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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$os svojoj
velicini 4adr4ava nesto od tac$astog, $rat$otrajnog pogleda $oji ne$o pove4uje sa naslovnom stranom novina& Unknown words: invective!verbal attac$!usmeni napad,$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, or damage something, with the horns or tus$s paraphernalia!all the objects needed for or connected with a particular activity,elements! elementi bombers! large photographs in newspapers grainy! if the photographs are grainy, they, are not clear because the many blac$ and white or coloured dots which ma$e up the image can be seen!tac$ast