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In the center of the room a horse falls in agony with a large gaping hole in its side, as if it had just been run through by a spear or javelin.

The horse appears to be wearing chain mail armor, decorated with vertical tally marks arranged in rows. 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 the soldier's left hand contains a stigma, a symbol of martyrdom derived from the stigmata of Christ.

A bare light bulb in the shape of an eye blazes over the suffering horse's head. To the horse's upper right a frightened female figure appears to have floated into the room through a window, and witnesses the scene.

She carries a flame-lit lamp, and holds it near the bare bulb. From the right, below the floating figure, an awe-struck woman staggers towards the center, looking into the blazing light bulb with a blank stare.

Daggers that suggest screaming have replaced the tongues of the horse, the bull, and the grieving woman. A dove is scribed on the wall behind the bull, part of its body comprising a crack in the wall through which bright light from the outside shines.

On the far right another woman, her arms raised in terror, is entrapped by fire from above and below. Her right hand suggests the shape of an airplane.

A dark wall with an open door defines the right side of the room. Interpretations of Guernica vary widely and contradict one another.

This extends, for example, to the mural's two dominant elements: the bull and the horse. Art historian Patricia Failing said, "The bull and the horse are important characters in Spanish culture.

Picasso himself certainly used these characters to play many different roles over time. This has made the task of interpreting the specific meaning of the bull and the horse very tough.

Their relationship is a kind of ballet that was conceived in a variety of ways throughout Picasso's career.

If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning.

What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting.

I paint the objects for what they are. 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.

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.

According 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 grey paint to set a somber mood and express pain and chaos"; "flaming buildings and crumbling walls not only express the destruction of Guernica, but reflect the destructive power of civil 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 bottom of the painting symbolizes the defeat of the people at the hand of their tormentors".

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 violent scene developing right before your eyes even more horrifying.

The blacks, whites, and grays startle you—especially because you are used to see war images broadcast live and in high-definition right to your living room.

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 being a mere political painting, Guernica should be seen as Picasso's comment on what art can actually contribute towards the self-assertion that liberates every human being and protects the individual against overwhelming forces such as political crime, war, and death.

Guernica was unveiled and initially exhibited in July at the Spanish Pavilion at the Paris International Exposition. The Pavilion, which was financed by the Spanish Republican government at the time of civil war, was built to exhibit the Spanish government's struggle for existence contrary to the Exposition's technology theme.

The Pavilion's entrance presented an enormous photographic mural of Republican soldiers accompanied by the slogan:. At Guernica ' s Paris Exhibition unveiling it garnered little attention.

The public's reaction to the painting was mixed. Picasso also writes our letter of doom: all that we love is going to be lost Guernica , for which Picasso was paid , 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.

The tour's main attraction was Guernica. It then travelled to Leeds , Liverpool , and, in early , Manchester. Barr in collaboration with the Art Institute of Chicago , contained works, including Guernica and its studies.

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 not be delivered to Spain until liberty and democracy had been established in the country.

Between and it was shown in Brazil , then 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, concern for the state 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 's photographs of the work in progress.

The studies and photos were often loaned for other exhibitions, but until , Guernica itself remained at MoMA. During the Vietnam War , the room containing the painting became the site of occasional anti-war vigils.

The paint was removed with relative ease from the varnished surface. As early as , Franco had expressed an interest in having Guernica come to Spain.

He later added other conditions, such as the restoration of "public liberties and democratic institutions".

Picasso died in Franco, ten years Picasso's junior, died two years later, in After Franco's death, Spain was transformed into a democratic constitutional monarchy , ratified by a new constitution in However, MoMA was reluctant to give up one of its greatest treasures and argued that a monarchy did not represent the republic that had been stipulated in Picasso's will as a condition for the painting's delivery.

Under great pressure from a number of observers, MoMA finally ceded the painting to Spain in The Spanish historian Javier Tusell was one of the negotiators.

Basque nationalists have advocated that the picture should be brought to the Basque country, [41] especially after the building of the Guggenheim Bilbao Museum.

Even the staff of the Guggenheim do not see a permanent transfer of the painting as possible, although the Basque government continues to support the possibility of a temporary exhibition in Bilbao.

It is less monochromatic than the original and uses several shades of brown. The Guernica tapestry was first displayed from to , and returned in Originally commissioned in by Nelson Rockefeller , since Picasso refused to sell him the original, [44] the tapestry was placed on loan to the United Nations by the Rockefeller estate in On 5 February a large blue curtain was placed to cover this work at the UN, so that it would not be visible in the background when Colin Powell and John Negroponte gave press conferences at the United Nations.

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 US diplomats argued for war on Iraq.

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 part of the old Whitechapel Library.

Alejandro Escalona, on the 75th anniversary of the painting's creation [22]. During the s, Guernica was a symbol for Spaniards of both the end 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 organization Etxerat , which uses a reversed image of the lamp as its symbol.

In , 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.

Guernica has become a universal and powerful symbol warning humanity against the suffering and devastation of war.

From Wikipedia, the free encyclopedia. Oil painting by Pablo Picasso. This section needs additional citations for verification.

Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Guernica is to painting what Beethoven 's Ninth Symphony is to music: a cultural icon that speaks to mankind not only against war but also of hope and peace.

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Cherchez la femme. Reynolds Gallery, Richmond. Gagosian Gallery , Nueva York. Meisterzeichnungen eines Jahrhunderygenies.

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Ausgewählte Druckgraphik und Keramik. Galerie Weick, Düsseldorf. Picasso in The Metropolitan Museum of Art.

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Coskun Fine Art, Londres. Suite Hommagae to Piero Crommelynck. Galerie Forsblom, Helsinki. Museum Pfalzgalerie Kaiserslautern, Kaiserslautern.

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Helferhaus, Backnang. Kreativität und Schaffensdrang. Clemens-Sels-Museum, Neuss. Keramik und Grafik. Galerie Beyeler, Basel.

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La Caja Negra, Madrid. Focus: Picasso Sculpture. The Minneapolis Institute of Arts, Minneapolis. Pablo Picasso: The Vollard Suite. Las Meninas.

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Lillehammer Art Museum, Lillehammer. Figure and Image. Bergen Kunstmuseum, Bergen. Pablo Picasso: Preoccupations and Passions.

Naples Museum of Art, Naples. Picasso: Etchings of Love and Desire. Picasso: Fabler og fortellinger.

Rogaland Kunstmuseum, Stavanger. Picasso in The Hague. Trondhjems Kunstforening, Trondheim. Fabler og Fortellinger. Trondheim Art Museum, Trondheim.

Stiftung Charles und Agnes Vögele, Pfäffikon. Objeto e imagen. Helly Nahmad Gallery, Londres. Picasso Cubiste. Late Work. Galerie Andrea Caratsch, Zürich.

Picasso's Women. Palazzo Firmian, Cavalese. Picasso on Paper. El Papel del Arte V. Galeria Miejska bwa Bydgoszcz, Bydgoszcz.

Museum Ludwig Cologne. Iwate Museum of Art, Morioka. Memento Album. Mickhailovsky Palace, San Petersburgo. Picasso's Demoiselles d'Avignon at The Vollard Suite.

Singapore Tyler Print Institute, Singapur. La caja de remordimientos. Museo de Arte Moderno, Santo Domingo.

Homentage de Palau i Fabre. Picasso and the circus. Fondation Pierre Gianadda, Martigny. A Hidden Picasso. San Francisco Museum of Modern Art.

Picasso lliustratore. Picassos Afrika. Kunstareal München. Malen gegen die Zeit. K20 Grabbeplatz, Düsseldorf.

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Staatsgalerie Stuttgart, Stuttgart. Pablo Picasso - Heads faces bodies. Picasso - surreal — Foundation Beyeler, Riehen.

Jim Nuttu. Galerie Fred Jahn, Munchen. Galerie Jeanne, Munchen. Pablo Picasso femmes drawings Jablonka Galerie, Colonia. Highlights of the Bradley collection.

MilwaukeeArt Museum, Milwaukee. From the Collection Mauer, Vienna. Museum of Contemporary Art Belgrad, Belgrado.

Picasso, toros. Picasso, La seduzione del classico. Villa Olmo, Como. Pablo Picasso — frauen. Leporello, een reis door de collectie. The Triton Collection.

Gemeentemuseum Den Haag, Den Haag. Bacon - Picasso la vie des images. Masterworks from the Phillips Collection. The ClevelandMuseum of Art, Cleveland.

Bordell und boudoir - Schauplätze der moderne. Kunsthalle Tübingen, Tübingen. Tate Liverpool. Cubism or thereabouts.

Grosvenor Gallery, Londres. Woman - Metamorphosis of modernity. KawamuraMemorialMuseum of Art, Chiba. Vision einer Sammlung.

Pablo Picasso - aus seinem zeichenblock - The draftsman. Galerie Thomas, Munchen. The Wynn Collection. Museum Folkwang Essen. A hidden Picasso.

The flower as image. Galerie Orangerie-Reinz, Colonia. Sprengel Picasso. Sprengel Museum Hannover. Objetos de deseo Objetos de artista.

Ludwig Museum im Deutschherrenhaus, Coblenz. Paris bis Lentos Kunstmuseum Linz. Galerie Jeanne, Munich. Picasso to Warhol: master pieces The Centre for Contemporary Art, Varsovia.

The spirit of white. Galerie Beyeler, Basilea. A century of painting - from Renior to Rothko. Guggenheim Hermitage Museum, Las Vegas.

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Mori Art Museum, Tokyo. Picasso, the classical period. Picasso - papier journal, An economy of means.

Matisse — Picasso. Arbeiten auf papier. Galerie Dreiseitel, Colonia. Debüt Galerie Ruf, Munich.

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Von Linie und Farbe. Städelsches Kunstinstitut und Städtische Galerie, Frankfurt. Ausgewählte grafik. Erlesene druckgraphik. Graphische werke.

Erotic Picasso. Naked since Museo Thyssen-Bornemisza, Madrid. Collecting the Vanguard: art from Die kunst der grafik nach Corot to Picasso.

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Bulls and bullfighters. Ludwig Collection. One hundred and fifty-six illustrated books Palacio de los Papas de Avignon. Art Gallery de Toronto.

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Modern Art, Nueva York. Escultura La primera de sus esculturas conocidas data de Tauromaquia Los toros, el mundo de toreo, los picadores, los toreros, la tauromaquia en definitiva fue sin duda uno de los temas favoritos de Picasso.

Del 26 de abril de al 1 de octubre de Obra en Artium. Madrid: Visor, Avril, Nicole. Moi, Dora Maa r. Paris: Plon, Baer, Brigitte.

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