Guernica

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Guernica, the most ancient town of the Basques and the centre 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 three hours and a quarter, during which a powerful fleet of aeroplanes consisting of three types of German types, Junkers and Heinkel bombers, did not cease unloading on the town bombs weighing from 1,000 lbs. downwards and, it is calculated, more than 3,000 two-pounder aluminium incendiary projectiles. The fighters, meanwhile, plunged low from above the centre of the town to machinegun those of the civilian population who had taken refuge in the fields." [16]

Guernica by Dave Boling | Goodreads Guernica by Dave Boling | Goodreads

The exhibition also testifies to the role of a federating image for the Spanish anti-Franco artistic circles, that the masterpiece played and of its future as a pacific post-war icon and thus approaches the history of its restitution to Spain in 1981. Lastly, it questions the influence of Guernica on XXth century art to the present day. Large-scale rewritings by several contemporary artists, such as Robert Longo, Art & Language and Damien Deroubaix, will punctuate the course. First in an intensive series of sketches and studies, and then on the giant canvas itself, Picasso’s tableau of horror, with its contorted faces and agonized animals, rapidly took shape; in just 35 days, the thing was done. For any painter, it was an improbable feat. For an artist in his mid-50s whose life was in disarray and who had, just two years earlier, almost stopped painting altogether, it was an astonishing, athletic act of self-reinvention. Up to the last, it was unclear what people would think. Picasso had never done particularly well with the American public. For years, Americans had been hostile to the Paris avant-garde. And just that summer, Guernica had been ridiculed in the press. Yet now, under the cloud of a new world war, Barr’s lucid celebration of the art that Hitler was trying to erase somehow electrified the city. Several thousand people came to the opening night; in the weeks that followed, viewers lined up to get in the museum in numbers that smashed all previous records for a living artist. “COLOSSAL SUCCESS 60,000 VISITORS SURPASSING VAN GOGH” Barr cabled Picasso after the first few weeks. Soon, more than a dozen other museums were clamoring to host the paintings. And because it was too dangerous to return any of them—including Guernica—to Europe, they mostly got their way. Crisscrossing the country, the show went on to Chicago, St. Louis, and New Orleans, among many other cities; in San Francisco, it was so popular that hundreds of visitors refused to leave the museum on the final day of its run. Oppler, Ellen C. (ed). (1988). Picasso's Guernica (Norton Critical Studies in art History). New York: W. W. Norton. ISBN 0-393-95456-0Granell, Eugenio Fernándes, Picasso's Guernica: the end of a Spanish era (Ann Arbor, Mich.: UMI Research Press, 1981) ISBN 0-8357-1206-0, ISBN 978-0-8357-1206-4

Guernica by Karen Robards | Goodreads The Girl from Guernica by Karen Robards | Goodreads

A dead and dismembered soldier lies under the horse. The hand of his severed right arm grasps a shattered sword, from which a flower grows. 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. Werner Spies: Guernica und die Weltausstellung von 1937. In: Id.: Kontinent Picasso. Ausgewählte Aufsätze, Munich 1988, S. 63–99. Tóibín, Colm. (2006) "The art of war", London: The Guardian, 29 April 2006. Accessed: 14 August 2009. Guernica, for which Picasso was paid 150,000 francs for his costs by the Spanish Republican government, was one of the few major paintings that Picasso did not sell directly to his exclusive contracted art dealer and friend, Paul Rosenberg. [35] However, after its exhibition Rosenberg organised a four-man extravaganza Scandinavian tour of 118 works by Picasso, Matisse, Braque, and Henri Laurens. The tour's main attraction was Guernica. [ citation needed] The second part of the exhibition shows the story and the posterity of Guernica whose power nowadays also comes from its visual, political and literary contexts in which it has been exhibited: the Pavilion of the International Exhibition of Art and Techniques of 1937, the importance of men such as Christian Zervos and his review Cahiers d’art or Paul Eluard.

verifyErrors }}{{ message }}{{ /verifyErrors }}{{ In 1935, Miguel Navarro finds himself in conflict with the Spanish Civil Guard and flees the Basque fishing village of Lekeitio to make a new start in Guernica, the centre of Basque culture and tradition. Once there, he finds more than just a new life – he finds someone to live for. Miren Ansotegui is the charismatic and graceful dancer he meets and the two discover a love they believe nothing can destroy . . . Witham, Larry (2013). Picasso and the chess player: Pablo Picasso, Marcel Duchamp, and the battle for the soul of modern art. Hanover; London: University Press of New England. ISBN 9781611682533 In many respects he was an innocent. When the war broke out he decided to go to Granada because he thought he would be safest at home, but actually when he got there it became apparent that he wasn’t safe. He took refuge in the home of a friend, Luis Rosales, who was also a poet, albeit a Falangist. Federico assumed that if he stayed with him he would be safe. But one day, when Rosales was out, civil guards came to get him. He had been denounced by Ramón Ruiz Alonso, a right-wing politician. With the OK of José Valdés, the local commander of the civil guard, a real fascist and also a rather twisted individual who had been badly wounded in the stomach, was in extreme agony and eaten up with hatred, Lorca was shot and, until Gibson’s book, nobody really knew why. After Francisco Franco's victory in Spain, Guernica was sent to the United States 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 first museum appearance in the United States from 27 August to 19 September 1939. New York's Museum of Modern 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]

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What wasn’t known was exactly who had pulled the trigger and, of course, the bigger mystery was why. Here was this man who wasn’t dangerous to the military rebels. But he was somebody who was very much associated with the republic and in 1934 had declared: “I will always be on the side of those who have nothing.” His travelling theatre group La Barraca, inspired by a social missionary zeal, took culture to the villages, not just in Andalucia but all over Spain. He had upset the local establishment by suggesting that the Catholic conquest of Moorish Granada in 1492 had been a disaster. With the Spanish republic in desperate straits, though, Picasso was adamant that the painting travel only for fundraising purposes—despite the uninspiring results in Britain. In the end, he agreed to let Barr have Guernica, but insisted that it go first to the Spanish Refugee Relief Campaign, an American advocacy group, to be used in a fundraising tour of four American cities.a b (in Spanish) "30 años del “Guernica” en España" Universidad Nacional de Educación a Distancia (UNED). Retrieved 18 July 2013. Thomas, Gordon & Morgan-Witts, Max. (1975). The Day Guernica Died. London: Hodder & Stoughton. ISBN 0-340-19043-4 Part of the exhibition will be travelling to Les Abattoirs, museum of modern and contemporary art of Toulouse in spring 2019