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Picasso's War
Books: Travel: Bilbao: Item 3
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Picasso's Warby Russell Martin
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17 of 19 people found the following review helpful: Irony, February 21, 2003 Reviewer:Francis J. Mcinerney (Commonwealth) - Hanging in The United Nations is a tapestry that replicates the image of the painting that is the subject of Russell Martin's book, "Picasso's War". The painting is "Guernica" that Picasso created as a response to the destruction of a small town that is of the same name but at times is also spelled "Gernika". The first bit of irony I experienced while reading this wonderful book is that the tapestry hangs in The United Nations but is covered when various topics are discussed. For instance, when Secretary of State Colin Powell recently gave his presentation to The UN on Iraq the tapestry was covered, lest any television or print cameras photograph those speaking with the tapestry as a backdrop. So firstly there is this internationally renowned anti-war symbol hung in a building that rarely averts violence or acts quickly to prevent the spread of violence. And then when the possibility of violence is discussed, the imaged is removed from view. The second instance was a personal experience involving the author, for on the day he was in Spain viewing the original work that documented the bombing of a civilian population by airplanes; the city of New York was targeted by airplanes used as massive flying bombs. The events that took place in Spain that shared the sorrow of that day are amongst the most poignant in the book. The similarity of events also made relevant once again a quote of Picasso's, "War's end, but hostilities endure forever". The decisions and events that lead to the targeting of a civilian population in a manner that at times bordered on sport are repulsive, but are also familiar as they were repeated so many times in the 20th Century, and virtually every other century one may care to examine. Picasso managed to place on a massive canvas images that are horrible, but in a manner that is unique and that has made the image one that has been adopted for human cruelty around the world. Author Russell Martin has created a well crafted book that is a work of History, Politics, Art, and Sociology. It is an extremely readable book for anyone interested in 20th Century events. You don't need to be an admirer of Picasso, you can even dislike his work and it will have little impact on how much you will enjoy this book. For what the author has done is to take what has become an icon for a variety of tragic and shameful human behaviors, and trace it from it's origins to the controversial location where it resides today. Nothing about Picasso's massive work is without controversy, except for the people who stand in endless lines to view it, almost everyone else involved in its custodianship since Picasso's death has little to be proud of and much to account for. War often can be distilled down to one group coveting that which another has, and then using escalating levels of violence to make it their own. Picasso created a documentary of the result of these human failings, and had he lived he would have seen how his work became yet another object for an elite few to argue over and covet, while the masses that he painted it for have waited for decades to even view what he created for them.
From Publishers Weekly
"Painting is not done to decorate apartments. It is an instrument of war." So said Spaniard Pablo Picasso, who created the famous painting Guernica during the Spanish Civil War in reaction to the Nazis' bombing of the Basque village of the same name. Guernica is widely regarded as the best known work of anti-war visual art ever made. Wyman takes a friendly, straightforward approach to reading Martin's historical and personal account of the life of the massive painting, reminiscent of a favorite college professor. His occasional accents work more as an indication of a change of speaker rather than as convincing characters, but his enthusiasm for this saga of art, politics and tragedy makes it a winning performance. The story of Guernica's life after its creation is as fascinating as the events that inspired it are horrific. After the painting received much criticism when it was first exhibited in Paris in 1937, the world later deemed it a masterpiece. New York's Museum of Modern art kept it safe from the political turmoil in Spain for decades until it was finally demanded back in the 1980s. In 2001, when Martin (Beethoven's Hair) finally saw the work-a monument to the horrors of war-he was told by a stranger that he should get to a television. It was September 11. Martin is now speaking publicly about the parallels between the "terror and unspeakable cruelty" of September 11 and Guernica, making this a surprisingly timely audiobook.
Copyright 2003 Reed business Information, Inc. --This text refers to the Audio CD edition.
From Library Journal
Picasso's "Guernica" was painted in reaction to the barbarous Nazi bombing of the Basque village in Spain in 1937. Martin (Beethoven's Hair) extensively researched the circumstances surrounding the creation of this painting and the attention it has continued to command. On 9/11 he was in Madrid viewing "Guernica"; here he has collaged his response to the attacks in New York City with his feelings about the painting. In the face of such terrible loss, it may be reasonable to parallel the two horrific events; however, Martin mixes fact and opinion with his personal reminiscences. Picasso's politics were ambiguous at best; while he joined the Communist Party to please his friends after World War II, he became disillusioned with Stalin in the 1950s. Picasso said, when asked, in typical fashion, that painting was his party. "Guernica's" historical significance as possibly "the last great history painting" gets lost here, begging the question is it politics, art, or tragedy that is Martin's focus? He discusses visuals yet provides no illustrations, such as the photographs Dora Maar took of Picasso working on "Guernica" or the preparatory drawings. This effort will not satisfy the thoughtful reader, and it skimps on production. For a contrasting perspective on Picasso and "Guernica," try James Lord's Picasso and Dora. You can pass on this one. Ellen Bates, New York
Copyright 2002 Reed business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
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