The 75 years of Guernica in the Reading Club

The session about Contra el Guernica (Against Guernica) by Antonio Saura, was masterfully led by Antoni Marí, poet, essayist, and Professor of Aesthetics.

Based on the observations and facts from the prologue of Félix d’Azúa, Marí takes us back to the 1930s, when Picasso conceived his most well-known work (a hybrid of personal experience, fears and intimate desires and a commitment with the Republic), and to the 1980s, when El Guernica finally returned to Spain.

Guernica. Pablo Picasso, 1937. Oil on canvas. Museo Reina Sofía

The text of Saura, a sort of political hymn, connected both with surrealism, which was the context in which Picasso painted, as well as with the pamphlet, with an irony and criticism that was necessary at that time (the first steps of democracy) and also nowadays (a crisis, ours, which, as Marí said, is epistemological and post-Francoist).

In January we will continue with La gran novel·la sobre Barcelona (The Great Novel of Barcelona), by Sergi Pàmies, with the presence of the writer himself.

Jordi Carrión

Related links
New Season of the Reading Club

  • javier
    March 6, 2013

    El excelentísimo Picasso nos quiso mostrar su sentimiento anti-tauríno en su gran obra el gernika donde tambien deja entrever el ANTICHRISTO

  • Arturo Visedo
    June 15, 2013

    Picasso no fue en ningún momento antitaurino puesto que el toro de “Guernica” lo representa a él. Se sitúa donde Velázquez en “las meninas” y está pintando con el rabo. Hay más similitudes con “las meninas”

    Tampoco veo la referencia al anticristo. Picasso no era religioso de Misa pero no era antirreligioso; cuando había que criticar a la Iglesia lo hacía como en el poema surrealista “Songe et Mensonge de Franco”.

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