The AEPE in the “Year Zero” magazine of April

Javier Sierra writes in his monthly column on the thesis of Guernica that Juarranz presented at the headquarters of the centenary entity

As we already informed in our February issue, among the attendees to the presentation of the paper of the book that under the title of “Guernica. The unknown masterpiece “, realized the professor José Mª Juarranz in the social headquarters of the AEPE, was the journalist and writer, Planeta Prize 2017, Javier Sierra, habitual collaborator of the Spanish Association of Painters and Sculptors.

Distressing in its approach must have seemed to the Teruel, as the result of that afternoon has led to an opinion article in which he makes it clear that the “official” version of Picasso’s most famous work is not as we had been told. , or at least, it does not conform to what we know about it.

As usual in the writer, Javier Sierra encourages us to continue investigating as many open questions and without a response as logical as we thought, and draw our own conclusions.

The column can be read in the number corresponding to the month of April 2019 of the magazine “Year Zero”, publication of which Javier Sierra is co-founder, along with journalist Enrique de Vicente, and currently directed by Lorenzo Fernandez Bueno.

“Year Zero” is the magazine about the frontiers of the most sold knowledge in Spain and America, reference publication in the Hispanic world for those who seek an answer to everything that escapes human reason and wish to expand the frontiers of the world view that others impose on us. It pretends to be, in all senses, a permanent challenge to the prevailing orthodoxy.

Juarranz y Picasso amazed the public at AEPE

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.

 

José María Juarranz will present the paper on Guernica and Picasso

At the headquarters of the Spanish Association of Painters and Sculptors, next Friday, January 25, 2019, at 7:00 p.m. will take place the presentation of the paper on the Guernica and Picasso made the prestigious professor of geography and history of the Complutense University of Madrid, José María Juarranz de la Fuente.


The book “Guernica. The unknown masterpiece “is the fruit of fourteen years of research and almost 300 pages, testimony to the serious commitment of José María Juarranz in showing 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.
“The decision to title the canvas was opportunistic, a trompe l’oeil that hides the reality of the painting (…) All the paintings that Spain took to its pavilion at the 1937 Paris International Exhibition were propaganda works”. “And in a pavilion where everything was propaganda works … How could I put a painting about his life?”
For the teacher, the name of the work comes from the visit to the Parisian studio of Picasso that his friends made him, the poet Paul Éluard, and Zerbos, Basque nationalist poet, among others.
In the words of Larrea, upon seeing the work, one of them exclaimed “¡Guernica!” and Picasso found the “perfect plinth” to elevate the work of category and “multiply his ancestry and visibility throughout Europe”: “Picasso the bombing of Guernica did not affect him, he did not care what happened in Guernica, like no he cared what happened in Spain. ”
“There have been coherent studies,” he said, “but I have made the real jump.” The painting is a synthesis of the most important moments in its history, the 1864 Andalusian earthquake, the death of his friend Carlos Casagemas and his marital conflict in the 30s with his wife Olga Khokhlova “, has qualified.
Thus, the book maintains that the minotaur is a “self-portrait” of Picasso with which he wanted to put himself at the height of Velázquez and Goya in his paintings Las meninas and La familia de Carlos IV, respectively; and the horse would be his wife Olga Khokhlova, “he says.
In addition, for the author, the figure of the fainting mother holding her baby would not mean suffering for war, as understood until now, but would be her lover Marie Thérèse Walter and her daughter Maya; and the woman with the lamp, identified with the figure of the Republic, is the painter’s mother.
Among other conclusions, the dead warrior lying on the ground is his friend Carlos Casagemas. “This interpretation is the most successful of those that have been made so far,” concludes the author of this book, prefaced by Vicente Verdú.