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.