Picasso’s painting Massacre in Korea


Pablo Picasso, Massacre in Korea

By Martin Shaw:

Pablo Picasso‘s ‘Massacre in Korea‘ (1951; in the Musée Picasso, Paris), … is based on a massacre of Korean civilians by US forces at No Gun Ri from 26-29 July 1950, which has remained controversial to this day. Korean survivors claim that they were bombed by the US airforce on 26 July, and subsequently fired on by US soldiers in a tunnel into which large numbers had fled, leading to over 300 deaths.

Half a century later, after an indefatigable campaign by Korean survivors, in 1999 Associated Press reporters found US veterans who confirmed the massacre story. The US Army was finally forced to confront the allegations and established an official investigation into the episode, whose Report of the No Gun Ri Review was published in January 2001. …

Picasso’s painting was doubly controversial in its time. It not only endorsed claims of massacre that were denied by the US. It was also criticised within the French Communist Party (PCF), of which Picasso was a member, for not conforming to a socialist realist style. The painting has never achieved the iconic status of the earlier Guernica (1937), but it has remained one of Picasso’s most explicitly political works, a point of reference in various situations.

See also here.

Discussion about Picasso, politics, and art: here.

Another massacre in Korea: here. And here.

From Rembrandt’s teen age to Picasso’s old age: etchings


Rembrandt, self portrait etchingIn museum De Lakenhal in Leiden, The Netherlands, there is the exhibition Rembrandt the Narrator.

It is an exhibition of Rembrandt etchings from the Frits Lugt collection.

It is from 13 April to 3 September 2006.

Rembrandt’s subjects shown include everyday life scenes, biblical and mythological stories.

Like in his paintings, also in his etchings Rembrandt’s use of light and darkness brought passion and dramatism to the narratives.

From 12 April to 12 July 2006, also in the Lakenhal, is the exhibition Rembrandt & Picasso.

Especially in his later work, Pablo Picasso was inspired by old masters.

In a series of etchings, he rivaled Rembrandt’s masterly art of narrative in black and white.

Today, to Museum De Lakenhal in Leiden, to see these two exhibitions.

The smallest of the two exhibitions, the Picasso exhibition, is in the hall just after the entrance.

Some of the Rembrandt inspired Picasso etchings there are from 1934, some from 1971; showing Picasso’s interest in Rembrandt was not a passing phase, but lasted for decades.

The bigger exhibition, of Rembrandt on the second floor, tells also about Rembrandt’s inspirations: Albrecht Dürer (for Rembrandt’s Death of the Virgin from 1639), Jacques Callot, Lucas van Leyden.

Like on the ground floor of the Lakenhal was Rembrandt’s first known painting, from his teens in 1624, The Spectacles Peddlers; the special exhibition started with Rembrandt’s first known etching, from 1626: The Circumcision of Jesus.

Etching was a new development in the times of Rembrandt, more accessible than copper engraving had been in the sixteenth century.

Rembrandt and Picasso, by Simon Schama: here.