Guernica, Pablo Picasso Analysis

• (COMP) The entire painting could be viewed as an unconventional triptych without separate canvases. The three areas are as follows; the left shows a bull standing over a crying woman with her dead baby. The central section consists of the horse galloping with it's head swept back. The third and final section portrays three figures; one of which is screaming amongst flames.
• (COMP) All three sections are interlocked with geometric shapes such as triangles to give a strong sense of movement.
• (COMP) The jumbled abstract shapes could reflect the mutilation of innocent civilians in Guernica as they become unrecognisable through the destruction.
• (COMP) There are also two sources of light which cast a triangular shape of lighter tones to draw your eye up and down the painting. This connects elements from opposite sides of the painting.
• (M&A) The lack of colour in this artwork suggests a lifeless yet chaotic atmosphere due to the clash of geometric shapes and busy composition.
• (M&A) Each expression shown by the figures and the animals show anguish, despair and pain. This adds to the overall feeling of misery and desolation within the painting.
• (M&A) This being said, the light cast across the painting from the light bulb and oil lamp could be described as a ray of hope amongst the chaos and devastation.
• (S&C) What does WACB stand for?

  War symbol

  African tribal mask

  Cubism

  Bullfighting
• (S&C) Guernica is primarily a war painting, offering a visual account of the devasting and chaotic impact of this war on both men and women; in this case specifically on civilian life and communities. As a result, the painting has come to be an anti-war symbol and a reminder of the tragedies of war.
• (S&C) Picasso took inspiration from African tribal masks with their stylised forms and geometric shapes. This is evident with the repeated triangular shapes and heavily stylised feautures.
• (S&C) Cubism is an early 20th century movement in art in which perspective has been altered to present different views of objects. It provided a pathway to more abstract styles with its simple geometric shapes, and interlocking patterns.
• (S&C) Bullfighting in Spain is viewed as a traditional sport with substancial roots within the country's heritage and culture. With such a big impact, Picasso clearly wanted to introduce this heritage into the painting. However, the scene contradicts how one would assume a bull fight normally ends; in this painting, the bull stands tall and could therefore be a representation of Spain itself, the country still "standing"
• (SCALE) All animals and figures have been portrayed on equal footing in this painting. This could explain why the scale of the horse is similar to the other figures. Whereas, in reality the horse would normally be larger than a human figure.
• (SCALE) However, the bull seems taller in relation to the figures around him. This reinforces the idea that the bull acts as a solid centre to the painting, representing Guernica itself, still standing after such devistation.
• (SCALE) Guernica is a very large painting, measuring 3.5 metres in height and 7.8 metres in width. These monumental measurements reflect the catastrophic devastation on the city.
• (M&T) It has been painted in oil to create areas of block monochromatic colour. You can see underpainting from previous compositional arrangements coming through the paintwork giving depth and interest.
• (M&T) Picasso used brushes attached to sticks to create long gestural expressive lines which helps give Guernica a sense of movement and life.
• (M&T) Picasso works ground glass into the underpainting layers, an ancient technique which gave the surface a reflective quality.
• (SM) Underneath the image of the bull sits a mother clutching a dead child. Her head is facing the sky in an anguished cry, her eyes in the shape of tears. This image is meant to resemble the classic Catholic image of the Virgin and Child, albeit tainted by war.
• (SM) The soldier is made up of body parts and is not a complete body. We can see his head, and sections of him arms. This could represent the mutilation of soldiers throughout the war. It also reflects the deconstructed forms often in Cubism. This soldier is holding a broken sword and a single flower. The sword could represent justice and bravery while the flower could suggest how hope can flourish, even amongst such devastation.
• (SM) The light bulb within the eye could suggest the view of the artist across the events of the war or even the view of God looking across the chaos of mankind
• (STYLE) By deconstructing the figures into basic block shapes, Picasso portrays the Cubist movement and shows various dimensions of the subjects, painted from various angles.
• (STYLE) Picasso has abandoned the idea of a single viewpoint which is typical of the Cubist style. Several faces can be seen in profile view with other parts of the bodies painted in front view. The horse’s head on the other hand, is tilting back at an angle, showing perspective.
• (STYLE) Picasso’s influence of African tribal masks is evident in this piece with the stylised, simplistic features of the faces. Elements of Ancient Art can also be seen with the primitive style of portraits. Profile views such as this are typical of ancient Egyptian art.