Masacre en corea pablo picasso

Masacre en corea pablo picasso

Massacre in korea painting meaning

Massacre in Korea (French: Massacre en Corée) is an expressionistic painting completed on 18 January 1951 by Pablo Picasso. It is Picasso’s third anti-war painting and depicts a scene of a massacre of a group of naked women and children by a firing squad. It has been considered to be a condemnation of American intervention in the Korean War.[1][2][3] The painting is exhibited in the Musée Picasso in Paris.

Massacre in Korea is the third in a series of anti-war paintings created by Picasso. It was preceded by the monumental Guernica, painted in 1937, and The Charnel House, painted from 1944 to 1945. The title of this painting refers to the outbreak of the Korean War, which had started in the previous year, yet the subject matter is ambiguous, as Picasso does not point directly to a period or location within the composition.[4]

Picasso was exposed to the effects of war throughout his entire life and this had a direct impact on his artwork. From a young age, he began to include war motifs in his work. When the Spanish Civil War broke out, Picasso was deeply affected by it, which led to his painting of Guernica in 1937. Although Picasso did not take part in any war or serve as a soldier, he would use his artwork to make political statements. He claimed that his artwork was a «journal» that documented not only his personal life, but also the conflicts of his era. World War II marked a period of major upheaval and during this period, Picasso lived in occupied Paris. When France was liberated from the Nazis, he became committed to using his art for political statements. His post-war art therefore displays anti-war images and symbols of peace.[5]

pablo picasso periods

Tras el fin de la guerra, Picasso se dedica a realizar una serie de obras que destacan por el color y la alegría que impregna en ellas, dejando atrás la oscura etapa expresionista. Sin embargo, el inicio de la Guerra de Corea (1950-1953), devuelve a Picasso ese pesimismo anterior, que le lleva a realizar y presentar en 1951 Masacre en Corea, con un pretendido carácter antibelicista.

La obra se inspira, claramente, en Los fusilamientos del 3 de mayo (1814) de Francisco de Goya, obra universal en la que se denunciaba tanto la invasión francesa de la Península Ibérica como la masacre de la población civil. Con Masacre en Corea de Picasso, la pretensión es exactamente la misma: realizar una denuncia de la masacre de la población norcoreana por parte de las tropas estadounidenses en Corea, así como el conflicto en sí mismo.

La trascendencia de Masacre en Corea es enorme, lo fue en su momento, en el contexto en el que se realizó, y lo es hoy día décadas después. Se trata de una obra capital, puesto que Picasso se ve obligado a volver a una serie de representaciones y estilo ya superado, así como al tratarse de una abierta denuncia hacia la participación de Estados Unidos en la Guerra de Corea.[3] [4]

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Massacre in Korea (French: Massacre en Corée) is an expressionistic painting completed on 18 January 1951 by Pablo Picasso. It is Picasso’s third anti-war painting and depicts a scene of a massacre of a group of naked women and children by a firing squad. It has been considered to be a condemnation of American intervention in the Korean War.[1][2][3] The painting is exhibited in the Musée Picasso in Paris.

Massacre in Korea is the third in a series of anti-war paintings created by Picasso. It was preceded by the monumental Guernica, painted in 1937, and The Charnel House, painted from 1944 to 1945. The title of this painting refers to the outbreak of the Korean War, which had started in the previous year, yet the subject matter is ambiguous, as Picasso does not point directly to a period or location within the composition.[4]

Picasso was exposed to the effects of war throughout his entire life and this had a direct impact on his artwork. From a young age, he began to include war motifs in his work. When the Spanish Civil War broke out, Picasso was deeply affected by it, which led to his painting of Guernica in 1937. Although Picasso did not take part in any war or serve as a soldier, he would use his artwork to make political statements. He claimed that his artwork was a «journal» that documented not only his personal life, but also the conflicts of his era. World War II marked a period of major upheaval and during this period, Picasso lived in occupied Paris. When France was liberated from the Nazis, he became committed to using his art for political statements. His post-war art therefore displays anti-war images and symbols of peace.[5]

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Masacre en Corea es una obra con un mensaje directo. Picasso, en plena Guerra Fría, se posiciona al lado de las víctimas civiles norcoreanas, que, en aquel preciso momento de la contienda, sufrían las consecuencias de un conflicto muy cruento.

En el cuadro, Picasso toma partido por los inocentes, tal como ya había hecho en el Guernica durante la Guerra Civil, pero en esta ocasión y en aquel momento la obra no gustó a nadie. Al contrario, llegó incluso a molestar a los dirigentes del Partido Comunista francés, del que Picasso era militante, en el que se consideró que la estética del cuadro se alejaba demasiado del realismo socialista. Y evidentemente, teniendo en cuenta la temática que trataba, cayó como un jarro de agua fría en ciertos sectores de la crítica internacional, cercanos a los museos americanos como el MOMA de Nueva York. «Aunque no le guste a nadie, es algo, ¿no?», dijo Picasso.

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