Picasso’s Guernica and Conrad Bo’s Artworks

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Table of Contents

Picasso and Bo
The Form
The Theme
The Way Society is Evolving
Reference List

Picasso and Bo

Art evolves, along with the society and new forms and styles appear. At the same time, it is obvious that contemporary painters tend to start a discourse with artists of the past. They often use techniques developed earlier and transform them to apply them to the reality which has changed. Art is a reflection of the society people lives in. Admittedly, there are eternal topics such as life and death. Nonetheless, even these eternal issues are depicted differently in different periods. For instance, it is possible to compare a modernist artwork and work pertaining to contemporary art to identify the discourse and the way the society has evolved. Picasso’s Guernica and one of works by Conrad Bo can be analysed to achieve this goal.

The Form

In the first place, it is necessary to focus on the form. Picasso’s work is completed in symbolism with elements of the cubist style (Martin 2014). The media is oil on canvas. Black and grey colours prevail. Notably, Picasso is one of the most potent representatives of the styles mentioned above (Franck 2007). These styles were seen as revolutionary at the time of their creation. They were aimed at transforming art forms as well as the entire society. The artist contributed greatly to the development of these genres and had a great impact on many artists.

Conrad Bo is one of the people as he is also associated with a new style in art. He is the founder of the Superstroke style. He is also a member of the corresponding movement In the manifesto for Superstroke, it is noted that painters should use “violent brushstrokes”, such colours as black and white should prevail, such topics as death and life are central (“Primary Influences of Superstroke” 2009, n.p.). Remarkably, the painter stresses that he was largely influenced by Picasso, and he even coined a term for a style within Superstroke, Picassofication (“Picassofication in Superstroke” n.d.). Bo’s depiction of a man holding a weapon is created in this genre (“Untitled” n.d.). Grey, black and blue colours prevail in the painting. As stated in the manifesto, brushstrokes are violent. It is possible to note that Guernica and Bo’s Untitled are quite similar in form as the two paintings bear traces of cubism and symbolism.

The Theme

However, the works have much in common when it comes to the theme of the paintings. Thus, Picasso’s Guernica is his reaction to the bombing of a Spanish city by the German (Pooke and Newall 2014). The artists revealed the horrors of the war and the greed of the military. Bo also explores the idea of war and death by depicting a soldier in such a symbolic way. The face and the very figure of the soldier are distorted to stress the wrongs of violence. The weapon takes up the central position in the artwork.

It is necessary to note that the political situations in the world in the 1930s and in 2000s have much in common. The 1930s was the time when violence was legitimised, and it seems that people can do nothing to diminish this wrong in the 2000s. Creating the works on war, the artists try to make people think of the horrible outcomes of any violence. It is noteworthy that lots of modernist works had an idea of art autonomy. However, Picasso’s Guernica is one of the works which were created to appeal to people and reveal the reality focusing on its horrors.

The Way Society is Evolving

On balance, it is possible to note that the two works analysed to reveal the way the society has been evolving. Clearly, there are hardly any changes. There are still wars and violence. The military people are still greedy in their search of power. The artists show that people have not learnt even though they have had a variety of lessons. The two works can also be regarded as an illustration of the way art and society are entangled. There is an on-going discourse among artists who influence each other and develop new styles. There is also a lasting debate on eternal issues which are yet to be resolved.

Reference List

Franck, Dan. Bohemian Paris: Picasso, Modigliani, Matisse, and the Birth of Modern Art. London: Grove Press, 2007.

Martin, Steve. “That Goddam Surface.” In Jackson Pollock’s Mural: The Transitional Moment, edited by Yvonne Szafran, Laura Rivers, Alan Phenix, Thomas Learner, Ellen G. Landau, and Steve Martin, 1-4. Los Angeles, CA: Getty Publications, 2014.

“Picassofication in Superstroke.” n.d. Web.

Pooke, Grant and Diana Newall. Art History: The Basics. Oxon: Routledge, 2014.

“Primary Influences of Superstroke.” Web.

“Untitled.” n.d. Web.

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