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Picasso's War: The Extraordinary Story of an Artist, an Atrocity and a Painting That Shook the World, by Russell Martin
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On 26 April 1937, the Basque town of Guernica in northern Spain was bombed by Hitler's Luftwaffe on behalf of Francisco Franco as he waged a bloody civil war. Twenty-four hours later, the village lay in ruins, its population decimated. This act of terror - the first large-scale attack against civilians in modern warfare - outraged the world, and one man in particular. Pablo Picasso, an expatriate living in Paris, responded to the devastation in his homeland by beginning work on GUERNICA, a painting many consider the greatest artwork of the twentieth century. Intermingling themes of politics, art, war and morality, and featuring some of the twentieth century's most memorable and infamous figures, Russell Martin follows this renowned masterpiece across decades and continents. From Europe to America and, finally, back to Spain, PICASSO'S WAR sheds light on the conflict that was an ominous prelude to World War II and delivers an unforgettable portrait of a genius whose visionary statement about the horror and terrible wounds of war still resonates today.
- Sales Rank: #2362432 in Books
- Published on: 2004-01-19
- Original language: English
- Number of items: 1
- Binding: Paperback
- 288 pages
From Publishers Weekly
Picasso watched closely from his adopted Paris as the Spanish Civil War unfolded, and when German bombers leveled the Basque village of Guernica, the previously apolitical Picasso felt stirred to action. Created at a frenzied pace, his painting Guernica was both homage to his Catalonian homeland and a scathing indictment of bloodshed. While Martin (Beethoven's Hair) meticulously describes the painting's creation and context, much of the book focuses on the controversies that haunted the canvas for decades. When Guernica was first introduced at the Spanish pavilion of the 1937 International Exposition of Art and Technology Applied to Modern Life in Paris, it was ignored by many, criticized by others for ugliness-and even for not being political enough. Later acknowledged as a classic, it was housed in New York's Museum of Modern Art, safe from the war overseas. By the '60s, voices grew stronger asking for its return to Spain, the country that had originally commissioned its creation. With Franco still in power, an aging Picasso asked that the painting go to Spain only when the country was once again free from oppression. Within this larger narrative, Martin weaves a memoir of his own trek to visit Guernica, which finally arrived in Spain in the 1980s. The culmination of this thread, when Martin coincidentally views the painting on September 11, 2001, brings the narrative into the contemporary world and highlights Guernica's brutal relevance today.
Copyright 2002 Reed Business Information, Inc.
From Library Journal
Picasso's "Guernica" was painted in reaction to the barbarous Nazi bombing of the Basque village in Spain in 1937. Martin (Beethoven's Hair) extensively researched the circumstances surrounding the creation of this painting and the attention it has continued to command. On 9/11 he was in Madrid viewing "Guernica"; here he has collaged his response to the attacks in New York City with his feelings about the painting. In the face of such terrible loss, it may be reasonable to parallel the two horrific events; however, Martin mixes fact and opinion with his personal reminiscences. Picasso's politics were ambiguous at best; while he joined the Communist Party to please his friends after World War II, he became disillusioned with Stalin in the 1950s. Picasso said, when asked, in typical fashion, that painting was his party. "Guernica's" historical significance as possibly "the last great history painting" gets lost here, begging the question is it politics, art, or tragedy that is Martin's focus? He discusses visuals yet provides no illustrations, such as the photographs Dora Maar took of Picasso working on "Guernica" or the preparatory drawings. This effort will not satisfy the thoughtful reader, and it skimps on production. For a contrasting perspective on Picasso and "Guernica," try James Lord's Picasso and Dora. You can pass on this one. Ellen Bates, New York
Copyright 2002 Reed Business Information, Inc.
From Booklist
Picasso hadn't yet agreed to create a mural for Spain's pavilion in Paris' 1937 international exposition, but once news of the Nazi bombing and utter destruction of the historic Basque town of Guernica reached the expatriate Spanish artist, visions of a painting in protest of that horrific massacre of innocents quickly coalesced. The result was the immense masterpiece Guernica, which, as Martin so resoundingly chronicles, became "the world's most recognized symbol of war's brutality." Martin, the author most recently of Beethoven's Hair (2000), relates in engrossing detail the entire, never before fully documented story of the genesis, reception, and fate of Guernica, freshly considering overlooked aspects of Spain's civil war and Franco's collusion with Hitler, the ongoing struggle for Basque autonomy, and Picasso's refusal to allow Guernica to travel to Franco's Spain. Initially castigated for being too vague in its condemnation of the fascist attack, the painting's timeless and universal power soon made itself known as war erupted around the globe. Martin's poignant portrayal of Picasso and gripping history of a painting that galvanized a world assaulted by new extremes of systematic violence illuminate the complex and always provocative nexus of art, politics, and social conscience. Donna Seaman
Copyright © American Library Association. All rights reserved
Most helpful customer reviews
6 of 6 people found the following review helpful.
A Historic Painting's Biography
By Rob Hardy
In a small village of Spain, it was market day on 26 April 1937, with farmers bringing in harvest. The village within the Basque region of northern Spain was without any serious strategic import, but it was less than twenty miles away from Bilbao, a Basque stronghold, and Francisco Franco wished to threaten the Basques. At the request of Franco's rebel army, Luftwaffe planes poured bombs, percussion and incendiary, onto the village for three hours, and strafed the people trying to flee. The event was to inspire possibly the most famous painting of the twentieth century, and the painting was to sear the events in Guernica into the world's memory. The story of the history that made the painting and the painting that made history is dramatically told in _Picasso's War: The Destruction of Guernica, and the Masterpiece that Changed the World_ (Dutton) by Russell Martin. It is a great story of art and history, and it is told here with earnest verve.
Picasso didn't like the idea of a commission for a big mural, and although he fully supported the Spanish Republican forces in their efforts against Franco's fascism, he was not interested in making what he knew would be a piece of propaganda. He had never visited the Basque country, but once he heard of the attack, he began sketches for the commission. It was not immediately accepted as a masterpiece, although the partisans of the Spanish Republican cause were, of course, enthusiastic. It wound up at the commencement of World War II in New York's Metropolitan Museum of Art, where it would be a showpiece for more than forty years. Picasso made clear that the Spanish Republican government had paid for the painting and it thus belonged to the people of a democratic Spain, but he stipulated that democracy and freedom had to be restored before it returned. After Franco's death, and after serious legal tangles, possibly because the museum wanted to hold on to the painting as long as possible, the painting was sent to the Prado museum in Madrid in 1981. The national newspaper had the headline THE WAR HAS ENDED.
That might have been so, but controversy over the painting and the locale it deserves has not ended. It was moved to another Madrid museum, probably its permanent home, but many Basques believe that it needs to be closer to the rebuilt Guernica village. Hope for such a move peaked when the Bilbao museum was built. The architect, Frank Gehry, even showed the Spanish king and queen the wall on which _Guernica_ should be installed. Having the painting return to Spain helped to heal the years of repression, and perhaps sending it to Bilbao would heal the wounds between Basques and Spaniards; it is not impossible that the famous painting still has work to do. But Martin reminds us that Picasso said, "Wars end, but hostilities endure forever." Martin was researching his fine book, and looking at the painting himself, when other museum visitors hinted that as an American he ought to get to a television. It was 11 September 2001, and the world has not fully learned _Guernica_'s lesson.
0 of 0 people found the following review helpful.
A Gripping Account Of Guernica - The Bombing & The Mural
By Jana L.Perskie
On April 26, 1937, 100 aircraft of the German Luftwaffe's Legion Condor conducted a three hour bombing attack on the city of Guernica, a small Basque town, then held by the Loyalist Republican Army. The Germans were pressured into conducting the attack by Francisco Franco, the Spanish rebel leader. Guernica was approximately 10 miles behind the front lines and was crowded with retreating soldiers and refugees. The day was the normal market day for the town and surrounding area. Local citizens crowded the marketplace, doing their weekly shopping.
Two-thirds of the of the explosives dropped by the German bombers were 500 and 250 kilogram high explosive bombs and 20 pound anti-personnel bombs; one-third were 2 pound incendiary bombs. Approximately 1,654 people may have been killed and another 889 wounded in the attack. Reports indicate as much as 70 percent of the town was destroyed, with most of the rest heavily damaged. Fires ignited during the attack are reported to have burned for three days. Guernica fell to General Francisco Franco's advancing army two days later.
From his home in Paris, Pablo Picasso, Spanish artist and master painter, translated the shock, horror, sorrow and outrage he shared with his fellow countrymen and most of the world's people, into a gigantic black and white mural he titled Guernica.
Russell Martin tells the complete story of Guernica, starting with the events that lead to the creation of the painting and following Guernica as it moved from museum to museum, becoming ever more the important symbol it has become today - and one of the 20th century's greatest masterpieces. Martin examines Spain under Franco's fascist regime, the storied private life of Picasso, the messages of protest within the painting, and the controversy that surrounded Guernica.
This painting symbolizes all that is horrible and evil in war, and the resulting suffering that occurs in wars everywhere. "Picasso's War" has been named a Book Sense 76 selection of the US Association of Independent Booksellers. It is extremely well written and fascinating - educational, critical and very personal. I cannot recommend it highly enough.
JANA
13 of 13 people found the following review helpful.
Great Read -- Great History?
By A Customer
Russell Martin has taken the history of the Spanish Civil War and a single work of art an woven them together into an entertaining and enlightening book. I am disturbed, however, by the author's Bibliographical Note, which begins "This narrative is intended for general readers rather than scholars, and for that reason I have chosen not to cite sources in the text or in accompanying notes. But I will be pleased to answer queries directed to me through the publisher about specific sources...." The author claims a great deal of detailed knowledge, from time to time stating with authority how Picasso felt in particular situations. It would be nice, even for a general reader, to know whether these conclusions were based on letters or interviews or the author's supposition...
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