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Patterson explores how modern men and women respond to the threat of new warfare with new capacities for imagining aggression and death. This is an unflinching history of the locationless terror that so many people feel today.
The destruction of a town, and the creation of a masterpiece--On April 26, 1937, in the late afternoon of a busy market day in the Basque town of Gernika in northern Spain, the German Luftwaffe began the relentless bombing and machine-gunning of buildings and villagers at the request of General Francisco Franco and his rebel forces. Three-and-a-half hours later, the village lay in ruins, its population decimated. This act of terror and unspeakable cruelty--the first intentional, large-scale attack against a nonmilitary target in modern warfare--outraged the world and one man in particular, Pablo Picasso. The renowned artist, an expatriate living in Paris, reacted immediately to the devastation in his homeland by creating the canvas that would become widely considered one of the greatest artworks of the twentieth century--Guernica. Weaving themes of conflict and redemption, of the horrors of war and of the power of art to transfigure tragedy, Russell Martin follows this monumental work from its fevered creation through its journey across decades and continents--from Europe to America and, finally and triumphantly, to democratic Spain. Full of historical sweep and deeply moving drama, Picasso's War delivers an unforgettable portrait of a painting, the dramatic events that led to its creation, and its ongoing power today.
The Tree of Gernika: a Field Study of Modern War was published in 1938. It is G. L. Steer's masterpiece. Martha Gellhorn famously wrote to Eleanor Roosevelt: 'You must read a book by a man names Steer: it is called The Tree of Gernika. It is about the fight of the Basques - he's the London Times man - and no better book has come out of the war and he says well all the things I have tried to say to you the times I saw you, after Spain. It is beautifully written and true, and few books are like that, and fewer still deal with war. Pleas get it.' As Paul Preston says in his We Saw Spain Die, 'Martha Gellhorn's judgement has more than stood the test of time.' In his introduction, Nick Rankin writes.' The Tree of Gernika tells how Euzkadi, the democratic republic that the Basques created in their green homeland by the Bay of Biscay, fought for freedom and decency in an atrocious civil war. After a year of struggle, blockaded by sea, bombed from the air, fighting against overwhelming odds in their own hill, the Basques in the end lost to Franco's forces - but they lost honourably, without resorting to murder, torture and treachery.' It was Steer who alerted the world to the destruction of Gernika (Basque spelling), Guernica (Spanish spelling). It was the most important dispatch of his life, run by both The Times and The New York Times. Nick Rankin rightly describes The Tree of Gernika as 'a masterpiece of narrative history and eyewitness reporting by someone close to the key events . . .'
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1977.
On 26 April 1937, in the rubble of the bombed city of Guernica, the world's press scrambled to submit their stories. But one journalist held back, and spent an extra day exploring the scene. His report pointed the finger at secret Nazi involvement in the devastating aerial attack. It was the lead story in both The Times and the New York Times, and became the most controversial dispatch of the Spanish Civil War. Who was this Special Correspondent, whose report inspired Picasso's black-and-white painting Guernica - the most enduring single image of the twentieth century - and earned him a place on the Gestapo Special Wanted List? George Steer, a 27-year-old adventurer, was a friend and supporter of the Ethiopian emperor Haile Selassie I. He foresaw and alerted others to the fascist game-plan in Africa and all over Europe; initiated new techniques of propaganda and psychological warfare; saw military action in Ethiopia, Spain, Finland, Libya, Egypt, Madagascar and Burma; married twice and wrote eight books. Without Steer, the true facts about Guernica's destruction might never have been known. In this exhilarating biography, Nicholas Rankin brilliantly evokes all the passion, excitement and danger of an extraordinary life, right up to Steer's premature death in the jungle on Christmas Day 1944.
A brilliant, concise account of the painting often described as the most important work of art produced in the twentieth century, as part of the stunning Landmark Library series. Pablo Picasso had already accepted a commission to create a work for the Spanish Republican Pavilion in 1937 when news arrived of the bombing of the undefended Basque town of Gernika. James Attlee offers an illuminating account of the genesis, creation and complex afterlife of Picasso's Guernica. He explores the historical and cultural context from which the painting sprang and the meanings it accrued during its travels across Europe and the Americas, as well as its influence on artists both living and dead. Finally, he argues for its continuing importance as a warning of what happens when the forces of darkness go unchallenged. Praise for Guernica: 'Helps you appreciate Guernica's daring and resonance' Literary Review 'An impressive overview of the painting's conception and execution, and its subsequent life as an exhibit and a symbol... Attlee's book succeeds in showing how influential Guernica has been' Sunday Times 'Attlee digs up rich examples of the debate and devotion that invariably attended the painting... Guernica literature abounds; but this book is a worthwhile addition' Spectator
Picasso's artistic genius was clear from childhood. This outstanding book begins with the doves young Pablo painted with his father when he was only seven, then shows us his later passions for harlequins and street people, bulls and minotaurs, new ways of seeing and new ways of rendering life.
"A brilliant analysis of the picture and the situations of its creation. Rarely, if ever, have I read an account that was more satisfying. It is written in the most clear, concise, and elegant fashion with no wasted words or self-consciously elegant prose. Chipp beautifully documents Picasso's personality and attitudes toward his work, his personal relationships, and his political beliefs. This book is, in many ways, a neat and compact introduction to Picasso as a human being as well as an artist."--Edward J. Sullivan, New York University