Idealistas bajo las balas: Corresponsales extranjeros en la guerra de España (Spanish Edition)

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Aus dem Englischen von M. Mit einer in Rot u. Zweite, berechtigte und vermehrte Auflage, unter Zugrundelegung der dritten Auflage des englischen Originals. Tidy and sound set in the publisher's blue cloth bindings, gilt lettered.

Very slight wear to extremities. The paper spine labels are dust soiled and have some chipping to edges. Minor foxing here and there, mainly around endpapers. No inscriptions, bookplates of Edward Hilliard.

NB Sets appear in both 4 and 6 volume form. The fifth and sixth volumes are of related Spanish interest but are not additional 'Annals of the Artists', ie the first 4 volumes form a complete work and were issued on that basis. Limited Edition, xxxii, pp, mezzotint portrait frontis with tissue-guard, 5 further plates with guards, colour-printed decorated series title-page, head and tail-pieces, decorated capitals, title-page printed in red and black.

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Part of a six volume set but complete in itself. Prescott, William Hickling, Strange, Robert, Sir, Spanish Bull fights Book near fine - Extremes lightly rubbed; but clean boards and no foxing. Illustrated with numerous wood engravings. Gilt spine titles slightly faded and slightly scuffed at head and tail of spines and at corners, otherwise in very good condition.

Covers marked but good Sound Copy. A Dagger in the Spine of Spain? Very Good with no dust jacket; Previous owner's name. Top edge gilded; Vol. Guernica, the name of a famous painting by the Spanish artist Pablo Picasso, depicted the bombing of Guernica. Picasso was asked by the Spanish Republican government to create a painting to decorate the Spanish Pavilion during the Paris International Exposition. In response, he created a painting that condemned the tragic destruction of Guernica. Picasso's Guernica depicts people, animals, and buildings exposed to the violence and chaos of the unexpected attack.

This large canvas, expressed in shades of black, white and grey, embodies the inhumanity, atrocity and hopelessness of war and the cruelty of bombing civilians. The exact location was controversial in Spain, since Picasso's will stated that it should be at the Prado Museum. A special gallery was constructed there to display Picasso's masterpiece to best advantage. In this context, Guernica became not just a masterpiece of contemporary art, but was perhaps the most influence art work of the 20th century to condemn the atrocity and outrage of war.

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From this standpoint, Guernica is paradigmatic of the role played by visual aesthetics in public relations. The field has not paid enough attention to aesthetics, especially its implicit attention to ethics and identification. Guernica and other works of activist artists against wars are a good example of how important aesthetics is for social change. The Spanish Civil War was an era in which this activist role of artists was evident; artists were activists.

Artists and Journalists The role of aesthetics is complicated by the fact that schools of art come into fashion and are often viewed as merely a matter of taste and reflection. However, as set against, for instance, classical realism, Guernica allows those interested in aesthetic expression for political purposes to muse as to whether Surrealism might be rhetorically more powerful than realism. Living in Paris with a network of creative peers, Picasso came under the influence of the Surrealists, who were the presiding avant-gardes in the s.

For Picasso, it was a period of introspection, and according to Clark , his most emotionally tumultuous. This attack on verisimilitude in Western art dislodged the image from its anchor in the real world facilitating instead irrational abstractions of the mind Tsai, Cubism influenced surrealism on a social level. The collage in cubist works brought high art into contact with everyday life.

By using wallpaper and newsprint, and drawing on subjects related to 20th century middle-class existence, Picasso and Braque rejected the traditions of art bound to religious or aristocratic patronage in favor of art that communicated with the masses Tsai, This artistic context combined with another important factor: Indeed, due to this development, many new forms of communication and expression were open to artists and writers.

Paintings provided prime facie evidence of events and character. Journalists and photojournalists provided lexical and pictorial text of the cultural background for the Civil War in ways that gave greater understanding of the state of affairs. Stories and pictures carried by newspapers had a significant impact during the Spanish Civil War in the United States and other countries because people were able to know what was going on during the war sooner as a result of advanced technology such as the telegram. Before the bombing of Guernica, people in the United States had not concerned themselves seriously with the Spanish Civil War because they were preoccupied with the lingering effects of the First World War.

In the afternoon of that market day, some 20 German Legion Condor aircraft bombarded the town for more than three hours.

The worst part of the attack fell on the new part of the town, thereby saving both the famous tree and the House of the Basque Parliament. Immediately, a self-serving public debate started as to whether the town had been bombed, or burned, and if bombed, by whom. However much Picasso was aware of the controversy, his painting added little in detail, but it captured the anguish, chaotic event, and moral outrage. Prior to the Condor Legion raid, the town had not been directly involved in the fighting, although Republican forces were in the area; 23 battalions of Basque army troops were at the front, east of Guernica.

The town housed two Basque army battalions, although it had no static air defenses. Local authorities thought that no air attack could be expected due to recent losses of the Republican Air Force Thomas, Although the basic facts were clear the city of Guernica had been destroyed , the Francoists argued with Republicans regarding who had destroyed the town Southworth, After the attack, Franco refused to acknowledge the destruction of the city and produced a long polemic denial e.

The denial assured citizens that a bombing had been impossible; Francoist aviators had not been able to fly that day because of bad weather. The official Francoist version claimed that the town was burned by Republicans in hasty flight. It was said that something similar had happened in Guernica.

This official Francoist version was a propaganda tool Iglesias, Photojournalism in both Francoist and Republican presses was a crucial means of publicity; each one used photographs as evidence and then conveniently interpreted them according to their preferred point of view Ortiz, This denial is one reason for the lack of details about the atrocity such as the exact number of dead, the person directly responsible for the attack order, and the purpose of the bombing, which could be either "attacking a military objective for strategic reasons or terrorizing the civilian population, bombing a Basque symbolic village and trying to accelerate the surrender of Bilbao" Pablo, , pp.

The denial did not end the controversy over the bombing, from which Franco could not separate himself. Soon, the argument that overcast skies prevented the air attack disappeared as discussion focused on the bombing version of the fire. The conservative press broadcast ambiguous versions that depended on partial information distributed by Havas, the French information agency.

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Another French newspaper, Le Jour 29 April , p. These arguments were reinforced by photographic documentation. Fotos magazine 8 May , p. The message was clear from the headline: Marxist barbarism in Guernica. Photographers who insisted on the fire explanation showed walls that had stood to deny the possibility that there had been a bombing. A year later, on June 18, , Fotos published an image that had previously been published in another magazine, with a significant title: Dante's Vision of Guernica.

In contrast, as Ortiz pointed out, graphic magazines echoed the tragedy and symbolized the innocent victims of Francoism and fascism. On June 2, for example, the Communist magazine Volks Illustrierte reproduced the aforementioned statements of Aguirre, in the context of a John Heartfield graphic composition depicting a mother with her son next to a house in ruins Evans, News of the terrible bombing reached and shocked the international audience thanks to the chronicles of G. The attack on Guernica inspired books, poems, pictures, films, and other works of art.

This outcry started in the press and on the radio, after April 26, and immediately went to the cinema: The legacy of the town needed images filmed in situ, which later would be mounted in a different way, and even opposed, by filmmakers from countries and ideologies very different from each other. Since no images of the bombing were known to be preserved, journalistic accounts resorted to shots of the ruins of the town including smoking buildings, shocked citizens, and feverish rescue, filmed before or after the conquest of Guernica by the Franco army, which took place on April Of these camera-operators, only the first of them shot from the Republican side.

In just three days between 26 and 29 April there was almost no time to film anything. Had the resistance in Guernica lasted longer, more coverage would have captured the Francoist advance in detail Matud, So, it is difficult to know what, if any film images, influenced Picasso—and others.

In May , a sack containing eighteen coils impressed with a film of 16 millimeters Agfa positive direct or reversible was received at the Delegation of the Basque Country in the French capital, where the works of a Basque cinematography were coordinated i. On the outside of each reel, Ugartechea had written the generic theme referred to in the film "Guernica.

Crucial to the role played by Guernica, the Republican side accused the pro-Franco side.

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The news of the bombing was broadcast the same day it happened. Basque government President Juan Antonio Aguirre said a bombardment of the civilian population had been carried out by German aviators Fontaine, As journalists and propagandists battled over the event, the fact was that Guernica had been subjected to indiscriminate destruction. Eventually it became known that the town was a symbolic objective an attack on one of the fundamental places of the Basque nationalist imagination , and for experimental purposes Ortiz, However, while other cases such as that of Hiroshima were subject to censorship Leo, , that of the Spanish town was public from the beginning which gave rise to a huge media debate.

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Franco's propaganda used the photographs of Guernica to prove that the city had not been bombed; it turned the blame to the Republican side. Meanwhile, on the Republican side and in the international press, images of the atrocity circulated quickly and broadly. With a fixed plane of this snapshot began the film of Alain Resnais and Robert Hessens titled Guernica The image had become one of the icons not only of the destruction of Guernica, but of the Spanish Civil War and of the international antifascist struggle. Inspiring a Masterpiece Exact details of the journalistic influence over Picasso in Paris are obscure and circumstantial.

To understand the motivating idea behind the painting that Picasso was going to create to express his outrage, we must put ourselves in his place and move to his Paris studio where he received the terrifying news through the radio and the competing versions in the daily newspapers. Media reports of what happened in Spain were distorted by French newspapers, which were heavily politicized and openly partisan.

The visceral empathy with the Spanish cause was not generated, by actual facts, but by images from newspapers. For the left and right European press, war became a transmitter of doctrine, and it was only learned later that the heroes, victories, and defeats of the headlines were often not only fictitious but also much more indicative of the international politics that of the reality prevailing in the Spanish front Failing, , p.

Interested parties suffered anguish at the impossibility of finding out from Paris what really happened in Spain.

Preston, Paul () - People and organisations - Trove

These circumstantial elements become the essence of the gestation of the work itself. The first journalistic report arrived in Paris on April 27 in Ce Soir based on little more than a simple telegram sent by the correspondent of the newspaper in Bilbao. The report described the attack as the most horrible bombing of the war. Headlines of Le Figaro, strictly following the Francoist line, proclaiming: His narrative was all the more powerful because he belonged to an authority, the Church, which supported the Nationalists in the conflict.

While some newspapers were trying to silence the fact, other kept it alive: French Catholics, hitherto sympathetic to the Spanish nationalists, now condemned their acts. One of the signatories of this manifesto, Emmanuel Mounier, founder and editor of the magazine Esprit, was committed to the defense of the Basque cause. In the June issue of the journal, a page dossier of documents and evidence was published on the destruction of Guernica: An article by Jacques Klein in Le Petit Journal of May 8, provided further evidence of the destruction of the city by German aircraft.

This controversy caught Picaso's attention and triggered his imagination. On Saturday, May 1, , only five days after the bombing of Guernica, and coinciding with Labor Day, the largest demonstration of its kind ever was held in Paris. Instead he took a pencil and a small pad of blue paper and drew a simple sketch of a bull, a horse and a woman Martin, On June 6, the large mural, Guernica, was finished. Then he produced a post-production set of drawings, with a marked emphasis on the head of a suffering woman.

Atrocity as Rhetorical Problem: Because the majority of European states had signed the Non-Intervention Agreement, except the Soviet Union, the Republican government found itself at a clear economic and military disadvantage Van Hensbergen, The coalition needed allies and international aid. The Spanish Republican government had been formed by a coalition of socialists, communists, republicans and representatives from regional Basque and Catalan administrations.

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