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Anja Bulajic 131\07 Guernica is the most powerful invective against violence in modern art, but it was not

wholly inspired by the war its motifs! the weeping woman, the horse, the bull!had been running through "icasso#s wor$ for years before %uernica brought them together& 'n the painting they become receptacles for e(treme sensation! as )ohn Berger has remar$ed, "icasso could imagine more suffering in a horse#s head than *ubens normally put into a whole +rucifi(ion& ,he spi$e tongues, the rolling eyes, the frantic splayed toes and fingers, the nec$ arched in spasm these would be unendurable if their tension were not braced against the bro$en, but visible, order of the painting&&& &&&it is a general meditation on suffering, and its symbols are archaic, not historical the gored and speared horse-the .panish *epublic/, the bull -0ranco/ louring over the bereaved, shrie$ing woman, the paraphernalia of pre!modernist images li$e the bro$en sword, the surviving flower, and the dove& Apart from the late +ubist style, the only specifically modern elements in %uernica are the eye of the electric light, and the suggestion that the horse#s body is made of parallel lines of newsprint li$e the newspaper in "icasso#s collages a 1uarter of a century before& 2therwise its heroic abstraction and monumentalised pain hardly seem to belong to the time of photography and bombers& 3et they do and "icasso#s most effective way of locating them in that time was to paint %uernica entirely in blac$, white, and grey, so that despite its huge si4e it retains something of the grainy, ephemeral loo$ one associates with the front page of a newspaper& Translation: %erni$a je najjaci usmeni napad protiv nasilja u modernoj umetnosti ia$o nije potpuno inspirisana ratom njeni motivi! upla$ana 4ena, $onj, bi$ prola4e $ro4 "i$asov rad godinama pre nego sto ih je %erni$a spojila& 5a slici oni postaju prijemnici 4a ogromnu sen4aciju! $a$o je 64on Berger primetio, "i$aso je mogao da 4amisli vise patnje u $onjs$oj glavi nego sto *ubens obicno $oristi u citavom *aspecu& .iljati je4ici, $olutave oci, grceviti rasireni prsti na nogama i ru$ama, vratovi i4vijeni u grcu sve ovo bi bilo nepodnosljivo da njihova napetost nije podr4ana is$rivljenim ali ipa$ vidljivim redosledom na slici&&& &&&to je opsta meditacija patnje i njeni simboli nisu istorijs$i vec arhaicni proboden $onj-.pans$a republi$a/, bi$ -0ran$o/ vreba nad o4aloscenima, urlanje 4ene, elementi pre modernistic$ih sli$a poput slomljenog maca, pre4ivelog cveta i goluba& 2sim $asnog $ubistic$og stila, jedini i4ricito moderan elemenat na %ernici je o$o u obli$u ele$tricnog svetla i pretpostav$a da je telo $onja sat$ano od paralelnih linija novins$e hartije $ao i novine u "i$asovim $ola4ima cetvrtinu ve$a ranije& 7 suprotnom njihova herojs$a apstra$tnost i velicanstvena bol tes$o da pripadaju vremenu fotografije i veli$im fotografijama u novinama& 'pa$ oni i spadaju i "i$asov najdelotvorniji nacin da ih smesti u to vreme je da nasli$a %erni$u potpuno u crnoj, beloj i sivoj boji, ta$o da upr$os svojoj

elements! elementi bombers! large photographs in newspapers grainy! if the photographs are grainy. $rat$otrajnog pogleda $oji ne$o pove4uje sa naslovnom stranom novina& Unknown words: invective!verbal attac$!usmeni napad. or damage something.velicini 4adr4ava nesto od tac$astog. are not clear because the many blac$ and white or coloured dots which ma$e up the image can be seen!tac$ast . with the horns or tus$s paraphernalia!all the objects needed for or connected with a particular activity.$riti$a receptacles! fig& "rijemnici spi$e!a narrow thin shape with a sharp point at one end!siljat splay!to spread wide apart!rasiriti spasm!when a muscle suddenly and uncontrollably becomes tighter!grc gore!to cause an injury to someone. they.