's proposition, Picasso began sketching a series of preliminary drawings for Guernica.^[eight]

Historical context [edit]

Bombing of 26 April 1937 [edit]

During the Castilian Ceremonious State of war, the Republican forces were made up of assorted factions such as communists, socialists, anarchists, and others with differing goals. Still they were united in their opposition to the Nationalists, led by General Francisco Franco, who sought a return to pre-Republican Kingdom of spain based on law, order, and traditional Catholic values.^[ix]

Guernica, a town in the province of Biscay in Basque Land, was seen as the northern bastion of the Republican resistance movement and the eye of Basque culture. This added to its significance as a target.^[10] Effectually iv:30 p.m. on Monday, 26 April 1937, warplanes of the Nazi Germany Condor Legion, commanded past Colonel Wolfram von Richthofen, bombed Guernica for about 2 hours.^{[11] [10]} In his journal for thirty Apr 1937, von Richthofen wrote:

When the first Junkers squadron arrived, there was smoke already everywhere (from the VB [VB/88] which had attacked with iii aircraft); nobody would identify the targets of roads, bridge, and suburb, then they just dropped everything right into the center. The 250s toppled a number of houses and destroyed the h2o mains. The incendiaries at present could spread and go effective. The materials of the houses: tile roofs, wooden porches, and half-timbering resulted in complete anything. Almost inhabitants were away because of a holiday; a bulk of the residue left town immediately at the beginning [of the battery]. A small number perished in shelters that were hit."^[12]

Other accounts land that since information technology was Guernica's market twenty-four hours, its inhabitants were congregated in the eye of boondocks. When the bombardment began they were unable to escape because the roads were total of droppings and the bridges leading out of boondocks had been destroyed.

Guernica was a quiet village 10 kilometers from the front end lines, and in-between the front lines and Bilbao, the capital of Bizkaia (Biscay). But any Republican retreat towards Bilbao, or any Nationalist advance towards Bilbao, had to laissez passer through Guernica.^[13] Wolfram von Richthofen's state of war diary entry for 26 April 1937 states, "K/88 [the Condor Legion bomber force] was targeted at Guernica in order to halt and disrupt the Ruby withdrawal which has to pass through here." Under the German concept of tactical bombing, areas that were routes of transportation and troop movement were considered legitimate military targets. The following day, Richthofen wrote in his war diary, "Guernica burning".^[fourteen]

The nearest military target of any outcome was a war production factory on Guernica's outskirts, but information technology went through the assail unscathed. Thus, the attack was widely condemned as a terror bombing.^{[15] [xvi]}

Guernica'south aftermath [edit]

Because a majority of Guernica'southward men were away, fighting on behalf of the Republicans, at the time of the bombing the boondocks was populated mostly by women and children.^[17] These demographics are reflected in Guernica. As Rudolf Arnheim writes, for Picasso: "The women and children make Guernica the paradigm of innocent, caught humanity victimized. Likewise, women and children take oftentimes been presented by Picasso as the very perfection of flesh. An assault on women and children is, in Picasso's view, directed at the core of mankind."^[10]

The Times journalist George Steer, a Basque and Republican sympathizer, propelled this event onto the international scene and brought information technology to Pablo Picasso's attending. Steer'southward bystander account was published on 28 April in both The Times and The New York Times, and on the 29th it appeared in Fifty'Humanité, a French Communist daily. Steer wrote:

Guernica, the most ancient town of the Basques and the middle of their cultural tradition, was completely destroyed yesterday afternoon by insurgent air raiders. The bombardment of this open town far behind the lines occupied precisely 3 hours and a quarter, during which a powerful fleet of aeroplanes consisting of iii types of German language types, Junkers and Heinkel bombers, did non stop unloading on the town bombs weighing from 1,000 lbs. downwards and, it is calculated, more than iii,000 two-pounder aluminium incendiary projectiles. The fighters, meanwhile, plunged depression from above the centre of the town to machinegun those of the civilian population who had taken refuge in the fields."^[17]

Picasso lived in Paris during the German language occupation during World War II. A widely repeated story is that a German officer once asked him, upon seeing a photo of Guernica in Picasso'due south apartment, "Did you lot practice that?", and Picasso responded, "No, you did."^[18]

Creation [edit]

On eleven May the canvas is fix, and immediately the composition is laid down as a linear structure that covers the whole surface. Piece of work on the mural is accompanied by more than thirty studies for the details. The rough plan exists from the first, but it takes three weeks before the picture receives its final form. The bull's head remains where it was first put, but the body is turned around to the left. On xx May the horse lifts its head. The body of the soldier stretched on the floor from left to right changes position on 4 June, so head and hand accept on their finished shape.

At the final moment the creative person makes i decisive adjustment: the drama get-go took place on a street with burning houses in the groundwork. At present, suddenly, the diagonals are accentuated, and thereby space becomes ambiguous, unreal, within and outside at the same time. The lamp is hung over the equus caballus's head, looking on the dreadful scene like a wide-open eye. The construction is strengthened, the mural more strongly integrated in Sert's architecture. Into the hand of the dying soldier, next to the broken sword, Picasso puts the little flower of hope.

The picture was finished almost mid-June. Hundreds of thousands of exhibition-goers wandered by, looking on information technology every bit a wall ornamentation, just as Europe wandered by the homo drama of the Spanish Civil War—as if information technology were a matter concerning only the inhabitants of the peninsula. They overlooked the warning, did not understand that democracy on the whole continent was at stake.

West. J. H. B. Sandberg, Daedalus, 1960 ^[19]

Guernica was painted using a matte house paint specially formulated at Picasso's request to have the least possible gloss.^[1] American artist John Ferren assisted him in preparing the monumental canvas,^[20] and photographer Dora Maar, who had been working with Picasso since mid-1936 photographing his studio and teaching him the technique of cameraless photography,^[21] documented its creation. Autonomously from their documentary and publicity value, Maar'southward photographs "helped Picasso to eschew colour and requite the work the black-and-white immediacy of a photograph", according to art historian John Richardson.^[1]

Picasso, who rarely allowed strangers into his studio to scout him work, admitted influential visitors to notice his progress on Guernica, believing that the publicity would help the antifascist crusade.^[1] Equally his work on the mural progressed, Picasso explained: "The Spanish struggle is the fight of reaction against the people, against freedom. My whole life equally an artist has been nothing more than than a continuous struggle against reaction and the death of fine art. How could anybody call up for a moment that I could be in agreement with reaction and expiry? ... In the panel on which I am working, which I shall telephone call Guernica, and in all my contempo works of art, I conspicuously express my abhorrence of the armed services degree which has sunk Spain in an ocean of pain and death."^[22]

Picasso worked on the painting for 35 days, and finished it on 4 June 1937.^[1]

Composition [edit]

The scene occurs within a room where, on the left, a wide-eyed bull with a tail suggesting ascension smoke stands over a grieving woman holding a dead kid in her artillery. A horse falls in desperation in the center of the room, with a big gaping hole in its side, every bit if it had only been run through by a spear or javelin. The horse appears to be wearing chain mail service armor, decorated with vertical tally marks arranged in rows.

A expressionless and dismembered soldier lies nether the horse. The paw of his severed right arm grasps a shattered sword, from which a bloom grows, and the open palm of his left hand contains a stigma, a symbol of martyrdom derived from the stigmata of Christ. A bare light bulb in the shape of an all-seeing eye blazes over the suffering horse's head.

To the horse's upper right the head and extended right arm of a frightened female figure appears to have floated into the room through a window, and she witnesses the scene. In her right hand she carries a flame-lit lamp, and holds information technology nearly the bare bulb. From the right, below the witness, an awe-struck woman staggers towards the middle, looking into the blazing low-cal bulb with a bare stare.

Daggers that propose screaming accept replaced the tongues of the horse, the bull, and the grieving adult female. To the bull'due south correct a dove appears on a cracked wall through which bright low-cal from the outside shines.

On the far right a quaternary adult female, her arms raised in terror, her wide open rima oris and thrown back head echoing the grieving adult female'due south, is entrapped by burn from above and below. Her right hand suggests the shape of an airplane.

A dark wall with an open door defines the correct side of the room.

Two "hidden" images formed by the horse announced in Guernica:^[23]

• The horses nostrils and upper teeth can besides be seen every bit a human skull facing left and slightly down.
• A balderdash appears to gore the horse from underneath. The balderdash's caput is formed mainly by the equus caballus's entire front end leg which has the knee on the ground. The leg's knee joint cap forms the head's nose. A horn appears inside the equus caballus'southward breast. The bull's tail forms the image of a flame with smoke rising from it, seemingly appearing in a window created by the lighter shade of gray surrounding information technology.

Symbolism and interpretations [edit]

Interpretations of Guernica vary widely and contradict ane some other. This extends, for instance, to the landscape'due south two dominant elements: the bull and the horse. Art historian Patricia Declining said, "The bull and the horse are important characters in Spanish culture. Picasso himself certainly used these characters to play many unlike roles over time. This has made the task of interpreting the specific meaning of the bull and the horse very tough. Their human relationship is a kind of ballet that was conceived in a variety of ways throughout Picasso's career."

When pressed to explain the elements in Guernica, Picasso said,

...this bull is a bull and this horse is a horse... If yous give a significant to certain things in my paintings it may exist very true, but it is non my idea to give this meaning. What ideas and conclusions you lot accept got I obtained also, just instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are.^[24]

In The Dream and Lie of Franco, a series of narrative sketches Picasso also created for the Earth's Fair, Franco is depicted as a monster that kickoff devours his own horse and after does boxing with an angry bull. Work on these illustrations began before the bombing of Guernica, and four additional panels were added, three of which relate directly to the Guernica mural.

Co-ordinate to scholar Beverly Ray, the following list of interpretations reflects the general consensus of historians: "The shape and posture of the bodies express protest"; "Picasso uses black, white, and grayness pigment to gear up a somber mood and limited pain and anarchy"; "flaming buildings and crumbling walls non only express the destruction of Guernica, but reverberate the destructive ability of civil war"; "the newspaper impress used in the painting reflects how Picasso learned of the massacre"; "The light bulb in the painting represents the sun"; and "The broken sword well-nigh the bottom of the painting symbolizes the defeat of the people at the mitt of their tormentors".^[11]

Alejandro Escalona said, "The chaos unfolding seems to happen in closed quarters provoking an intense feeling of oppression. In that location is no way out of the nightmarish cityscape. The absenteeism of color makes the violent scene developing right before your eyes even more horrifying. The blacks, whites, and grays startle you—peculiarly because you are used to see state of war images broadcast live and in loftier-definition right to your living room."^[25]

In drawing attention to a number of preliminary studies, the so-called primary project,^[26] that bear witness an atelier installation incorporating the central triangular shape which reappears in the final version of Guernica, Becht-Jördens and Wehmeier translate the painting as a self-referential limerick in the tradition of atelier paintings such equally Las Meninas by Diego Velázquez. In his chef d'oeuvre, Picasso seems to be trying to define his role and his power as an artist in the face of political power and violence. But far from existence a mere political painting, Guernica should be seen as Picasso's comment on what art can actually contribute towards the self-exclamation that liberates every homo existence and protects the individual against overwhelming forces such every bit political criminal offense, war, and decease.^[27]

Exhibition [edit]

1937 Paris International Exhibition [edit]

Guernica was unveiled and initially exhibited in July 1937 at the Castilian Pavilion at the Paris International Exposition,^[28] where Nazi Frg and Stalinist Russia had huge pavilions. The Pavilion, which was financed by the Spanish Republican regime at the fourth dimension of ceremonious state of war, was built to exhibit the Spanish government's struggle for beingness contrary to the Exposition's technology theme. The Pavilion's entrance presented an enormous photographic mural of Republican soldiers accompanied by the slogan:

We are fighting for the essential unity of Espana.

We are fighting for the integrity of Spanish soil.

We are fighting for the independence of our country and for the correct of the Spanish people to determine their ain destiny.

The display of Guernica was accompanied by a poem by Paul Éluard, and the pavilion displayed The Reaper by Joan Miró and Mercury Fountain by Alexander Calder, both of whom were sympathetic to the Republican crusade.

At Guernica 's Paris Exhibition unveiling information technology garnered footling attention. The public'due south reaction to the painting was mixed.^[29] Max Aub, one of the officials in charge of the Castilian pavilion, was compelled to defend the piece of work confronting a group of Spanish officials who objected to the landscape'southward modernist style and sought to replace information technology with a more traditional painting that was also deputed for the exhibition, Madrid 1937 (Black Aeroplanes) by Horacio Ferrer de Morgado.^[1] Some Marxist groups criticized Picasso's painting as defective in political commitment, and faulted it for not offer a vision of a better future.^[30] In contrast, Morgado's painting was a not bad success with Spanish Communists and with the public.^[1] The art critic Cloudless Greenberg was too disquisitional of Guernica,^[31] and in a later essay he termed the painting "jerky" and "too compressed for its size", and compared it unfavorably to the "magnificently lyrical" The Charnel House (1944–1948), a afterwards antiwar painting by Picasso.^[32]

Among the painting'southward admirers were art critic Jean Cassou and poet José Bergamín, both of whom praised the painting as quintessentially Spanish.^[33] Michel Leiris perceived in Guernica a foreshadowing: "On a black and white canvass that depicts ancient tragedy ... Picasso also writes our letter of doom: all that we honey is going to be lost..."^[34]

European tour [edit]

Guernica, for which Picasso was paid 200,000 francs for his costs by the Spanish Republican government, was one of the few major paintings that Picasso did non sell direct to his exclusive contracted art dealer and friend, Paul Rosenberg.^[35] Withal, afterward its exhibition Rosenberg organised a four-homo caricature Scandinavian tour of 118 works past Picasso, Matisse, Braque, and Henri Laurens. The tour'due south primary attraction was Guernica.

From Jan to Apr 1938 the tour visited Oslo, Copenhagen, Stockholm, and Göteborg. Starting in late September Guernica was exhibited in London's Whitechapel Art Gallery. This stop was organized by Sir Roland Penrose with Labour Party leader Clement Attlee, and the painting arrived in London on 30 September, the aforementioned day the Munich Understanding was signed by the leaders of the United Kingdom, France, Italy, and Germany. It then travelled to Leeds, Liverpool, and, in early on 1939, Manchester. There, Manchester Foodship For Spain, a grouping of artists and activists engaged in sending assistance to the people of Spain, exhibited the painting in the HE Nunn & Co Ford automobile exhibit for two weeks.^[36] Guernica and so returned briefly to France.

American tour [edit]

After Francisco Franco's victory in Espana, Guernica was sent to the U.s.a. to raise funds and support for Spanish refugees. It was first shown at the Valentine Gallery in New York City in May 1939. The San Francisco Museum of Fine art (afterward renamed the San Francisco Museum of Modern Art) gave the work its first museum appearance in the United states of america from 27 August to nineteen September 1939. New York's Museum of Modernistic Art (MoMA) and so mounted an exhibition from fifteen Nov until 7 January 1940, entitled: Picasso: 40 Years of His Art. The exhibition, which was organized by MoMA's director Alfred H. Barr in collaboration with the Fine art Institute of Chicago, contained 344 works, including Guernica and its studies.^[37]

At Picasso'southward request the safekeeping of Guernica was then entrusted to the Museum of Mod Art, and it was his expressed desire that the painting should not be delivered to Spain until liberty and democracy had been established in the land.^[7] Between 1939 and 1952, Guernica traveled extensively in the United States. Betwixt 1941 and 1942, information technology was exhibited at Harvard Academy's Fogg Museum twice.^{[38] [39]}

Between 1953 and 1956 it was shown in Brazil, then at the first Picasso retrospective in Milan, Italian republic, so in numerous other major European cities before returning to MoMA for a retrospective celebrating Picasso's 75th altogether. It then went to Chicago and Philadelphia. Past this time, concern for the land of the painting resulted in a decision to keep it in one place: a room on MoMA's third floor, where information technology was accompanied by several of Picasso's preliminary studies and some of Dora Maar's photographs of the work in progress. The studies and photos were often loaned for other exhibitions, merely until 1981, Guernica itself remained at MoMA.^[7]

During the Vietnam War, the room containing the painting became the site of occasional anti-war vigils. These were usually peaceful and uneventful, but on 28 February 1974, Tony Shafrazi—ostensibly protesting Second Lieutenant William Calley's petition for habeas corpus following his indictment and sentencing for the murder of 109 Vietnamese civilians during the My Lai massacre—defaced the painting with red spray pigment, painting the words "KILL LIES ALL". The paint was removed with relative ease from the varnished surface.^[40]

Establishment in Spain [edit]

As early on as 1968, Franco had expressed an involvement in having Guernica come to Kingdom of spain.^[7] Notwithstanding, Picasso refused to allow this until the Spanish people again enjoyed a democracy. He afterward added other conditions, such equally the restoration of "public liberties and democratic institutions". Picasso died in 1973. Franco, ten years Picasso's inferior, died 2 years afterwards, in 1975. Later on Franco's expiry, Kingdom of spain was transformed into a democratic constitutional monarchy, ratified by a new constitution in 1978. However, MoMA was reluctant to give up 1 of its greatest treasures and argued that a monarchy did not represent the commonwealth that had been stipulated in Picasso's will as a status for the painting's delivery. Under great pressure from a number of observers, MoMA finally ceded the painting to Spain in 1981. The Spanish historian Javier Tusell was one of the negotiators.

Upon its arrival in Spain in September 1981,^[41] it was start displayed behind bomb-and bullet-proof glass screens^[42] at the Casón del Buen Retiro in Madrid in time to gloat the centenary of Picasso'due south birth, 25 October.^[41] The exhibition was visited by almost a meg people in the starting time year.^[43] Since that time there has never been any attempted vandalism or other security threat to the painting.

A tiled wall in Gernika claims "Guernica" Gernikara, "The Guernica (painting) to Gernika."

In 1992, the painting was moved from the Museo del Prado to a purpose-built gallery at the Museo Nacional Centro de Arte Reina Sofía, both in Madrid, along with about 2 dozen preparatory works.^[44] This activity was controversial in Spain, since Picasso'south volition stated that the painting should be displayed at the Prado. Nonetheless, the move was part of a transfer of all of the Prado's collections of art afterward the early 19th century to other nearby buildings in the city for reasons of infinite; the Reina Sofía, which houses the capital letter's national collection of 20th-century art, was the natural place to move it to. At the Reina Sofía, the painting has roughly the same protection every bit whatever other work.^[45]

Basque nationalists take advocated that the picture should be brought to the Basque Country,^[46] especially after the building of the Guggenheim Bilbao Museum. Officials at the Reina Sofía merits^[47] that the sail is at present thought to be as well fragile to move. Fifty-fifty the staff of the Guggenheim do not see a permanent transfer of the painting every bit possible, although the Basque government continues to support the possibility of a temporary exhibition in Bilbao.^[45]

Tapestry at the United nations [edit]

A full-size tapestry copy of Picasso's Guernica, by Jacqueline de la Baume Dürrbach,^[48] hangs at the Headquarters of the United Nations in New York City at the entrance to the Security Council room.^[49] It is less monochromatic than the original and uses several shades of brownish.

The Guernica tapestry was first displayed from 1985 to 2009, and returned in 2015. Originally commissioned in 1955 by Nelson Rockefeller, since Picasso refused to sell him the original,^[l] the tapestry was placed on loan to the Un by the Rockefeller manor in 1985.^[51]

On 5 February 2003 a large bluish mantle was placed to cover over the work at the United nations, and then that it would not exist visible in the background during press conferences past Colin Powell and John Negroponte as they were arguing in favor of state of war on Iraq.^[52] On the following day, Un officials claimed that the drapery was placed there at the request of goggle box news crews, who had complained that the wild lines and screaming figures made for a bad backdrop, and that a horse'southward hindquarters appeared just above the faces of any speakers. Some diplomats, however, in talks with journalists claimed that the Bush administration pressured UN officials to cover the tapestry, rather than have it in the background while Powell or other United states of america diplomats argued for war on Iraq.^[5] In a critique of the covering, columnist Alejandro Escalona hypothesized that Guernica 'due south "unappealing ménage of mutilated bodies and distorted faces proved to be likewise stiff for articulating to the world why the United states was going to war in Iraq", while referring to the work as "an inconvenient masterpiece".^[25]

On 17 March 2009, Deputy Spokesperson for the Secretarial assistant-General Marie Okabe announced that the Guernica tapestry had been moved to a gallery in London in advance of extensive renovations at UN Headquarters. The Guernica tapestry was the showcase piece for the grand reopening of the Whitechapel Gallery. It was located in the 'Guernica room' which was originally role of the old Whitechapel Library.^[53] In 2012 the tapestry was on loan from the Rockefeller family to the San Antonio Museum of Fine art in San Antonio, Texas.^[54] It was returned to the UN by March 2015.^[55] Nelson A. Rockefeller Jr., the owner of the tapestry, took information technology back in February 2021.^[56] In February 2022, it was returned to the wall exterior the UN Security Council.^[49]

Significance and legacy [edit]

"Guernica is to painting what Beethoven'south 9th Symphony is to music: a cultural icon that speaks to mankind not only against state of war but also of hope and peace. It is a reference when speaking nearly genocide from El salvador to Bosnia."

Alejandro Escalona, on the 75th anniversary of the painting's creation^[25]

During the 1970s, Guernica was a symbol for Spaniards of both the cease of the Franco regime following Franco's decease, and of Basque nationalism. The Basque left has repeatedly used imagery from the picture. An example is the arrangement Etxerat, which uses a reversed image of the lamp as its symbol.^[57] Guernica has since get a universal and powerful symbol warning humanity against the suffering and devastation of war.^[25] At that place are no obvious references to the specific set on, making its message universal and timeless.^[25]

Art historian and curator W. J. H. B. Sandberg argued in Daedalus in 1960 that Picasso pioneered a "new linguistic communication" combining expressionistic and cubist techniques in Guernica. Sandberg wrote that Guernica conveyed an "expressionistic message" in its focus on the inhumanity of the air raid, while using "the language of cubism". For Sandberg, the piece of work'south defining cubist features included its use of diagonals, which rendered the painting'southward setting "ambiguous, unreal, inside and outside at the aforementioned time".^[19] In 2016, the British art critic Jonathan Jones called the painting a "Cubist apocalypse" and stated that Picasso "was trying to show the truth so viscerally and permanently that it could outstare the daily lies of the age of dictators".^{[58] [59]}

Works inspired by Guernica include Organized religion Ringgold's 1967 painting The American People Series #xx: Die; Goshka Macuga'southward The Nature of the Fauna (2009–2010), which used the Whitechapel-hosted United Nations Guernica tapestry; The Keiskamma Guernicas (2010–2017); and Erica Luckert'south theatrical production of Guernica (2011–2012).^{[threescore] [61]} Art and design historian Dr Nicola Ashmore curated an exhibition, Guernica Remakings, at the University of Brighton galleries from 29 July 2017 to 23 Baronial 2017.^[threescore]

Come across also [edit]

• Guernica, 1950 film directed by Alain Resnais and Robert Hessens
• The 2018 television series Genius features Picasso'southward life and work, including Guernica
• The Weeping Woman, 1937 Picasso painting
• Guernica, 1937 sculpture by René Iché
• The Charnel Firm, 1944-45 Picasso painting
• Massacre in Korea, 1951 Picasso painting^[62]
• Dove, 1949 Picasso lithograph
• 1980 BBC series 100 Smashing Paintings, 1980

References and sources [edit]

References

1. ^ ^{a b c d eastward f thousand h i} Richardson (2016)
2. ^ Picasso, Pablo. Guernica. Museo Reina Sofía. (Retrieved 2017-09-07.)
3. ^ "Pablo Picasso". Biography.com.
4. ^ Forrest Dark-brown. "ten most famous paintings in the earth". CNN . Retrieved xiii April 2021.
5. ^ ^{a b} Cohen (2003).
6. ^ "Picasso and 'Guernica': Exploring the Anti-State of war Symbolism of This Famous Painting". My Modern Met. 31 December 2021. Retrieved 8 January 2022.
7. ^ ^{a b c d} Timeline, part of a serial of web pages on Guernica in PBS's Treasures of the Globe series. Accessed 16 July 2006.
8. ^ Preston, Paul (2012) The Destruction of Guernica. HarperCollins At Google Books. Retrieved 18 July 2013.
9. ^ Barton (2004).
10. ^ ^{a b c} Arhheim, (1973) p. ???
11. ^ ^{a b} Ray (2006), 168–171.
12. ^ Quoted in Oppler (1988), p. 166.
13. ^ Beevor (2006), 231
14. ^ Beevor (2006), 233.
15. ^ Saul, Toby (8 May 2018). "The horrible inspiration behind one of Picasso's slap-up works". nationalgeographic.com. Retrieved 21 May 2019.
16. ^ Overy, Richard (2013). The Bombing War: Europe, 1939-1945. Penguin UK. p. nine. ISBN 0141927828.
17. ^ ^{a b} Preston (2007). 12–nineteen.
18. ^ Tom Lubbock (27 March 2013). "Review: Guernica past Gijs van Hensbergen | Books". The Guardian . Retrieved 20 April 2013.
19. ^ ^{a b} Sandberg, W.J.H.B (1960). "Picasso's "Guernica"". Daedalus . Retrieved 19 March 2021.
20. ^ John Ferren biography, guggenheim.org. Retrieved 17 Nov 2020.
21. ^ Fluegel (1980), p. 308.
22. ^ Tóibín (2006).
23. ^ https://spokenvision.com/the-7-subconscious-symbols-in-picassos-guernica/ Seven hidden symbols in the painting
24. ^ ...questions of pregnant, part of a series of web pages on Guernica in PBS'south Treasures of the World series. Accessed xvi July 2006.
25. ^ ^{a b c d e} Escalona, Alejandro. 75 years of Picasso's Guernica: An Inconvenient Masterpiece, The Huffington Mail, 23 May 2012.
26. ^ Werner Spies: Guernica und die Weltausstellung von 1937. In: Id.: Kontinent Picasso. Ausgewählte Aufsätze, Munich 1988, S. 63–99.
27. ^ See Becht-Jördens (2003)
28. ^ Martin (2002)
29. ^ Witham (2013), p. 175.
30. ^ Greeley, Robin A. (2006). Surrealism and the Spanish Civil State of war. New Haven: Yale University Press. p. 241. ISBN 0300112955
31. ^ Witham (2013), p. 176
32. ^ Greenberg (1993), p. 236.
33. ^ Martin (2003), p. 128.
34. ^ Martin (2003), p. 129.
35. ^ Van Hensbergen, Gijs (2005) Guernica p. 83 Bloomsbury Publishing At Google Books. Retrieved 4 November 2013
36. ^ Youngs, Ian (xv Feb 2012). "BBC News – Picasso'due south Guernica in a automobile exhibit". Bbc.co.great britain. Retrieved 20 April 2013.
37. ^ Fluegel (1980), p. 350
38. ^ Cuno, James B., ed. (1996). Harvard's art museums: 100 years of collecting. Cambridge: Harvard University Museums. p. 38. ISBN0-8109-3427-2. OCLC 33948167.
39. ^ "Picasso'due south "Guernica" borrowed by Fogg Fine art Museum for Two Weeks". The Harvard Crimson. ane October 1941. Retrieved 22 January 2021. {{cite web}}: CS1 maint: url-status (link)
40. ^ Hoberman 2004
41. ^ ^{a b} (in Spanish) "30 años del "Guernica" en España" Universidad Nacional de Educación a Distancia (UNED). Retrieved eighteen July 2013.
42. ^ Van Hensbergen, Gijs (2005) Guernica p. 305. Bloomsbury Publishing At Google Books. Retrieved eighteen July 2013.
43. ^ (in Spanish) "Un millón de personas ha visto el 'Guernica' en el Casón del Buen Retiro" El País. Retrieved xviii July 2013.
44. ^ The Casón del Buen Retiro: History Museo del Prado. Retrieved 18 July 2013.
45. ^ ^{a b} Author interview on Russell Martin's Picasso's War site. Accessed 16 July 2006.
46. ^ Ibarretxe reclama 'para siempre' el 'Guernica', El Mundo, 29 June 2007.
47. ^ El Patronato del Reina Sofía rechaza la cesión temporal del 'Guernica' al Gobierno vasco, El Mundo, 22 June 2006.
48. ^ "In praise of ... Guernica". The Guardian. 26 March 2009. Retrieved 12 July 2017.
49. ^ ^{a b} Falk, Pamela (five February 2022). "Picasso's anti-war tapestry Guernica returns to the U.N."
50. ^ Conrad, Peter. "A scream we can't ignore", The Guardian, 10 March 2004.
51. ^ Campbell (2009), 29.
52. ^ Kennedy (2009).
53. ^ Hensbergen (2009).
54. ^ Art, San Antonio Museum of. "San Antonio Museum of Art - Domicile". Samuseum.org . Retrieved 22 December 2017.
55. ^ Remnick, David (2015). "Today's Woman", The New Yorker, 23 March 2015.
56. ^ "Iconic tapestry of Picasso's 'Guernica' is gone from the U.N." NBC News. AP. 26 February 2021. Retrieved 26 February 2021.
57. ^ "Etxerat". Etxerat. Retrieved 17 March 2016.
58. ^ Every bit Aleppo burns in this age of lies, Picasso'due south Guernica still screams the truth about war
59. ^ Fourscore years after, the Nazi war crime in Guernica still matters - The grim anniversary of the bombing is a reminder of humanity'due south continuing capacity for evil
60. ^ ^{a b} "136959 Guernica Remakings 2019". Southbank Centre. Archived from the original on 14 Baronial 2020. Retrieved 26 August 2020.
61. ^ Smee, Sebastian (12 February 2020). "American carnage". The Washington Post. Archived from the original on 22 March 2022. Retrieved 24 April 2022.
62. ^ https://www.bbc.com/culture/article/20190620-picasso-the-ultimate-painter-of-war BBC: Picasso, the ultimate painter of war?

Sources

• Arnheim, Rudolf. (1973). The Genesis of a Painting: Picasso's Guernica. London: Academy of California Press. ISBN 978-0-520-25007-9
• Barton, Simon. (2004). A History of Spain. New York: Palgrave Macmillan.
• Becht-Jördens, Gereon: Picassos Guernica als kunsttheoretisches Programm. In: Becht-Jördens, Gereon and Wehmeier, (In German) Peter M.: Picasso und die christliche Ikonographie. Mutterbeziehung und künstlerische Position. Dietrich Reimer, Berlin 2003, S. 209–237 ISBN 3-496-01272-2
• Becraft, Melvin E. Picasso's Guernica – Images within Images 3rd Edition PDF download
• Beevor, Antony. (2006) The Battle for Spain: The Spanish Civil State of war 1936–1939. London: Weidenfeld & Nicolson. ISBN 978-0-297-84832-5
• Blunt, Anthony. (1969) Picasso'due south Guernica. Oxford: Oxford University Printing. ISBN 0-19-500135-4
• Bonazzoli, Francesca, and Michele Robecchi. (2014) "Pablo Picasso: Guernica", in Mona Lisa to Marge: How the World's Greatest Artworks Entered Pop Culture. New York: Prestel. ISBN 978-379134877-3
• Campbell, Peter (2009). "At the New Whitechapel" London Review of Books 31(8), 30 Apr 2009.
• Cohen, David. (2003) Hidden Treasures: What's So Controversial About Picasso's Guernica?, Slate, 6 February 2003. Accessed 16 July 2006.
• Fluegel, Jane. (1980) "Chronology" in Rubin (1980) Pablo Picasso: A Retrospective.
• Francesconi, Elizabeth. (2006) "A Look Inside Picasso's War Images", discourse: An Online Periodical by the students of Southern Methodist University, Jump 2006.
• Granell, Eugenio Fernándes, Picasso'due south Guernica: the end of a Spanish era (Ann Arbor, Mich. : UMI Inquiry Press, 1981) ISBN 0-8357-1206-0, ISBN 978-0-8357-1206-4
• Greenberg, Clement (1993). The Nerveless Essays and Criticism; Volume 4: Modernism with a Vengeance, 1957–1969. University of Chicago Press. ISBN 0226306240
• Harris, Mark and Becraft, Melvin E. Picasso'south Cloak-and-dagger Guernica
• Hensbergen, Gijs van. (2004) Guernica: The Biography of a Twentieth-Century Icon. London: Bloomsbury. ISBN 978-1-58234-124-viii
• Hensbergen, Gijs van. (2009) "Piecing together Guernica". BBC News Mag: 7 April 2009. Accessed: 14 Baronial 2009.
• Hoberman, J. "Pop and Circumstance". The Nation, thirteen December 2004, 22–26.
• Kennedy, Maev. (2009) "Picasso tapestry of Guernica heads to Great britain", London: The Guardian, 26 January 2009. Accessed: 14 August 2009.
• Mallen, Enrique On-Line Picasso Project – OPP.37:001. ^{[ dead link ]}
• Martin, Russell. (2003). Picasso'south War. London: Simon & Schuster UK. ISBN 978-0-7434-7863-two
• Martin, Russell. (2002) Picasso's War: The Devastation of Guernica and the Masterpiece that Changed the World (2002). On-line excerpts link.
• Oppler, Ellen C. (ed). (1988). Picasso'south Guernica (Norton Critical Studies in art History). New York: Westward. Westward. Norton. ISBN 0-393-95456-0
• PBS On-line supplement to "Treasures of the World" series, "Guernica: Testimony to War" with Guernica timeline.
• Pisik, Betsy. (2003) "The Picasso Cover-Up". The Washington Times, 3 February 2003. Re-published at CommonDreams.org. Accessed: fourteen August 2009
• Preston, Paul. (2007) "George Steer and Guernica". History Today 57 (2007): 12–xix.
• Ray, Beverly. (2006) "Analyzing Political Art to Become at Historical Fact: Guernica and the Spanish Civil State of war". The Social Studies 97 (2006): 168–171.
• Richardson, John (2016) "A Different Guernica". The New York Review of Books, 12 May 2016, 63 (8): 4–6.
• Rubin, William, ed. (1980) Pablo Picasso: A Retrospective. New York: The Museum of Modern Art. ISBN 0-87070-519-nine
• Thomas, Gordon & Morgan-Witts, Max. (1975). The Day Guernica Died. London: Hodder & Stoughton. ISBN 0-340-19043-4
• Tóibín, Colm. (2006) "The fine art of war", London: The Guardian, 29 April 2006. Accessed: 14 August 2009.
• Witham, Larry (2013). Picasso and the chess player: Pablo Picasso, Marcel Duchamp, and the battle for the soul of modern art. Hanover; London : Academy Press of New England. ISBN 9781611682533

External links [edit]

Wikimedia Commons has media related to Guernica.

• Rethinking Guernica – Museo Reina Sofía site with more than 2000 documents referenced and a gigapixel paradigm of the painting.
• Fine art Opposes Injustice! – Picasso's Guernica: For Life by Dorothy Koppelman
• iii-D Guernica, YouTube
• Guardian: Picasso's Guernica Boxing Lives On 26 April 2007
• Guernica – Zoomable version.
• Picasso's "Undercover" Guernica
• Socialist Worker: Guernica: Daze and Awe in Pigment Archived 24 September 2015 at the Wayback Machine 24 Apr 2007
• The New Yorker: Spanish Lessons, Picasso in Madrid by Peter Schjeldahl, 19 June 2006
• X-ray Shows Picasso'due south Guernica Painting has Suffered a lot just is not in Danger Associated Press, 23 July 2008
• Guernica Remakings Website collating and analysing the action of remaking versions the iconic painting.

crismanarage1974.blogspot.com

Source: https://en.wikipedia.org/wiki/Guernica_(Picasso)

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