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Guernica, 1937 |
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The 1934 Drawing and its Correspondences in Picasso's Oeuvre
Guernica, 1937Picasso incorporated the same complex layering of imagery and themes in the 1934 drawing as he used in "Guernica" and in many respects it is the same composition.
Severed arms, subliminal skulls, bull's heads, spears* and the diagonally divided dark and light tones are common to both as are a number of important structural features. Sometimes this association is rendered cryptically in one or other of the pictures, for example, the woman with the lamp in "Guernica", who appears to represent Venus, the morning star, is also a metaphor for Lucifer, the light bringer, and in the 1934 drawing, she reappears as the devil Lucifer bringing a dark flame from the same upper right hand quadrant. There is also a relationship between the light above the horse in "Guernica" and the sun above the head of Marie-Therese who is depicted as the personification of the wounded horse. As a result of these figurative, structural and cryptic associations, the 1934 drawing is without doubt the principal precursor of "Guernica" itself and many of its preliminary studies. For a further discussion of Guernica's intimate relationship to the drawing please refer to the folowing two pages, Guernica in Depth and Picasso's Secret Guernica.
© Mark Harris 1996, 1997 Related Picassos
Next Section: Themes of the 1934 Drawing |
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© Mark Harris 1996 (content), Simon Banton 1996 (design) In general copyright of works by Pablo Picasso are the property of the heirs to the Pablo Picasso estate |