I always intended this blog to feature as much art as it does politics but I've never managed to pull that off. Still, the launch of BBC4's 'The Art of Spain' last night gives me an excuse to post on one of my favourite Spanish paintings - Picasso's 'Guernica'
Guernica is a Basque town in Northern Spain which was attacked by German Luftwaffe in April 1937. The German's attacked in support of General Franco’s efforts to overthrow the Republican Government and more than 1,600 people were killed in the 3 hour bombardment which, to our shame, is probably less well known than the painting it prompted by Pablo Picasso. There are two interesting stories related to this painting – one little more than an amusing anecdote and the other something a bit more profound in terms of what it may tell us about human nature.
The original painting was smuggled out of Europe to the US at the outbreak of war and installed in the Museum of Modern Art in New York. After years spent 'touring' the world during the cold war it finally settled in a Madrid museum as part of the post-Franco democratic settlement (under terms stipulated by Picasso himself). However, a full size tapestry reproduction hangs in the foyer of the UN building in New York. In February 2003 Colin Powell made his (now largely discredited) case for military action against Iraq to the UN Security Council. The subsequent press conference was due to be held in the foyer afterwards until someone (I don’t think it’s ever been determined who) noticed that Picasso’s graphic portrayal of the horrors of war may not have been the most appropriate backdrop. The tapestry was draped in a blue curtain and the press conference went ahead as usual. A few journalists picked this up at the time as an interesting ‘colour’ piece but to my recollection very little was said about it (see here). There could of course been a straightforward aesthetic reason for masking the tapestry (glare, strong contrast etc.) but since no other instances of this seems to have emerged it’s reasonable to assume the motive was political in part. When we’re making the case for military action it’s best not to focus too clearly on what that actually means.
Sixty years before Guernica was ‘veiled’ for the benefit of the world’s media it was also conspicuous by its absence from Picasso’s left bank studio flat in occupied Paris. He did however keep postcard reproductions lying around. One afternoon a German officer picked one up one of these postcards while ‘visiting’ Picasso, obviously recognising what had already become a rather famous anti-fascist painting.
Guernica is a Basque town in Northern Spain which was attacked by German Luftwaffe in April 1937. The German's attacked in support of General Franco’s efforts to overthrow the Republican Government and more than 1,600 people were killed in the 3 hour bombardment which, to our shame, is probably less well known than the painting it prompted by Pablo Picasso. There are two interesting stories related to this painting – one little more than an amusing anecdote and the other something a bit more profound in terms of what it may tell us about human nature.
The original painting was smuggled out of Europe to the US at the outbreak of war and installed in the Museum of Modern Art in New York. After years spent 'touring' the world during the cold war it finally settled in a Madrid museum as part of the post-Franco democratic settlement (under terms stipulated by Picasso himself). However, a full size tapestry reproduction hangs in the foyer of the UN building in New York. In February 2003 Colin Powell made his (now largely discredited) case for military action against Iraq to the UN Security Council. The subsequent press conference was due to be held in the foyer afterwards until someone (I don’t think it’s ever been determined who) noticed that Picasso’s graphic portrayal of the horrors of war may not have been the most appropriate backdrop. The tapestry was draped in a blue curtain and the press conference went ahead as usual. A few journalists picked this up at the time as an interesting ‘colour’ piece but to my recollection very little was said about it (see here). There could of course been a straightforward aesthetic reason for masking the tapestry (glare, strong contrast etc.) but since no other instances of this seems to have emerged it’s reasonable to assume the motive was political in part. When we’re making the case for military action it’s best not to focus too clearly on what that actually means.Sixty years before Guernica was ‘veiled’ for the benefit of the world’s media it was also conspicuous by its absence from Picasso’s left bank studio flat in occupied Paris. He did however keep postcard reproductions lying around. One afternoon a German officer picked one up one of these postcards while ‘visiting’ Picasso, obviously recognising what had already become a rather famous anti-fascist painting.
“Did you do this?” he asked Picasso accusingly. “No” Picasso snapped back, “You
did!"
Labels: art
3 Comments:
If this was supposed to be about a narrative then why not take a picture so evryone knows. The anti fascism , which I am highly dubious about ,is in the style if at all. I would actually say it was somewhat fascist itself in the way the surrealists mught be said to be .
I don`t think the politics of a style of painting that eschewed the subject matter can be said to be in it hidden by the inconvenience of the painting.
I like it but it is quite obviously contemptuous of vernacular and folk art. TS Elliot , Ezra Pound and the 'modern'.These are far from anti fascist and the odd truth is the far right has a far more productive realtionship with creative endevour than the left.
"the odd truth is the far right has a far more productive relationship with creative endeavour than the left"
What!? Give me 3 universally recognised artists with a far right' agenda...? (the Spice Girls don't count)
TS Elliot , Ernest Hemingway , Salvadore Dali. I refferred to Creative endevour because I don`t know an awful lot about modern visual art.
I did fish out this link which deals with the realtionship between modernsim and fascism in design where I was thinking chiefly of TS Elliot,
http://findarticles.com/p/articles/mi_m0422/is_1_84/ai_84721212
The idea of the artist as imposing his will , as a superman, which the modern included is a close relation of political "Will" and the urge to action and the cocktail of elements in Fascism.
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