Guernica analysis essay

There followed a long gap in the exploration of the theme while Picasso holidayed in Mougins near Cannes in the South of France in August and September. During the summer the sombre tones of Guernica were replaced with a bright palette of yellow, pink, mauve and crimson in portraits of his companions at the Hotel Vaste Horizon, Mougins. In addition to his companion Dora Maar, Picasso painted Paul and Nusch Eluard and Lee Miller, the photographer and companion of Roland Penrose. The ‘Portrait of Lee Miller’, 1937 (Antony Penrose, repr. Penrose 1981, ) is notable for its extraordinary combination of weeping eyes, shaped like tears, and a wide, smiling mouth. Penrose describes Picasso's mood during this summer vacation as one of ‘diabolical playfulness’ (Penrose 1958, ), a reaction against his recent (and shortly to be resumed) obsession with human tragedy. After his stay at Mougins the obsession with Spain returned and Picasso took up and radically developed his earlier themes. In a large painting of the mother and child theme dated 26 September 1937 (repr. Madrid exh. cat., 1981, ), there appeared a strikingly new treatment of the eyes, which are drawn like toy boats. Later still, on 12 October, a drawing (repr. ibid., ) shows how Picasso has made the eyes, ears and teeth powerfully expressive elements: the eyes are like boats or overflowing saucers, the ears are butterflies or flowers, while the teeth are sharp and fang-like. The grief of the weeping woman had become bitter and cruel. Picasso became obsessed with the theme: from 12 to 18 October he painted nothing but weeping women and he returned to the theme the following week. The drawings and paintings dated 13, 17, 18 and 24 October show him particularly absorbed in the iconography of the handkerchief. All the elements that Picasso had explored through the early summer and then developed in September and October were brought together in T05010 .

The historian Zeev Sternhell has traced the ideological roots of fascism back to the 1880s, and in particular to the fin de siècle theme of that time. [68] [69] The theme was based on a revolt against materialism , rationalism , positivism , bourgeois society and democracy . [70] The fin-de-siècle generation supported emotionalism , irrationalism , subjectivism and vitalism . [71] The fin-de-siècle mindset saw civilization as being in a crisis that required a massive and total solution. [70] The fin-de-siècle intellectual school considered the individual only one part of the larger collectivity, which should not be viewed as an atomized numerical sum of individuals. [70] They condemned the rationalistic individualism of liberal society and the dissolution of social links in bourgeois society. [70]

“At rear bases in Japan, atomic bombs were readied, the president [Truman] spoke publicly of their use, and the government seriously weighed various plans for their employment.  According to historians Bruce Cumings and Jon Halliday, the nearest the United States came to using them was 'in early spring 1951. On 10 March, [General] MacArthur asked for something he called a “D” Day atomic capability... On 5 April the Joint Chiefs ordered immediate atomic retaliation against Manchurian bases if large numbers of new [Chinese] troops came into the fighting... and on 6 April Truman issued an order approving the Joint Chiefs’ request and the transfer of a limited number of complete atomic weapons "to military custody."'

I found it helpful to break down the artists’ works into segments for appraisal. Similar to car companies, artists have top, middle, and lower level segments. So when I looked at an auction lot, I would first ask, “Is this a Lexus, a Camry, or a Yaris for this artist?” I would then look for comparison works (comps) within that same segment based on visual similarity, year of execution, materials, and dimensions. Based on the past selling price for the comps, I could then establish my own estimates. If my estimate for a lot was in Lexus territory, but the low estimate from the auction house was for a Yaris, then I knew I had a winner. This strategy helped me select four of the six lots with the highest ROI in the contest.

The Art Institute of Chicago shared its infrared images with the Cleveland Museum of Art and the National Gallery of Art in Washington, ., where curator William Robinson identified a sketch by Picasso sent to his friend Max Jacob in a letter. It revealed the same composition of mother and child, but it had a cow licking the head of a small calf. In a letter to Jacob, Picasso reveals he was painting this composition a few months before he began The Old Guitarist . Despite these discoveries, the reason Picasso did not complete the composition with a mother and child, and how the older woman fitted into the history of the canvas, remain unknown. [5] [6]

Guernica analysis essay

guernica analysis essay

I found it helpful to break down the artists’ works into segments for appraisal. Similar to car companies, artists have top, middle, and lower level segments. So when I looked at an auction lot, I would first ask, “Is this a Lexus, a Camry, or a Yaris for this artist?” I would then look for comparison works (comps) within that same segment based on visual similarity, year of execution, materials, and dimensions. Based on the past selling price for the comps, I could then establish my own estimates. If my estimate for a lot was in Lexus territory, but the low estimate from the auction house was for a Yaris, then I knew I had a winner. This strategy helped me select four of the six lots with the highest ROI in the contest.

Media:

guernica analysis essayguernica analysis essayguernica analysis essayguernica analysis essay