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.
Copyright 2003 Reed Business Information, Inc.
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. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
Copyright 2002 Reed Business Information, Inc. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
