Abstract

Contrary to the received opinion that Pablo Picasso conceived of Guernica only after learning of the bombing of the Basque town on 26 April 1937, and in direct response to it, in this article we demonstrate that the mural was visualized much earlier, as part of Picasso’s larger artistic and intellectual response to war. In February 1937 Picasso met with José Luis Sert, the architect of the Spanish Pavilion planned for the Paris World Fair that was to open in June. That he was so quickly able to provide the architect with the exact dimensions of the mural suggests that he had already conceived a vision and plan for the painting that would only later be known as Guernica—a vision that saw him less preoccupied with iconographical minutiae than with visual problem-solving around a general theme: the types and consequences of political violence in Spain and wars past, present, and future. In searching for inspiration, Picasso paid homage to three other artists whose works reflected different aspects of this theme: Francisco Goya, Robert Capa, and David Seymour. The whole mural was painted in black and white because Picasso was certain that Guernica would be seen as a work of photojournalism, which form of journalism had only recently started to be transmitted by wire and radio services. Lastly, Picasso was confident that his painting would eventually be installed in the Prado Museum and be compared to both of Goya’s paintings, The Second of May 1808 (1814) and The Third of May 1808 (1814). To place himself as pre-eminent, Picasso made Guernica larger than either of Goya’s paintings by subsuming the former into a completely original compositional overlay.