Painting Men in Front of Flames Harvard Art Museum

1937 oil painting by Pablo Picasso

Guernica
Creative person	Pablo Picasso
Year	1937
Medium	Oil on canvas
Motility	Cubism, Surrealism
Dimensions	349.3 cm × 776.6 cm (137.4 in × 305.5 in)
Location	Museo Reina Sofía, Madrid, Espana

Guernica (Castilian: [ɡeɾˈnika]; Basque: [ɡernika]) is a large 1937 oil painting on canvas by Spanish creative person Pablo Picasso.^{[i] [2]} It is one of his all-time-known works, regarded by many art critics as the most moving and powerful anti-state of war painting in history.^[3] It is exhibited in the Museo Reina Sofía in Madrid.^[4]

The grey, black, and white painting, which is 3.49 meters (11 ft five in) tall and vii.76 meters (25 ft 6 in) across, portrays the suffering wrought by violence and chaos. Prominent in the composition are a gored equus caballus, a balderdash, screaming women, a dead baby, a dismembered soldier, and flames.

Picasso painted Guernica at his home in Paris in response to the 26 April 1937 bombing of Guernica, a Basque Country town in northern Spain which was bombed by Nazi Federal republic of 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 world. The touring exhibition was used to raise funds for Castilian state of war relief.^[five] The painting presently became famous and widely acclaimed, and it helped bring worldwide attention to the Castilian Civil War.

Committee [edit]

In January 1937, while Pablo Picasso was living in Paris on Rue des Grands Augustins, he was commissioned by the Castilian Republican government to create a large mural for the Castilian pavilion at the 1937 Paris Earth'southward Off-white. This piece was to assist heighten awareness of the state of war and raise necessary funds.^[6] Picasso, who had last visited Spain in 1934 and would never return, was the Honorary Manager-in-Exile of the Prado Museum.^[seven]

Picasso worked somewhat dispassionately from January until tardily April on the project's initial sketches, which depicted his perennial theme of an artist's studio.^[1] And then, immediately upon hearing reports of the 26 April bombing of Guernica, poet Juan Larrea visited Picasso's dwelling house to urge him to make the bombing his subject field.^[1] Days later, on 1 May, Picasso read George Steer'due south eyewitness account of the attack, 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 suggestion, Picasso began sketching a series of preliminary drawings for Guernica.^[eight]

Historical context [edit]

Bombing of 26 April 1937 [edit]

During the Spanish Ceremonious War, the Republican forces were made up of assorted factions such as communists, socialists, anarchists, and others with differing goals. Nevertheless they were united in their opposition to the Nationalists, led by General Francisco Franco, who sought a return to pre-Republican Spain based on police force, social club, and traditional Catholic values.^[ix]

Guernica, a town in the province of Biscay in Basque Country, was seen every bit the northern bastion of the Republican resistance movement and the center of Basque civilization. This added to its significance equally a target.^[10] Around iv:xxx p.grand. on Monday, 26 April 1937, warplanes of the Nazi Federal republic of germany Condor Legion, allowable past Colonel Wolfram von Richthofen, bombed Guernica for nigh 2 hours.^{[11] [10]} In his periodical for 30 April 1937, von Richthofen wrote:

When the first Junkers squadron arrived, in that location was fume already everywhere (from the VB [VB/88] which had attacked with 3 aircraft); nobody would identify the targets of roads, span, and suburb, and so they merely dropped everything right into the eye. The 250s toppled a number of houses and destroyed the water mains. The incendiaries now could spread and become effective. The materials of the houses: tile roofs, wooden porches, and half-timbering resulted in complete annihilation. Near inhabitants were abroad because of a vacation; a majority of the rest left town immediately at the beginning [of the bombardment]. A modest number perished in shelters that were hit."^[12]

Other accounts state that since it was Guernica's market day, its inhabitants were congregated in the heart of town. When the bombardment began they were unable to escape considering the roads were full of droppings and the bridges leading out of town had been destroyed.

Guernica was a quiet village ten kilometers from the front lines, and in-between the forepart lines and Bilbao, the capital of Bizkaia (Biscay). Simply any Republican retreat towards Bilbao, or whatsoever Nationalist accelerate towards Bilbao, had to pass through Guernica.^[xiii] Wolfram von Richthofen'due south war diary entry for 26 Apr 1937 states, "K/88 [the Condor Legion bomber strength] was targeted at Guernica in order to halt and disrupt the Red withdrawal which has to laissez passer through here." Under the German concept of tactical bombing, areas that were routes of transportation and troop movement were considered legitimate military targets. The post-obit day, Richthofen wrote in his state of war diary, "Guernica burning".^[14]

The nearest military target of any event was a war product manufactory on Guernica'southward outskirts, but it went through the attack unscathed. Thus, the set on was widely condemned equally a terror bombing.^{[15] [16]}

Guernica'due south backwash [edit]

Because a majority of Guernica'southward men were abroad, fighting on behalf of the Republicans, at the fourth dimension of the bombing the boondocks was populated by and large past women and children.^[17] These demographics are reflected in Guernica. Every bit Rudolf Arnheim writes, for Picasso: "The women and children make Guernica the image of innocent, defenseless humanity victimized. As well, women and children have often been presented by Picasso as the very perfection of mankind. An attack 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 result onto the international scene and brought it to Pablo Picasso'south attention. Steer's eyewitness account was published on 28 April in both The Times and The New York Times, and on the 29th information technology appeared in L'Humanité, a French Communist daily. Steer wrote:

Guernica, the most aboriginal boondocks of the Basques and the middle of their cultural tradition, was completely destroyed yesterday afternoon by insurgent air raiders. The battery of this open town far behind the lines occupied precisely 3 hours and a quarter, during which a powerful fleet of aeroplanes consisting of three types of German language types, Junkers and Heinkel bombers, did non cease unloading on the boondocks bombs weighing from one,000 lbs. downwards and, it is calculated, more than 3,000 two-pounder aluminium incendiary projectiles. The fighters, meanwhile, plunged low from higher up the center 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 occupation during World War Two. A widely repeated story is that a German language officer in one case asked him, upon seeing a photo of Guernica in Picasso's flat, "Did you do that?", and Picasso responded, "No, y'all did."^[18]

Creation [edit]

On 11 May the canvas is ready, and immediately the limerick is laid downwardly equally a linear structure that covers the whole surface. Work on the mural is accompanied by more than than 30 studies for the details. The crude plan exists from the beginning, but it takes 3 weeks earlier the picture receives its final form. The balderdash's head remains where it was first put, just the torso is turned around to the left. On 20 May the horse lifts its head. The body of the soldier stretched on the floor from left to correct changes position on four June, then head and hand have on their finished shape.

At the concluding moment the artist makes 1 decisive adjustment: the drama offset took place on a street with called-for houses in the background. Now, suddenly, the diagonals are accentuated, and thereby space becomes ambiguous, unreal, inside and outside at the aforementioned time. The lamp is hung over the horse's head, looking on the dreadful scene like a broad-open center. The construction is strengthened, the landscape more than strongly integrated in Sert's compages. Into the hand of the dying soldier, next to the broken sword, Picasso puts the little bloom of hope.

The picture was finished most mid-June. Hundreds of thousands of exhibition-goers wandered by, looking on it as a wall decoration, but as Europe wandered by the human drama of the Spanish Civil War—as if it were a matter concerning only the inhabitants of the peninsula. They disregarded the alarm, did non empathize that commonwealth on the whole continent was at stake.

Westward. J. H. B. Sandberg, Daedalus, 1960 ^[nineteen]

Guernica was painted using a matte house pigment specially formulated at Picasso's asking to accept the least possible gloss.^[ane] American artist John Ferren assisted him in preparing the monumental canvas,^[twenty] 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. Apart from their documentary and publicity value, Maar's photographs "helped Picasso to eschew color and requite the piece of 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 watch him work, admitted influential visitors to observe his progress on Guernica, believing that the publicity would assist the antifascist cause.^[1] As his piece of work on the landscape progressed, Picasso explained: "The Castilian struggle is the fight of reaction against the people, against freedom. My whole life every bit an artist has been null more than than a continuous struggle against reaction and the death of art. How could anybody think for a moment that I could be in agreement with reaction and death? ... In the panel on which I am working, which I shall telephone call Guernica, and in all my recent works of art, I clearly express my abhorrence of the military caste which has sunk Spain in an bounding main of pain and death."^[22]

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

Composition [edit]

The scene occurs within a room where, on the left, a broad-eyed bull with a tail suggesting rising fume stands over a grieving woman holding a dead child in her arms. A horse falls in agony in the eye of the room, with a large gaping hole in its side, every bit if it had just been run through by a spear or javelin. The horse appears to be wearing chain mail armor, busy with vertical tally marks bundled in rows.

A expressionless and dismembered soldier lies under the equus caballus. The hand of his severed correct arm grasps a shattered sword, from which a bloom grows, and the open palm of his left paw 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'southward head.

To the horse'south 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 correct 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 light bulb with a blank stare.

Daggers that suggest screaming have replaced the tongues of the horse, the balderdash, and the grieving woman. To the balderdash's right a pigeon appears on a croaky wall through which brilliant light from the outside shines.

On the far correct a quaternary adult female, her arms raised in terror, her broad open rima oris and thrown dorsum head echoing the grieving woman's, is entrapped past fire from to a higher place and beneath. Her right mitt suggests the shape of an airplane.

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

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

• The horses nostrils and upper teeth can also be seen equally a human skull facing left and slightly down.
• A balderdash appears to gore the equus caballus from underneath. The bull'southward caput is formed mainly by the horse's entire front leg which has the genu on the ground. The leg'south genu cap forms the caput's nose. A horn appears within the horse's breast. The balderdash'due south tail forms the image of a flame with fume rising from it, seemingly appearing in a window created by the lighter shade of gray surrounding it.

Symbolism and interpretations [edit]

Interpretations of Guernica vary widely and contradict one another. This extends, for case, to the landscape's two ascendant elements: the balderdash and the horse. Art historian Patricia Failing said, "The balderdash and the horse are of import characters in Spanish culture. Picasso himself certainly used these characters to play many different roles over time. This has fabricated the task of interpreting the specific meaning of the bull and the equus caballus very tough. Their 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 y'all requite a pregnant to certain things in my paintings it may exist very truthful, but it is non my idea to give this meaning. What ideas and conclusions yous take got I obtained also, but instinctively, unconsciously. I brand 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 World's Fair, Franco is depicted as a monster that first devours his own horse and later does battle with an angry bull. Piece of work on these illustrations began earlier the bombing of Guernica, and iv additional panels were added, iii of which relate directly to the Guernica mural.

According to scholar Beverly Ray, the following list of interpretations reflects the general consensus of historians: "The shape and posture of the bodies express protestation"; "Picasso uses black, white, and greyness paint to prepare a somber mood and express hurting and chaos"; "flaming buildings and aging walls not only limited the devastation of Guernica, simply reflect the subversive power of ceremonious war"; "the newspaper print used in the painting reflects how Picasso learned of the massacre"; "The light bulb in the painting represents the sun"; and "The broken sword near the lesser of the painting symbolizes the defeat of the people at the mitt of their tormentors".^[eleven]

Alejandro Escalona said, "The chaos unfolding seems to happen in closed quarters provoking an intense feeling of oppression. There is no way out of the nightmarish cityscape. The absence of color makes the trigger-happy scene developing right earlier your eyes fifty-fifty more horrifying. The blacks, whites, and grays startle you—especially because y'all are used to come across war images broadcast alive and in high-definition right to your living room."^[25]

In drawing attention to a number of preliminary studies, the so-called primary project,^[26] that show an atelier installation incorporating the primal triangular shape which reappears in the last version of Guernica, Becht-Jördens and Wehmeier interpret the painting as a cocky-referential limerick in the tradition of atelier paintings such as Las Meninas by Diego Velázquez. In his chef d'oeuvre, Picasso seems to exist trying to ascertain his role and his power as an artist in the face of political power and violence. But far from being a mere political painting, Guernica should be seen as Picasso'due south comment on what art can really contribute towards the self-assertion that liberates every human being and protects the private against overwhelming forces such as political law-breaking, state of war, and decease.^[27]

Exhibition [edit]

1937 Paris International Exhibition [edit]

Guernica was unveiled and initially exhibited in July 1937 at the Spanish Pavilion at the Paris International Exposition,^[28] where Nazi Germany and Stalinist Russia had huge pavilions. The Pavilion, which was financed past the Castilian Republican government at the time of civil war, was congenital to exhibit the Spanish government'due south struggle for existence contrary to the Exposition's technology theme. The Pavilion'due south entrance presented an enormous photographic landscape of Republican soldiers accompanied past the slogan:

We are fighting for the essential unity of Spain.

We are fighting for the integrity of Castilian soil.

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

The display of Guernica was accompanied past 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 cause.

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

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

European tour [edit]

Guernica, for which Picasso was paid 200,000 francs for his costs by the Castilian Republican government, was i of the few major paintings that Picasso did non sell direct to his exclusive contracted art dealer and friend, Paul Rosenberg.^[35] However, later on its exhibition Rosenberg organised a four-human being caricature Scandinavian tour of 118 works by Picasso, Matisse, Braque, and Henri Laurens. The tour'southward primary attraction was Guernica.

From January to April 1938 the tour visited Oslo, Copenhagen, Stockholm, and Göteborg. Starting in tardily September Guernica was exhibited in London'southward Whitechapel Art Gallery. This finish was organized past Sir Roland Penrose with Labour Party leader Clement Attlee, and the painting arrived in London on 30 September, the same day the Munich Understanding was signed by the leaders of the U.k., French republic, Italia, and Frg. Information technology then travelled to Leeds, Liverpool, and, in early on 1939, Manchester. There, Manchester Foodship For Kingdom of spain, a group of artists and activists engaged in sending aid to the people of Spain, exhibited the painting in the HE Nunn & Co Ford auto exhibit for ii weeks.^[36] Guernica and then returned briefly to France.

American tour [edit]

Later Francisco Franco's victory in Espana, Guernica was sent to the U.s.a. to raise funds and support for Spanish refugees. It was showtime shown at the Valentine Gallery in New York City in May 1939. The San Francisco Museum of Art (subsequently renamed the San Francisco Museum of Modernistic Fine art) gave the work its first museum advent in the United states of america from 27 August to nineteen September 1939. New York's Museum of Modern Fine art (MoMA) then mounted an exhibition from 15 November until 7 January 1940, entitled: Picasso: forty Years of His Art. The exhibition, which was organized by MoMA'south 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 asking the safekeeping of Guernica was then entrusted to the Museum of Modern Art, and it was his expressed desire that the painting should non be delivered to Spain until freedom and republic had been established in the country.^[7] Between 1939 and 1952, Guernica traveled extensively in the Usa. Between 1941 and 1942, it was exhibited at Harvard Academy's Fogg Museum twice.^{[38] [39]}

Betwixt 1953 and 1956 it was shown in Brazil, so at the first Picasso retrospective in Milan, Italy, and then in numerous other major European cities before returning to MoMA for a retrospective celebrating Picasso's 75th birthday. It then went to Chicago and Philadelphia. By this time, business organisation for the state of the painting resulted in a determination to keep it in one identify: a room on MoMA's third floor, where it was accompanied past 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, only 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, just 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.^[twoscore]

Institution in Kingdom of spain [edit]

As early equally 1968, Franco had expressed an interest in having Guernica come up to Espana.^[7] Even so, Picasso refused to permit this until the Spanish people again enjoyed a democracy. He later added other atmospheric condition, such as the restoration of "public liberties and democratic institutions". Picasso died in 1973. Franco, ten years Picasso's junior, died two years after, in 1975. Later Franco'southward death, Spain was transformed into a democratic constitutional monarchy, ratified by a new constitution in 1978. Even so, MoMA was reluctant to give up one of its greatest treasures and argued that a monarchy did non stand for the republic that had been stipulated in Picasso's volition as a condition for the painting's delivery. Nether great pressure from a number of observers, MoMA finally ceded the painting to Spain in 1981. The Castilian historian Javier Tusell was one of the negotiators.

Upon its arrival in Spain in September 1981,^[41] it was first displayed backside bomb-and bullet-proof glass screens^[42] at the Casón del Buen Retiro in Madrid in time to gloat the centenary of Picasso's birth, 25 October.^[41] The exhibition was visited past about a million people in the first yr.^[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 two dozen preparatory works.^[44] This action was controversial in Espana, since Picasso's will stated that the painting should be displayed at the Prado. However, the motion was part of a transfer of all of the Prado's collections of art after the early 19th century to other nearby buildings in the city for reasons of space; the Reina Sofía, which houses the uppercase's national collection of 20th-century art, was the natural place to movement it to. At the Reina Sofía, the painting has roughly the same protection as any other work.^[45]

Basque nationalists have advocated that the picture should be brought to the Basque Country,^[46] particularly subsequently the edifice of the Guggenheim Bilbao Museum. Officials at the Reina Sofía claim^[47] that the canvas is at present thought to be too delicate to motility. Even the staff of the Guggenheim do not come across a permanent transfer of the painting as 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, past Jacqueline de la Baume Dürrbach,^[48] hangs at the Headquarters of the United Nations in New York Metropolis at the archway to the Security Quango room.^[49] It is less monochromatic than the original and uses several shades of brown.

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

On 5 February 2003 a large blue drapery was placed to cover over the work at the United nations, and so that it would not be visible in the background during printing conferences by Colin Powell and John Negroponte equally they were arguing in favor of war on Iraq.^[52] On the following solar day, United nations officials claimed that the curtain was placed at that place at the request of television news crews, who had complained that the wild lines and screaming figures fabricated for a bad backdrop, and that a equus caballus's 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 embrace the tapestry, rather than accept it in the background while Powell or other Us diplomats argued for state of war on Iraq.^[v] In a critique of the roofing, columnist Alejandro Escalona hypothesized that Guernica 's "unappealing ménage of mutilated bodies and distorted faces proved to exist besides strong for articulating to the world why the US was going to war in Iraq", while referring to the piece of work equally "an inconvenient masterpiece".^[25]

On 17 March 2009, Deputy Spokesperson for the Secretary-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. Information technology was located in the 'Guernica room' which was originally office of the old Whitechapel Library.^[53] In 2012 the tapestry was on loan from the Rockefeller family to the San Antonio Museum of Art in San Antonio, Texas.^[54] It was returned to the Un by March 2015.^[55] Nelson A. Rockefeller Jr., the possessor of the tapestry, took it back in February 2021.^[56] In Feb 2022, information technology was returned to the wall outside the UN Security Council.^[49]

Significance and legacy [edit]

"Guernica is to painting what Beethoven'due south Ninth Symphony is to music: a cultural icon that speaks to flesh not simply confronting war but besides of promise and peace. Information technology is a reference when speaking about 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 end of the Franco government following Franco's expiry, and of Basque nationalism. The Basque left has repeatedly used imagery from the movie. An case is the organization Etxerat, which uses a reversed image of the lamp as its symbol.^[57] Guernica has since get a universal and powerful symbol warning humanity confronting the suffering and devastation of war.^[25] There are no obvious references to the specific assault, making its message universal and timeless.^[25]

Art historian and curator Due west. 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 work'southward defining cubist features included its use of diagonals, which rendered the painting'south setting "ambiguous, unreal, inside and exterior at the same 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 then viscerally and permanently that information technology could outstare the daily lies of the historic period of dictators".^{[58] [59]}

Works inspired past Guernica include Faith Ringgold'due south 1967 painting The American People Serial #20: Die; Goshka Macuga's The Nature of the Beast (2009–2010), which used the Whitechapel-hosted United Nations Guernica tapestry; The Keiskamma Guernicas (2010–2017); and Erica Luckert's theatrical production of Guernica (2011–2012).^{[lx] [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 August 2017.^[60]

Run into likewise [edit]

• Guernica, 1950 film directed past 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 House, 1944-45 Picasso painting
• Massacre in Korea, 1951 Picasso painting^[62]
• Pigeon, 1949 Picasso lithograph
• 1980 BBC series 100 Great Paintings, 1980

References and sources [edit]

References

1. ^ ^{a b c d east f g h i} Richardson (2016)
2. ^ Picasso, Pablo. Guernica. Museo Reina Sofía. (Retrieved 2017-09-07.)
3. ^ "Pablo Picasso". Biography.com.
4. ^ Forrest Brownish. "x almost famous paintings in the earth". CNN . Retrieved 13 Apr 2021.
5. ^ ^{a b} Cohen (2003).
6. ^ "Picasso and 'Guernica': Exploring the Anti-War Symbolism of This Famous Painting". My Modern Met. 31 December 2021. Retrieved viii Jan 2022.
7. ^ ^{a b c d} Timeline, function of a series 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 (eight May 2018). "The horrible inspiration backside one of Picasso's neat works". nationalgeographic.com. Retrieved 21 May 2019.
16. ^ Overy, Richard (2013). The Bombing War: Europe, 1939-1945. Penguin UK. p. ix. ISBN 0141927828.
17. ^ ^{a b} Preston (2007). 12–xix.
18. ^ Tom Lubbock (27 March 2013). "Review: Guernica past Gijs van Hensbergen | Books". The Guardian . Retrieved 20 Apr 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 November 2020.
21. ^ Fluegel (1980), p. 308.
22. ^ Tóibín (2006).
23. ^ https://spokenvision.com/the-vii-subconscious-symbols-in-picassos-guernica/ 7 hidden symbols in the painting
24. ^ ...questions of pregnant, office of a series of web pages on Guernica in PBS's Treasures of the World serial. Accessed xvi July 2006.
25. ^ ^{a b c d e} Escalona, Alejandro. 75 years of Picasso'due south Guernica: An Inconvenient Masterpiece, The Huffington Post, 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 Castilian Civil 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 (fifteen February 2012). "BBC News – Picasso's Guernica in a car showroom". Bbc.co.uk. 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-ii. OCLC 33948167.
39. ^ "Picasso's "Guernica" borrowed by Fogg Art Museum for 2 Weeks". The Harvard Crimson. 1 Oct 1941. Retrieved 22 January 2021. {{cite spider web}}: CS1 maint: url-condition (link)
40. ^ Hoberman 2004
41. ^ ^{a b} (in Castilian) "30 años del "Guernica" en España" Universidad Nacional de Educación a Distancia (UNED). Retrieved 18 July 2013.
42. ^ Van Hensbergen, Gijs (2005) Guernica p. 305. Bloomsbury Publishing At Google Books. Retrieved xviii July 2013.
43. ^ (in Castilian) "Un millón de personas ha visto el 'Guernica' en el Casón del Buen Retiro" El País. Retrieved 18 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 (v Feb 2022). "Picasso's anti-war tapestry Guernica returns to the U.North."
50. ^ Conrad, Peter. "A scream we tin't ignore", The Guardian, x March 2004.
51. ^ Campbell (2009), 29.
52. ^ Kennedy (2009).
53. ^ Hensbergen (2009).
54. ^ Art, San Antonio Museum of. "San Antonio Museum of Fine art - Dwelling". Samuseum.org . Retrieved 22 December 2017.
55. ^ Remnick, David (2015). "Today's Woman", The New Yorker, 23 March 2015.
56. ^ "Iconic tapestry of Picasso'south 'Guernica' is gone from the U.N." NBC News. AP. 26 Feb 2021. Retrieved 26 Feb 2021.
57. ^ "Etxerat". Etxerat. Retrieved 17 March 2016.
58. ^ As Aleppo burns in this historic period of lies, Picasso'south Guernica yet screams the truth about state of war
59. ^ Eighty years later, the Nazi war offense in Guernica yet matters - The grim anniversary of the bombing is a reminder of humanity's continuing chapters for evil
60. ^ ^{a b} "136959 Guernica Remakings 2019". Southbank Heart. Archived from the original on xiv August 2020. Retrieved 26 August 2020.
61. ^ Smee, Sebastian (12 Feb 2020). "American carnage". The Washington Mail. 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 state of war?

Sources

• Arnheim, Rudolf. (1973). The Genesis of a Painting: Picasso's Guernica. London: University of California Press. ISBN 978-0-520-25007-9
• Barton, Simon. (2004). A History of Espana. New York: Palgrave Macmillan.
• Becht-Jördens, Gereon: Picassos Guernica als kunsttheoretisches Programm. In: Becht-Jördens, Gereon and Wehmeier, (In German) Peter One thousand.: Picasso und dice christliche Ikonographie. Mutterbeziehung und künstlerische Position. Dietrich Reimer, Berlin 2003, S. 209–237 ISBN 3-496-01272-2
• Becraft, Melvin Due east. Picasso's Guernica – Images inside Images third Edition PDF download
• Beevor, Antony. (2006) The Boxing for Spain: The Spanish Civil War 1936–1939. London: Weidenfeld & Nicolson. ISBN 978-0-297-84832-5
• Blunt, Anthony. (1969) Picasso's Guernica. Oxford: Oxford University Press. ISBN 0-nineteen-500135-4
• Bonazzoli, Francesca, and Michele Robecchi. (2014) "Pablo Picasso: Guernica", in Mona Lisa to Marge: How the World'due south Greatest Artworks Entered Popular Civilisation. New York: Prestel. ISBN 978-379134877-iii
• Campbell, Peter (2009). "At the New Whitechapel" London Review of Books 31(8), 30 April 2009.
• Cohen, David. (2003) Hidden Treasures: What'southward So Controversial Most Picasso's Guernica?, Slate, six February 2003. Accessed sixteen July 2006.
• Fluegel, Jane. (1980) "Chronology" in Rubin (1980) Pablo Picasso: A Retrospective.
• Francesconi, Elizabeth. (2006) "A Look Within Picasso's State of war Images", discourse: An Online Periodical by the students of Southern Methodist University, Jump 2006.
• Granell, Eugenio Fernándes, Picasso'southward Guernica: the end of a Castilian era (Ann Arbor, Mich. : UMI Research Printing, 1981) ISBN 0-8357-1206-0, ISBN 978-0-8357-1206-four
• Greenberg, Cloudless (1993). The Nerveless Essays and Criticism; Volume iv: Modernism with a Vengeance, 1957–1969. University of Chicago Printing. ISBN 0226306240
• Harris, Mark and Becraft, Melvin E. Picasso's Surreptitious Guernica
• Hensbergen, Gijs van. (2004) Guernica: The Biography of a Twentieth-Century Icon. London: Bloomsbury. ISBN 978-1-58234-124-8
• Hensbergen, Gijs van. (2009) "Piecing together Guernica". BBC News Magazine: 7 Apr 2009. Accessed: 14 August 2009.
• Hoberman, J. "Popular and Circumstance". The Nation, xiii December 2004, 22–26.
• Kennedy, Maev. (2009) "Picasso tapestry of Guernica heads to United kingdom of great britain and northern ireland", London: The Guardian, 26 January 2009. Accessed: fourteen August 2009.
• Mallen, Enrique On-Line Picasso Project – OPP.37:001. ^{[ dead link ]}
• Martin, Russell. (2003). Picasso's War. London: Simon & Schuster UK. ISBN 978-0-7434-7863-two
• Martin, Russell. (2002) Picasso'southward State of war: The Destruction of Guernica and the Masterpiece that Changed the World (2002). On-line excerpts link.
• Oppler, Ellen C. (ed). (1988). Picasso's Guernica (Norton Critical Studies in art History). New York: W. W. Norton. ISBN 0-393-95456-0
• PBS On-line supplement to "Treasures of the Globe" 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: 14 August 2009
• Preston, Paul. (2007) "George Steer and Guernica". History Today 57 (2007): 12–xix.
• Ray, Beverly. (2006) "Analyzing Political Art to Get at Historical Fact: Guernica and the Spanish Civil 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 Mod Art. ISBN 0-87070-519-9
• Thomas, Gordon & Morgan-Witts, Max. (1975). The Day Guernica Died. London: Hodder & Stoughton. ISBN 0-340-19043-4
• Tóibín, Colm. (2006) "The art of war", London: The Guardian, 29 April 2006. Accessed: 14 August 2009.
• Witham, Larry (2013). Picasso and the chess role player: Pablo Picasso, Marcel Duchamp, and the boxing for the soul of modern art. Hanover; London : University Printing of New England. ISBN 9781611682533

External links [edit]

Wikimedia Commons has media related to Guernica.

• Rethinking Guernica – Museo Reina Sofía site with more than than 2000 documents referenced and a gigapixel image of the painting.
• Art Opposes Injustice! – Picasso's Guernica: For Life by Dorothy Koppelman
• 3-D Guernica, YouTube
• Guardian: Picasso's Guernica Battle Lives On 26 April 2007
• Guernica – Zoomable version.
• Picasso'due south "Secret" Guernica
• Socialist Worker: Guernica: Shock and Awe in Paint Archived 24 September 2015 at the Wayback Machine 24 April 2007
• The New Yorker: Spanish Lessons, Picasso in Madrid by Peter Schjeldahl, 19 June 2006
• X-ray Shows Picasso's Guernica Painting has Suffered a lot but is non in Danger Associated Printing, 23 July 2008
• Guernica Remakings Website collating and analysing the activity of remaking versions the iconic painting.

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Source: https://en.wikipedia.org/wiki/Guernica_%28Picasso%29

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