Introduction
Pablo Picasso’s painting Guernica is a masterpiece of the world’s art. But beside its artistic qualities it is significant for its role in the struggle against Fascism. This picture became an icon of the twentieth century and encouraged the world community to combat with the crimes against the humanity depicted in it. Gijs Van Hensbergen describes the story of this masterpiece in his book Guernica: The Biography of a Twentieth-Century Icon, connecting the world’s history with destiny of the work of art. The author shows that Guernica receives new meanings in new contexts, different from the initial purpose of the painter, watching various periods in the mural’s history.
Main body
Gijs Van Hensbergen states that Picasso wanted his picture to be an instrument of war. The first chapter of the book is entitled The Nightmare Made Real and depicts the tragedy of the country and the Picasso’s interpretation of this event on his canvas. Initially Pablo has been working on other ideas when he gets to know about bombardment of Guernica. His intentions do not include the illuminations of the political issues. One of the versions is that in order to find inspiration for his picture Picasso is offered to imagine “a bull in a china shop, run amok” (Hensbergen 26). Pablo is fond of corrida at this period, and this hypothesis seems to be plausible. The author does not provide any evidence, making the readers share his conviction. On the final version of the picture the contours of the bull can be found mixed with the elements of the horse, crying woman and faces separated from bodies. When the artist agrees to paint the bombarded Guernica, he works quickly. It is amazing that he manages to fill about 30 square yards of the picture within six weeks. Hensbergen describes the process of creating the masterpiece in details. The readers may follow every artists step in painting the picture since the first its sketch till the moment of its first exhibition. Hensbergen demonstrates that the mural appears to be the mixture of the historical events, personal experience of Picasso and implementation of the contemporary art techniques. Depicting the national drama, Picasso’s purpose is to show that “a painting is a sum of its destructions”. The painter’s unique interpretation of the events is mirrored in the picture. The mixed elements of people and animal bodies reflect the chaos remained by the aggressors on the bombarded land. Notwithstanding the fact that the largest part of the picture was finished within six weeks, the painter paid attention to every slightest detail making it meaningful and symbolic. With the purpose to make his picture an anti-war propaganda, the painter rules the destiny of this work of art. Expressing his attitude towards the role of his painting in the world’s history, Picasso says: “No, painting is not done to decorate apartments. It’s an instrument of war for attack and defense against the enemy” (Hensbergen 18). Hensbergen’s book demonstrates that being exhibited in many countries, Guernica by Pablo Picasso corresponds to the initial artist’s intention and encourages people for the struggle against fascism.
A Silent Requiem is the title of the second chapter of the book reflecting the first impression produced by the picture on the audience. The first critiques’ opinions about the picture were contradictory. It is obvious that this work has lots of meanings for many people; it has repercussions among different groups of population, touching the people’s hearts and inner feelings. In the second chapter the author interprets some of the symbols of the mural, revealing his personal attitude to them as well. The pictures are usually silent commemoration of the historical events, but the scene depicted in Picasso’s work is especially significant for its silence. “The contorted, grief-stricken faces of women, with their gaping cup-shaped mouths, seem to wail up to the heavens in despair. But there is no sound” (Hensbergen 63). There is no sound not only for the reason that it is a picture, but for the reason that people go through their suffering silently. Another aim of the picture commemorating Guernica events is to tell the entire world about the Spanish Civil War and its victims. “Guernica symbolized a requiem for an entire generation” (Hensbergen 64). This quotation from the book demonstrates the significance of this painting and its role in the history of Spain and world’s culture. The author manages to find the words to express the intensity of the people’s suffering. The moral strength is required for keeping silent observing the injustice of the situation. Hensbergen insists that it is strength that makes them go through without uttering a word, not weakness or inability to express protest. Language and choice of words shows that the author admires the Spanish people and Picasso’s masterpiece. He could notice in the painting the shadows of meaning, of which even the artist was not aware. The second chapter illuminates the significance of the masterpiece and its role in the history of the mankind.
The third chapter is the beginning of the painting tours outside Spain aimed at illuminating of the issues of the Spanish Civil War. The first point of destination is London and its Whitechapel Gallery. It is the moment when it becomes obvious that the frames of the painting significance are much wider than those of the artistic value. Beginning the travels of Guerinca, Spaniards are looking for the support of the republic. In London it is necessary to pay for admission. “Ranks of working men’s boots were left like ex votos at the painting’s base: the price of admission was a pair of boots, in a fit state to be sent to the Spanish front” (Hensbergen 88). The author makes this fact symbolical, emphasizing the narrow-mindedness of some citizens and regulation norms based on them. The pair of boots appears to be the price for art, for human destinies and future of the country. It is needless to say that the struggle against fascism at which the painting is aimed cost numerous lives and a pair of boots demonstrates not only limitations of some Londoners’ scope but the political situation in the world as well. Art is sidelined; everyone is focused on the needs and issues of the battlefront. The exhibition is regarded almost waste of time. The role of the painting is underestimated; the emphasis is put on other values by the majority of population. But at the same time the exhibition enjoys wide popularity, the audience is impressed by the canvas. The painting influences the views of the observers, serving the artist’s purpose. Starting its travelling Guernica proves that its assignment is not to decorate the walls but to educate people sharing Picasso’s indignation.
To the New World is the title of the fourth chapter, symbolizing the beginning of travelling overseas. This chapter describes the period during which this painting stayed in New York Museum of Modern Art. “Guernica’s early acceptance amongst New York artists was dependent on that shared experience of the communal struggle through the Depression years” (Hensbergen 106). It means that the painting is appreciated not only for its symbols and style, but is viewed through the perspective of the protest expressed in it. The theme of the political situation is interconnected with the theme of the government’s attitude to Picasso, his works and ideas. The events in Spain and on the world arena presupposed the destiny of the picture. On the other hand, it is due to the state of the picture that it is impossible to continue its pilgrimage aimed at combating the fascists ideology, changing the views of the audience and shifting the frames of the art norms of the past. Guerica stayed in New York for several decades, unable to return to Franko’s Spain. It becomes an integral part of Museum of Modern Art for a long period of time. The picture and Picasso’s original style inspire the beginning of the new artistic trend. It is amazing that the painter chooses this method for his continuing struggle and manages to tell the entire world about the evil of war and about the grief of victims. His painting is considered to be one of the most prominent anti-war works of art. Picasso has got numerous friends in New York and they support him. During its prolonged life in New York Museum the painting influences artistic and political views of the observers.
Hensbergen’s book has new meanings in the context of the recent events. It may be the echo effect of the great work of art depicted in it. The readers are assured that the content of the painting is much broader than protest against Nazism. Ritual struggle of the animals and the fragments of the faces of suffering people express indignation of the educated people at violence of aggressors of any ideology. The Picasso’s purpose was to illuminate the events in Guerica, when the town was bombarded by the Nazis supported by the Spanish general Franko. The picture becomes silent requiem, reproaching people for hurting others on political grounds. It is interesting to read about people whose will is strong enough for opposing the authorities, and whose views are not limited by their personal needs. Hensbergen’s book is a work of fiction, but chronicles numerous facts which are historically accurate. The author uses anecdotes describing Picasso’s quick wits and inner freedom. The painter dares to express his opinion looking in the eyes of soldiers. When one of the inspectors looks at the picture and asks if it is Picasso did it, the artist answers that these were the authorities who did it, meaning not the picture itself, but the events and chaos depicted in it. The author’s admiration of the picture makes the book more interesting and exciting, Hensbergen expresses his own views. “Guernica was a totem to the idea of the sublime” (Hensbergen 153). Hensbergen proves that the picture comes up to the expectations of Picasso and plays an important role in the struggle against fascism.
Conclusion
Guernica: The Biography of a Twentieth-Century Icon by Gijs Van Hensbergen describes the life of the great painting and its influence on the views of citizens of different countries, in which the painting was exhibited. The book proves that the works of art may have impact on the political atmosphere and become a strong weapon.
Works Cited
Hensbergen, Gijs Van. Guernica: The Biography of a Twentieth-Century Icon. New York: Bloomsbury USA, 2005. Print.