It takes a bold author to open his book about ‘Guernica’ with a quotation from the Spanish artist Antonio Saura lamenting ‘the number of bad books that have been written and will be written’ about it. Fortunately, James Attlee’s study of Picasso’s superstar work of art is not a bad book and he builds on a solid cultural and historic understanding of the painting to collate 80 years of evolving reaction to it.
Attlee begins in May 1937, when, at the height of the Spanish Civil War, the Spanish Republic commissioned Picasso to create a painting for its pavilion at the World’s Fair in Paris. They hoped the famous artist would help secure sympathy, funds and, significantly, political intervention in the Republican cause. Picasso initially struggled to find a subject, but was eventually galvanised by reports of the Nationalist-led Luftwaffe’s Blitzkrieg assault on the undefended Basque town of Gernika.
His response to the attack was completed within a month and soon took its place within the Republic’s pavilion, designed by the Catalan architect José Lluís Sert.
Comments
Join the debate for just $5 for 3 months
Be part of the conversation with other Spectator readers by getting your first three months for $5.
UNLOCK ACCESS Just $5 for 3 monthsAlready a subscriber? Log in