Home  ›  This Work of Art Pablo Picassos Guernica Is an Example of

This Work of Art Pablo Picassos Guernica Is an Example of

Written By quarta-feira, 27 de abril de 2022 Add Comment Edit

1937 oil painting past Pablo Picasso

Guernica
PicassoGuernica.jpg
Artist Pablo Picasso
Year 1937
Medium Oil on canvas
Movement Cubism, Surrealism
Dimensions 349.3 cm × 776.half dozen cm (137.4 in × 305.v in)
Location Museo Reina Sofía, Madrid, Espana

Guernica (Castilian: [ɡeɾˈnika]; Basque: [ɡernika]) is a large 1937 oil painting on canvas by Spanish artist Pablo Picasso.[ane] [2] It is ane of his best-known works, regarded by many art critics as the most moving and powerful anti-war painting in history.[3] Information technology is exhibited in the Museo Reina Sofía in Madrid.[4]

The grayness, black, and white painting, which is 3.49 meters (11 ft 5 in) alpine and seven.76 meters (25 ft vi in) across, portrays the suffering wrought by violence and chaos. Prominent in the composition are a gored horse, a bull, screaming women, a dead infant, 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 Land 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 brandish at the 1937 Paris International Exposition, and then at other venues around the world. The touring exhibition was used to raise funds for Spanish war relief.[5] The painting soon became famous and widely acclaimed, and information technology helped bring worldwide attention to the Spanish Ceremonious State of war.

Commission [edit]

In January 1937, while Pablo Picasso was living in Paris on Rue des Grands Augustins, he was commissioned past the Spanish Republican regime to create a large mural for the Castilian pavilion at the 1937 Paris World's Fair. This slice was to help enhance awareness of the war and enhance necessary funds.[6] Picasso, who had last visited Espana in 1934 and would never return, was the Honorary Managing director-in-Exile of the Prado Museum.[7]

Picasso worked somewhat dispassionately from Jan until late April on the project'due south initial sketches, which depicted his perennial theme of an artist's studio.[1] And so, 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 bailiwick.[ane] Days later, on i May, Picasso read George Steer's 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 thought. Acting on Larrea's suggestion, Picasso began sketching a series of preliminary drawings for Guernica.[viii]

Historical context [edit]

Bombing of 26 April 1937 [edit]

During the Castilian Civil War, the Republican forces were made upwardly of contrasted factions such as communists, socialists, anarchists, and others with differing goals. Nonetheless 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, order, and traditional Catholic values.[9]

Guernica, a boondocks in the province of Biscay in Basque Country, was seen as the northern breastwork of the Republican resistance movement and the heart of Basque culture. This added to its significance as a target.[10] Effectually 4:30 p.grand. on Monday, 26 April 1937, warplanes of the Nazi Germany Condor Legion, commanded by Colonel Wolfram von Richthofen, bombed Guernica for almost 2 hours.[eleven] [10] In his journal for 30 April 1937, von Richthofen wrote:

When the outset Junkers squadron arrived, there 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, then they only 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. Most inhabitants were away considering of a holiday; a majority of the rest left boondocks immediately at the first [of the battery]. A small number perished in shelters that were striking."[12]

Other accounts land that since information technology was Guernica's market day, its inhabitants were congregated in the eye of boondocks. When the bombardment began they were unable to escape because the roads were full of debris and the bridges leading out of town had been destroyed.

Guernica was a quiet village 10 kilometers from the forepart lines, and in-between the front lines and Bilbao, the capital of Bizkaia (Biscay). Just any Republican retreat towards Bilbao, or any Nationalist advance towards Bilbao, had to pass through Guernica.[xiii] Wolfram von Richthofen's state of war diary entry for 26 April 1937 states, "K/88 [the Condor Legion bomber strength] was targeted at Guernica in order to halt and disrupt the Cherry withdrawal which has to pass through here." Under the High german concept of tactical bombing, areas that were routes of transportation and troop movement were considered legitimate armed services targets. The post-obit solar day, Richthofen wrote in his war diary, "Guernica burning".[14]

The nearest war machine target of any consequence was a war production factory on Guernica's outskirts, but information technology went through the attack unscathed. Thus, the attack was widely condemned as a terror bombing.[15] [16]

Guernica's aftermath [edit]

Considering a bulk of Guernica's men were away, fighting on behalf of the Republicans, at the time of the bombing the town was populated mostly by women and children.[17] These demographics are reflected in Guernica. Equally Rudolf Arnheim writes, for Picasso: "The women and children brand Guernica the epitome of innocent, defenseless humanity victimized. Likewise, women and children have often been presented by Picasso as the very perfection of mankind. An assault on women and children is, in Picasso's view, directed at the core of mankind."[x]

The Times journalist George Steer, a Basque and Republican sympathizer, propelled this result onto the international scene and brought it to Pablo Picasso's attention. Steer's eyewitness 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 virtually ancient town of the Basques and the center 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 armada of aeroplanes consisting of three types of German language types, Junkers and Heinkel bombers, did not cease unloading on the boondocks bombs weighing from i,000 lbs. downwards and, it is calculated, more than iii,000 two-pounder aluminium incendiary projectiles. The fighters, meanwhile, plunged low from in a higher place the centre of the town to machinegun those of the noncombatant population who had taken refuge in the fields."[17]

Picasso lived in Paris during the German occupation during Earth State of war II. A widely repeated story is that a German officer once asked him, upon seeing a photo of Guernica in Picasso's apartment, "Did you do that?", and Picasso responded, "No, you did."[18]

Cosmos [edit]

On 11 May the canvas is fix, and immediately the limerick is laid down every bit a linear structure that covers the whole surface. Work on the mural is accompanied past more than thirty studies for the details. The rough plan exists from the beginning, just information technology takes 3 weeks before the picture receives its last class. The bull's caput remains where it was first put, but the torso is turned effectually to the left. On 20 May the horse lifts its caput. The torso of the soldier stretched on the flooring from left to right changes position on 4 June, then head and hand take on their finished shape.

At the last moment the artist makes ane decisive adjustment: the drama showtime took place on a street with burning houses in the background. Now, suddenly, the diagonals are accentuated, and thereby space becomes ambiguous, unreal, inside 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 heart. The construction is strengthened, the mural more than strongly integrated in Sert's architecture. Into the hand of the dying soldier, next to the broken sword, Picasso puts the piddling flower of hope.

The motion-picture show was finished about mid-June. Hundreds of thousands of exhibition-goers wandered by, looking on it equally a wall decoration, just as Europe wandered by the human drama of the Castilian Civil War—as if it were a matter concerning merely the inhabitants of the peninsula. They disregarded the warning, did not understand that commonwealth on the whole continent was at stake.

W. J. H. B. Sandberg, Daedalus, 1960 [xix]

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,[xx] 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 cosmos. Apart from their documentary and publicity value, Maar'southward photographs "helped Picasso to eschew colour and give 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 lookout him piece of work, admitted influential visitors to observe his progress on Guernica, believing that the publicity would aid the antifascist crusade.[i] Every bit his work on the mural progressed, Picasso explained: "The Spanish struggle is the fight of reaction confronting the people, against freedom. My whole life equally an artist has been nothing more than a continuous struggle against reaction and the decease of art. How could anybody think for a moment that I could be in agreement with reaction and expiry? ... In the panel on which I am working, which I shall call Guernica, and in all my recent works of art, I clearly express my abhorrence of the armed services caste which has sunk Kingdom of spain in an ocean of pain and decease."[22]

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

Composition [edit]

PicassoGuernica.jpg

The scene occurs within a room where, on the left, a broad-eyed balderdash with a tail suggesting rising fume stands over a grieving woman belongings a dead child in her arms. A horse falls in desperation in the eye of the room, with a big gaping hole in its side, as if it had just been run through past a spear or javelin. The equus caballus appears to be wearing chain mail service armor, decorated with vertical tally marks arranged in rows.

A dead and dismembered soldier lies under the equus caballus. The hand of his severed correct arm grasps a shattered sword, from which a flower grows, and the open palm of his left manus contains a stigma, a symbol of martyrdom derived from the stigmata of Christ. A bare lite bulb in the shape of an all-seeing eye blazes over the suffering equus caballus'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 it near the bare seedling. From the right, below the witness, an awe-struck woman staggers towards the center, looking into the blazing calorie-free seedling with a bare stare.

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

On the far correct a 4th woman, her arms raised in terror, her wide open mouth and thrown back head echoing the grieving adult female'south, is entrapped by fire from above and below. Her correct hand suggests the shape of an airplane.

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

Two "subconscious" images formed past the horse appear in Guernica:[23]

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

Symbolism and interpretations [edit]

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

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

...this bull is a balderdash and this horse is a horse... If you give a meaning to sure things in my paintings information technology may be very true, but information technology is non my idea to give this meaning. What ideas and conclusions you take got I obtained also, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are.[24]

In The Dream and Prevarication of Franco, a series of narrative sketches Picasso too created for the World'southward Fair, Franco is depicted as a monster that first devours his own horse and later does boxing with an angry bull. Work on these illustrations began earlier the bombing of Guernica, and iv boosted panels were added, three of which relate directly to the Guernica mural.

According to scholar Beverly Ray, the post-obit list of interpretations reflects the full general consensus of historians: "The shape and posture of the bodies express protest"; "Picasso uses black, white, and gray paint to set a somber mood and limited hurting and chaos"; "flaming buildings and crumbling walls not only express the destruction of Guernica, simply reflect the destructive power of civil state of war"; "the paper print used in the painting reflects how Picasso learned of the massacre"; "The low-cal bulb in the painting represents the sun"; and "The cleaved sword near the lesser of the painting symbolizes the defeat of the people at the hand of their tormentors".[xi]

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 absenteeism of color makes the trigger-happy scene developing right earlier your eyes even more than horrifying. The blacks, whites, and grays startle you—peculiarly considering yous are used to see state of war images broadcast live and in high-definition right to your living room."[25]

In cartoon attention to a number of preliminary studies, the so-called primary project,[26] that prove an atelier installation incorporating the fundamental triangular shape which reappears in the final version of Guernica, Becht-Jördens and Wehmeier interpret the painting as a self-referential composition in the tradition of atelier paintings such every bit 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 up of political ability and violence. Only far from being a mere political painting, Guernica should be seen as Picasso's annotate on what fine art can actually contribute towards the self-assertion that liberates every human being and protects the individual against overwhelming forces such equally political crime, war, and death.[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 Frg and Stalinist Russia had huge pavilions. The Pavilion, which was financed by the Spanish Republican government at the time of civil war, was built to showroom the Castilian government's struggle for existence reverse to the Exposition's technology theme. The Pavilion's entrance presented an enormous photographic landscape of Republican soldiers accompanied by the slogan:

We are fighting for the essential unity of Spain.
Nosotros are fighting for the integrity of Castilian soil.
Nosotros are fighting for the independence of our land and for the right of the Castilian people to determine their ain destiny.

The brandish 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 cause.

At Guernica 's Paris Exhibition unveiling information technology 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 piece of work against a grouping of Spanish officials who objected to the mural'southward modernist style and sought to replace it with a more traditional painting that was also commissioned for the exhibition, Madrid 1937 (Black Aeroplanes) by Horacio Ferrer de Morgado.[1] Some Marxist groups criticized Picasso's painting equally lacking in political commitment, and faulted it for non offering a vision of a better time to come.[30] In dissimilarity, Morgado's painting was a neat success with Castilian Communists and with the public.[1] The art critic Clement Greenberg was besides disquisitional of Guernica,[31] and in a later on essay he termed the painting "jerky" and "too compressed for its size", and compared it unfavorably to the "magnificently lyrical" The Charnel Business firm (1944–1948), a later 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 canvas that depicts aboriginal tragedy ... Picasso as well writes our letter of doom: all that we love is going to be lost..."[34]

European tour [edit]

Guernica, for which Picasso was paid 200,000 francs for his costs past the Spanish Republican government, was ane of the few major paintings that Picasso did non sell directly to his sectional contracted art dealer and friend, Paul Rosenberg.[35] However, after its exhibition Rosenberg organised a 4-man extravaganza Scandinavian tour of 118 works by Picasso, Matisse, Braque, and Henri Laurens. The tour's master attraction was Guernica.

From January to April 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 same 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 1939, Manchester. There, Manchester Foodship For Kingdom of spain, a group of artists and activists engaged in sending help to the people of Spain, exhibited the painting in the HE Nunn & Co Ford motorcar showroom 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. 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 Art (later renamed the San Francisco Museum of Modern Art) gave the work its kickoff museum advent in the Us from 27 August to nineteen September 1939. New York'southward Museum of Mod Art (MoMA) then mounted an exhibition from 15 November 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 Art Institute of Chicago, contained 344 works, including Guernica and its studies.[37]

At Picasso's request 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 democracy had been established in the country.[seven] Betwixt 1939 and 1952, Guernica traveled extensively in the U.s.a.. Betwixt 1941 and 1942, it was exhibited at Harvard University'south Fogg Museum twice.[38] [39]

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

During the Vietnam State of war, the room containing the painting became the site of occasional anti-war vigils. These were ordinarily peaceful and uneventful, but on 28 February 1974, Tony Shafrazi—ostensibly protesting Second Lieutenant William Calley'south 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 paint, painting the words "Kill LIES ALL". The paint was removed with relative ease from the varnished surface.[40]

Establishment in Spain [edit]

As early as 1968, Franco had expressed an interest in having Guernica come to Spain.[7] However, Picasso refused to allow this until the Spanish people again enjoyed a republic. He subsequently added other conditions, such equally the restoration of "public liberties and democratic institutions". Picasso died in 1973. Franco, ten years Picasso'southward junior, died 2 years after, in 1975. Afterward Franco's death, Spain was transformed into a democratic ramble monarchy, ratified by a new constitution in 1978. All the same, MoMA was reluctant to surrender one of its greatest treasures and argued that a monarchy did not stand for the republic that had been stipulated in Picasso'due south will equally a condition for the painting's delivery. Under great pressure from a number of observers, MoMA finally ceded the painting to Kingdom of 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 behind bomb-and bullet-proof glass screens[42] at the Casón del Buen Retiro in Madrid in time to celebrate the centenary of Picasso's birth, 25 Oct.[41] The exhibition was visited past nigh a million people in the first twelvemonth.[43] Since that fourth dimension in that location has never been whatsoever 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-congenital gallery at the Museo Nacional Centro de Arte Reina Sofía, both in Madrid, along with most two dozen preparatory works.[44] This action was controversial in Espana, since Picasso's will stated that the painting should exist displayed at the Prado. Nonetheless, the movement was part of a transfer of all of the Prado'south collections of art after the early 19th century to other nearby buildings in the metropolis for reasons of space; the Reina Sofía, which houses the majuscule'southward 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] especially afterwards the building of the Guggenheim Bilbao Museum. Officials at the Reina Sofía claim[47] that the sail is now thought to exist besides fragile to movement. Even the staff of the Guggenheim do not see a permanent transfer of the painting equally possible, although the Basque government continues to back up the possibility of a temporary exhibition in Bilbao.[45]

Tapestry at the United Nations [edit]

A total-size tapestry copy of Picasso's Guernica, by Jacqueline de la Baume Dürrbach,[48] hangs at the Headquarters of the Un in New York City 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 commencement displayed from 1985 to 2009, and returned in 2015. Originally commissioned in 1955 past Nelson Rockefeller, since Picasso refused to sell him the original,[50] the tapestry was placed on loan to the United Nations past the Rockefeller estate in 1985.[51]

On 5 Feb 2003 a large blueish curtain was placed to encompass over the work at the UN, then that information technology would not be visible in the groundwork during press conferences by Colin Powell and John Negroponte as they were arguing in favor of war on Iraq.[52] On the following solar day, Un officials claimed that the curtain was placed there at the request of television news crews, who had complained that the wild lines and screaming figures made for a bad backdrop, and that a horse's hindquarters appeared but higher up the faces of any speakers. Some diplomats, yet, in talks with journalists claimed that the Bush-league administration pressured Un officials to comprehend the tapestry, rather than have it in the background while Powell or other The states diplomats argued for war on Iraq.[5] In a critique of the roofing, columnist Alejandro Escalona hypothesized that Guernica 's "unappealing ménage of mutilated bodies and distorted faces proved to be too strong for articulating to the world why the U.s. was going to war in Iraq", while referring to the piece of work as "an inconvenient masterpiece".[25]

On 17 March 2009, Deputy Spokesperson for the Secretary-Full 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 slice for the yard reopening of the Whitechapel Gallery. Information technology was located in the 'Guernica room' which was originally part 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] Information technology was returned to the United nations by March 2015.[55] Nelson A. Rockefeller Jr., the owner of the tapestry, took it back in Feb 2021.[56] In February 2022, it was returned to the wall exterior the United nations Security Council.[49]

Significance and legacy [edit]

"Guernica is to painting what Beethoven'southward 9th Symphony is to music: a cultural icon that speaks to mankind not only confronting war merely also of hope and peace. It is a reference when speaking about genocide from Republic of el salvador to Bosnia."

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

During the 1970s, Guernica was a symbol for Spaniards of both the terminate of the Franco regime following Franco's death, and of Basque nationalism. The Basque left has repeatedly used imagery from the picture. An example is the organisation Etxerat, which uses a reversed image of the lamp as its symbol.[57] Guernica has since get a universal and powerful symbol alarm humanity against the suffering and devastation of war.[25] There 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 language" 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's defining cubist features included its apply of diagonals, which rendered the painting's setting "ambiguous, unreal, inside and outside 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 prove the truth so viscerally and permanently that it could outstare the daily lies of the historic period of dictators".[58] [59]

Works inspired past Guernica include Organized religion Ringgold's 1967 painting The American People Series #20: Die; Goshka Macuga's The Nature of the Brute (2009–2010), which used the Whitechapel-hosted Un Guernica tapestry; The Keiskamma Guernicas (2010–2017); and Erica Luckert's theatrical production of Guernica (2011–2012).[60] [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.[60]

Come across also [edit]

  • Guernica, 1950 film directed by Alain Resnais and Robert Hessens
  • The 2018 goggle box serial Genius features Picasso's life and piece of 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]
  • Dove, 1949 Picasso lithograph
  • 1980 BBC series 100 Great Paintings, 1980

References and sources [edit]

References
  1. ^ a b c d east f one thousand h i Richardson (2016)
  2. ^ Picasso, Pablo. Guernica. Museo Reina Sofía. (Retrieved 2017-09-07.)
  3. ^ "Pablo Picasso". Biography.com.
  4. ^ Forrest Brown. "10 most famous paintings in the world". CNN . Retrieved xiii April 2021.
  5. ^ a b Cohen (2003).
  6. ^ "Picasso and 'Guernica': Exploring the Anti-War Symbolism of This Famous Painting". My Mod Met. 31 December 2021. Retrieved eight January 2022.
  7. ^ a b c d Timeline, part of a serial of web pages on Guernica in PBS's Treasures of the World serial. Accessed sixteen 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 backside one of Picasso'southward great works". nationalgeographic.com. Retrieved 21 May 2019.
  16. ^ Overy, Richard (2013). The Bombing War: Europe, 1939-1945. Penguin United kingdom of great britain and northern ireland. p. nine. ISBN 0141927828.
  17. ^ a b Preston (2007). 12–19.
  18. ^ Tom Lubbock (27 March 2013). "Review: Guernica by Gijs van Hensbergen | Books". The Guardian . Retrieved xx April 2013.
  19. ^ a b Sandberg, Westward.J.H.B (1960). "Picasso'south "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-7-hidden-symbols-in-picassos-guernica/ Seven subconscious symbols in the painting
  24. ^ ...questions of pregnant, part of a series of web pages on Guernica in PBS's Treasures of the World series. Accessed 16 July 2006.
  25. ^ a b c d eastward Escalona, Alejandro. 75 years of Picasso's Guernica: An Inconvenient Masterpiece, The Huffington Mail service, 23 May 2012.
  26. ^ Werner Spies: Guernica und die Weltausstellung von 1937. In: Id.: Kontinent Picasso. Ausgewählte Aufsätze, Munich 1988, South. 63–99.
  27. ^ Meet Becht-Jördens (2003)
  28. ^ Martin (2002)
  29. ^ Witham (2013), p. 175.
  30. ^ Greeley, Robin A. (2006). Surrealism and the Spanish Civil War. New Haven: Yale University Printing. 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 iv November 2013
  36. ^ Youngs, Ian (15 February 2012). "BBC News – Picasso'due south Guernica in a machine showroom". Bbc.co.uk. Retrieved xx April 2013.
  37. ^ Fluegel (1980), p. 350
  38. ^ Cuno, James B., ed. (1996). Harvard'due south fine art museums: 100 years of collecting. Cambridge: Harvard University Museums. p. 38. ISBN0-8109-3427-2. OCLC 33948167.
  39. ^ "Picasso'southward "Guernica" borrowed past Fogg Art Museum for Two Weeks". The Harvard Crimson. one October 1941. Retrieved 22 January 2021. {{cite web}}: CS1 maint: url-status (link)
  40. ^ Hoberman 2004
  41. ^ a b (in Spanish) "thirty 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 Spanish) "United nations 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 Writer interview on Russell Martin's Picasso'south State of 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 (5 February 2022). "Picasso's anti-war tapestry Guernica returns to the U.Northward."
  50. ^ Conrad, Peter. "A scream we tin'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 - Home". Samuseum.org . Retrieved 22 December 2017.
  55. ^ Remnick, David (2015). "Today'southward Woman", The New Yorker, 23 March 2015.
  56. ^ "Iconic tapestry of Picasso'due south 'Guernica' is gone from the U.North." NBC News. AP. 26 February 2021. Retrieved 26 Feb 2021.
  57. ^ "Etxerat". Etxerat. Retrieved 17 March 2016.
  58. ^ As Aleppo burns in this age of lies, Picasso'south Guernica nonetheless screams the truth near war
  59. ^ Eighty years later on, the Nazi war crime in Guernica still matters - The grim anniversary of the bombing is a reminder of humanity's continuing capacity for evil
  60. ^ a b "136959 Guernica Remakings 2019". Southbank Centre. Archived from the original on fourteen 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/civilization/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 High german) Peter M.: Picasso und die christliche Ikonographie. Mutterbeziehung und künstlerische Position. Dietrich Reimer, Berlin 2003, Southward. 209–237 ISBN 3-496-01272-2
  • Becraft, Melvin East. Picasso's Guernica – Images within Images 3rd Edition PDF download
  • Beevor, Antony. (2006) The Battle for Spain: The Spanish Civil War 1936–1939. London: Weidenfeld & Nicolson. ISBN 978-0-297-84832-5
  • Blunt, Anthony. (1969) Picasso'southward Guernica. Oxford: Oxford University Press. 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 Popular Culture. New York: Prestel. ISBN 978-379134877-3
  • Campbell, Peter (2009). "At the New Whitechapel" London Review of Books 31(eight), xxx Apr 2009.
  • Cohen, David. (2003) Subconscious Treasures: What's So Controversial Almost Picasso's Guernica?, Slate, six February 2003. Accessed 16 July 2006.
  • Fluegel, Jane. (1980) "Chronology" in Rubin (1980) Pablo Picasso: A Retrospective.
  • Francesconi, Elizabeth. (2006) "A Look Inside Picasso'due south War Images", discourse: An Online Journal by the students of Southern Methodist University, Spring 2006.
  • Granell, Eugenio Fernándes, Picasso's Guernica: the cease of a Castilian era (Ann Arbor, Mich. : UMI Inquiry Press, 1981) ISBN 0-8357-1206-0, ISBN 978-0-8357-1206-4
  • Greenberg, Clement (1993). The Collected Essays and Criticism; Volume 4: Modernism with a Vengeance, 1957–1969. University of Chicago Printing. ISBN 0226306240
  • Harris, Mark and Becraft, Melvin E. Picasso'southward Hugger-mugger Guernica
  • Hensbergen, Gijs van. (2004) Guernica: The Biography of a Twentieth-Century Icon. London: Bloomsbury. ISBN 978-ane-58234-124-8
  • Hensbergen, Gijs van. (2009) "Piecing together Guernica". BBC News Mag: seven 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 UK", London: The Guardian, 26 Jan 2009. Accessed: 14 August 2009.
  • Mallen, Enrique On-Line Picasso Project – OPP.37:001. [ dead link ]
  • Martin, Russell. (2003). Picasso's War. London: Simon & Schuster UK. ISBN 978-0-7434-7863-2
  • Martin, Russell. (2002) Picasso'due south War: The Destruction of Guernica and the Masterpiece that Changed the World (2002). On-line excerpts link.
  • Oppler, Ellen C. (ed). (1988). Picasso'south Guernica (Norton Disquisitional Studies in art History). New York: W. W. 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: 14 August 2009
  • Preston, Paul. (2007) "George Steer and Guernica". History Today 57 (2007): 12–19.
  • Ray, Beverly. (2006) "Analyzing Political Art to Go at Historical Fact: Guernica and the Spanish Ceremonious War". The Social Studies 97 (2006): 168–171.
  • Richardson, John (2016) "A Unlike Guernica". The New York Review of Books, 12 May 2016, 63 (8): iv–6.
  • Rubin, William, ed. (1980) Pablo Picasso: A Retrospective. New York: The Museum of Modernistic 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 art of war", London: The Guardian, 29 April 2006. Accessed: 14 August 2009.
  • Witham, Larry (2013). Picasso and the chess thespian: Pablo Picasso, Marcel Duchamp, and the battle for the soul of modern art. Hanover; London : University Printing of New England. ISBN 9781611682533

External links [edit]

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

mckissickfultank.blogspot.com

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

0 Response to "This Work of Art Pablo Picassos Guernica Is an Example of"

Postar um comentário

Assinar: Postar comentários (Atom)

Iklan Atas Artikel

Iklan Tengah Artikel 1

Iklan Tengah Artikel 2

Iklan Bawah Artikel