On Friday, January 25, at the headquarters, the presentation of the book presentation took place under the title of “Guernica. The unknown masterpiece “, realized the professor José Mª Juarranz.
The event, which was full of partners, friends and lovers of art in general, was presented by the President of the Spanish Association of Painters and Sculptors, José Gabriel Astudillo, who highlighted “Picasso’s opportunism” and how a political work so universal throughout the last century. ”
In addition to the Vice President of the AEPE, Juan Manuel López-Reina, the General Secretary, Mª Dolores Barreda Pérez, the Members Alicia Sánchez Carmona, Antonio Téllez de Peralta, Paloma Casado, Carmen Bonilla, the Librarian, Fernando de Marta were present. , the Treasurer, Ana Martínez and the Presidency Advisor, Itziar Zabalza Murillo.
But in addition, the 2017 Planeta Award, Javier Sierra, did not want to miss this fascinating story about a universal picture, as it also happened with Tomás Paredes, the President of the Spanish Association of Art Critics.
Fourteen years of research and almost 300 pages are testimony to the serious effort made by Professor José María Juarranz to show that Picasso’s Guernica is not a metaphor for the Nazi bombing of that Basque city, but a compilation of elements that through a language, relatively encrypted, symbolize details of his biography.
According to José María Juarranz, “There have been coherent studies but I have made the real jump.” The painting is a synthesis of the most important moments of its history, the Andalusian earthquake in 1864, the death of his friend Carlos Casagemas and his marital conflict in the 30s with his wife Olga Khokhlova, “he clarified.
Thus, the book maintains that the minotaur is a “self-portrait” of Picasso with which he wanted to put himself at the level of Velázquez and Goya in his paintings Las meninas and La familia de Carlos IV, respectively; and the horse would be his wife Olga.