Monstrosity in European Art: A reflection on the role of Monstrosity in 19th century paintings

Guernica (1937)

          Guernica is one of Picasso’s founding achievements. From its symbolism to style to complexity, the painting is unrivaled in its impact and message. The painting was made in response to the German massacre of the city of Guernica in northern Spain on April 27th, 1937 in support of Franco, the Spanish leader. Interestingly enough, the painting was commissioned by the Spanish government for the 1937 Paris world fair, and Picasso brought Guernica, a sweeping anti war statement. The painting is strikingly depicted in black white and grey that makes the painting seem like a photo in a newspaper. Additionally, the jagged shapes, humans, and animals create a dramatic intensity and chaos that are emblematic to its source material. Some individuals can be seen grieving or calling to help and the figures of a bull and a horse are visible amongst the body parts that are separate from either Picasso’s style or the bombs dropped. Surrounding this piece is an atmosphere of fear that is shocking to see, and the size of the painting only increases its impact on any viewer.
          The monstrosity depicted in Guernica is that of the victims who are desperate and woeful for the destruction of everything they hold dear. Interestingly, the painting fails to depict the German bombers themselves when they are the causes of the destruction and are arguably more monstrous. Instead, the viewer is left with the human fragments left behind by such a tragedy. Guernica interfaces with themes of fear and through its styling creates a terrifying and perplexing view of such a raw emotion. Like in “The Skriker” there is unease in the ability to not fully understand the meaning and impression of the art even if we may understand the ‘words’ that this painting presents. Picasso was incredible at placing emotions on a canvas and challenging the viewer to reassert what they think of war or sorrow in this case. Guernica is a perfect artistic comparison to the monstrous texts we read in class; the texts and Picasso challenged what we thought was normal about humanity and monstrosity and then began to blur the lines so that we could not see the difference between the two.

          This marks the end of my virtual exhibit, I encourage any reader to return to any of the paintings that spoke to them and comment on their monstrosity and importance.

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