The Spanish Pavilion at the International Exhibition of Art and Technology in Modern Life, Paris, 1937

Pabellón de España en la Exposición Internacional de las Artes y las Técnicas para la Vida Moderna

Anónimo — Mon, 15 May 2017 13:10:59 +0000

Views of the Spanish Pavilion at the Paris International Exhibition of Art and Technology in Modern Life Anónimo (not verified) Mon, 05/15/2017 - 15:10

Año:

1937

Author:

José Lino Vaamonde Valencia

Paris, 1937

The photographs were taken by D. Jose Lino Vaamonde Valencia, architect and Secretary of Propaganda of the Government of the Republic and Deputy General Commissioner of the Spanish International Pavilion with his Contax camera and were processed in the 60s. D. Jose Lino Vaamonde was present when the Guernica was hung in the Pavilion.

Medium:

Photograph

Dimensiones:

17 fot. ; 9 x 12,5 cm.

Archived in:

Biblioteca y Centro de Documentación, Museo Nacional Centro de Arte Reina Sofía

Reference in the source Archive:

RESERVA 2231/ Folletos Caja 1793-10

Contacto derechos reproducción:

Isabel Argerich Conservadora fotografía histórica InstItuto del Patrimonio Cultural de España c/ Pintor El Greco nº 4 (Ciudad Universitaria) 28040 MADRID isabel.argerich@mecd.es

Formato:

jpg

Num. inventario en MNCARS:

RESERVA 2231/ Folletos Caja 1793-10

The Endurance of the Pavilion of 1937 Guernica as a political symbol A Key Museum Component Paris Paris International Exhibition, 1937 José Lino Vaamonde Valencia Government of the Second Spanish Republic Spanish Civil War Propaganda The Spanish Pavilion at the International Exhibition of Art and Technology in Modern Life, Paris, 1937 Views of the Spanish Pavilion at the Paris International Exhibition of Art and Technology in Modern Life

©José Lino Vaamonde Valencia. MNCARS, Madrid. Donación J. Vaamonde Horcada (2001)

Estado gestión compra derechos de reproducción:

Autorizado para exposición, tarjetón actividades Guernica y web. Envuar cuatro catálogos a Isabel Argerich e invitaciones para ver la exposición

Miembros del Gobierno de Euskadi en el Pabellón de España ante Guernica

Anónimo — Mon, 15 May 2017 13:10:59 +0000

Members of the Euskadi government in front of Guernica Anónimo (not verified) Mon, 05/15/2017 - 15:10

Año:

1937

París, 1937

Portrait of the Republican faction during the Civil War, Basque Government.

Medium:

Photograph

Dimensiones:

1 fotografía, B/N

Archived in:

Ministerio de Educación, Cultura y Deporte. Centro Documental de la Memoria Histórica

Reference in the source Archive:

PS-FOTOGRAFÍAS, 42, PS67A

Formato:

solicitado compra

The Endurance of the Pavilion of 1937 Guernica as a political symbol Paris Paris International Exhibition, 1937 Government of the Second Spanish Republic Spanish Civil War Propaganda The Spanish Pavilion at the International Exhibition of Art and Technology in Modern Life, Paris, 1937

Photo

Members of the Euskadi government in front of Guernica

Carta de José Gaos a Juan Negrín

Anónimo — Mon, 15 May 2017 13:10:59 +0000

A letter from José Gaos to Juan Negrín Anónimo (not verified) Mon, 05/15/2017 - 15:10

Año:

1937

Author:

José Gaos

Paris, 3 June 1937

José Gaos, general curator of the Spanish Pavilion, writes to Juan Negrín, president of the government of the Second Republic, regarding the budgets and advance payment of 50,000 francs to Pablo Picasso. He also expresses his opinion that the State must purchase Guernica.

Medium:

Institutional correspondence

Dimensiones:

[3] h.

Archived in:

Ministerio de Educación, Cultura y Deporte. Centro Documental de la Memoria Histórica

Reference in the source Archive:

PS-MADRID 2760, Leg. 2760

Formato:

solicitado compra

The Endurance of the Pavilion of 1937 Paris Paris International Exhibition, 1937 José Gaos Juan Negrín Government of the Second Spanish Republic Spanish Civil War Legitimacy and property The Spanish Pavilion at the International Exhibition of Art and Technology in Modern Life, Paris, 1937 A letter from José Gaos to Juan Negrín

Pablo Picasso visitando las obras del Pabellón de España

Anónimo — Mon, 15 May 2017 13:10:59 +0000

Pablo Picasso visiting works at the Spanish Pavilion Anónimo (not verified) Mon, 05/15/2017 - 15:10

Año:

1937

Paris, 1937

Medium:

Photograph

Dimensiones:

1 fotografía

Archived in:

Ministerio de Educación, Cultura y Deporte. Archivo General de la Administración

Reference in the source Archive:

(3)97.1 caja 64/2754 (93692)

Formato:

TIF 300 ppp

Observaciones:

64-02754-002

Guernica according to Picasso The Endurance of the Pavilion of 1937 Guernica as a political symbol Paris Paris International Exhibition, 1937 Pablo Picasso Government of the Second Spanish Republic Spanish Civil War The Spanish Pavilion at the International Exhibition of Art and Technology in Modern Life, Paris, 1937

Photo

Pablo Picasso visiting works at the Spanish Pavilion

Postal de Denise Loeb a Alfred H. Barr Jr.

Anónimo — Mon, 15 May 2017 13:10:59 +0000

Denise Loeb's postcard to Alfred H. Barr Jr. Anónimo (not verified) Mon, 05/15/2017 - 15:10

Año:

1937

Author:

Denise Loeb

Paris, 8 September 1937

A postcard from the Pavilion of the Spanish Republic with the reproduction of Guernica.

Medium:

Postcard

Dimensiones:

[2] h. (reverso y anverso)

Archived in:

Museum of Modern Art Archives, New York

Reference in the source Archive:

AHB 12.II.F.2

Contacto derechos reproducción:

Michelle Harvey, archives@moma.org

Formato:

jpg (180 ppp/ 3264 x 2448)

The Endurance of the Pavilion of 1937 The Painting’s De-hierarchization Replicas A Key Museum Component Paris Paris International Exhibition, 1937 Museum of Modern Art Archives, New York Alfred H. Barr Jr. Spanish Civil War Mass culture The Spanish Pavilion at the International Exhibition of Art and Technology in Modern Life, Paris, 1937

Janice Loeb, an American film director, sends a postcard of the Paris International Exhibition of 1937 to Alfred H. Barr Jr., director of the Museum of Modern Art, New York, with an image of the last stage of Guernica photographed by Dora Maar. On the back she describes what she has seen and expresses her enthusiasm for the show.

Denise Loeb's postcard to Alfred H. Barr Jr.

Carta de José Gaos a Pablo Picasso

Anónimo — Mon, 15 May 2017 13:10:59 +0000

José Gaos's letter to Pablo Picasso Anónimo (not verified) Mon, 05/15/2017 - 15:10

Año:

1937

Author:

José Gaos

Paris, 28 April 1937

Medium:

Institutional correspondence

Dimensiones:

[2] h.

Archived in:

Musée National Picasso-Paris, Fonds Picasso

Reference in the source Archive:

515AP/E/19/22/1

Contacto derechos reproducción:

Sophie Annoepel-Cabrignac, sophie.annoepel-cabrignac@museepicassoparis.fr

Formato:

jpg (180 ppp/ 3264 x 2448)

The Endurance of the Pavilion of 1937 Paris Paris International Exhibition, 1937 Spanish Embassy in France Government of the Second Spanish Republic Spanish Civil War The Spanish Pavilion at the International Exhibition of Art and Technology in Modern Life, Paris, 1937

José Gaos, chief curator of the Spanish Pavilion, contacts Pablo Picasso to inform him of the unveiling of the Paris International Exhibition, scheduled for 25 May, and to remind him that the opening of the pavilion can only take place with one of his works on display. He also asks for invoices corresponding to expenses accrued through the execution of works to feature at the pavilion, and for him to name a series of prints which will be on sale at the opening of the Exhibition.

José Gaos's letter to Pablo Picasso

Photo © RMN - Grans Palais (Musée Picasso de Paris) / image RMN-GP

España en la Exposición Internacional de París

Anónimo — Mon, 15 May 2017 13:10:59 +0000

Spain at the Paris International Exhibition Anónimo (not verified) Mon, 05/15/2017 - 15:10

Año:

1937

Images of Luis Araquistáin's speech and the placing of the first stone of the pavilion. Min. 8 to 9'16", España al día, no. 1, n'o 5 (original version with subtitles), news broadcast by Laya Films.

Medium:

News programme

Dimensiones:

1 min. 16 ss. B/n, sonido

Archived in:

Filmoteca de Catalunya

Reference in the source Archive:

ref. 7297 vct

Contacto derechos reproducción:

https://www.youtube.com/watch?v=gTcoo7lfpPI

Formato:

pendiente de solicitud

Observaciones:

Socorro Rojo Americano_American Friends of Spanish Democracy. Spain at the Paris International Exhibtion: imágenes del discurso de Luis Araquistaísn y puesta de la primera piedra del pabellón. https://www.youtube.com/watch?v=FcLQ0xpimgo

The Endurance of the Pavilion of 1937 Paris Paris International Exhibition, 1937 Luis Araquistáin Government of the Second Spanish Republic Spanish Civil War Propaganda The Spanish Pavilion at the International Exhibition of Art and Technology in Modern Life, Paris, 1937 Spain at the Paris International Exhibition

https://www.youtube.com/watch?v=FcLQ0xpimgo

video

El Pabellón de España

Anónimo — Mon, 15 May 2017 13:10:59 +0000

The Spanish Pavilion Anónimo (not verified) Mon, 05/15/2017 - 15:10

Año:

1937

Author:

Christian Zervos

Paris, 1937

Christian Zervos, «Le Pavillon de l'Espagne», Cahiers d'art, n.º 4-5, 1937, pp. 283-292. A special edition of Cahiers d’Art on Guernica, corresponding to issues 4 and 5. The monograph, coordinated by the journal’s director, Christian Zervos, analyses Picasso’s process of inspiration-searching by way of a series of articles by different authors, along with manifold photographs taken by Dora Maar, depicting both the artist’s drawings and the execution of the canvas at different stages. The monograph is opened by Zervos, who labels the painting the most humane and chilling work by the artist to date, despite his belief that Picasso self-imposed a cerebral reading of the tragedy so as not to fall into sentimentalism. He explains how, stage after stage, any embellishment was stripped down to absolute purity, both in the movement of the figures, which in their development went from violence to syntheses, and in the space, which moved from an exterior to a tight and harsh interior. Zervos underscores that the importance of the work lies not so much in its aesthetic resolution but in the extreme feelings and sensations it portrays. He finishes by drawing attention to the colours — the blacks, greys and whites, connected to the personages and the sadness and tragedy of the composition. In his article, Jean Cassou, art critic and Hispanist, draws comparisons between Goya and Picasso, whom he believes re-finds himself through a painting which expresses the most intimate tragedy a human being can go through. It is followed by Georges Duthuit, a scholar of Byzantine culture, and Pierre Mabille, a French Surrealist writer, who both stress the survival of the destruction and murder of Guernika, which would have faded into oblivion if it weren’t for the painting. Thereupon, Paul Éluard, in his poem on Picasso, describes the hope for a better future, where values such as freedom and solidarity prevail, while the French writer Michel Leiris defends the beauty of the work and futility of adding words to the expression on the surface of the canvas. This is followed by an article by José Bergamín which once again likens Goya’s Madrid and Picasso’s Spain, works which, in his opinion, reflect the will to be both popular and Spanish, and with history, not painting, repeated on both canvases. The edition is concluded with an article by Juan Larrea, a Spanish poet and essayist, on Miró’s work Le faucheur.

Medium:

Magazines

Dimensiones:

32 cm.

Archived in:

Biblioteca y Centro de Documentación, Museo Nacional Centro de Arte Reina Sofía

Reference in the source Archive:

REVIIA 311

Contacto derechos reproducción:

EDITIONS CAHIERS D'ART 14 RUE DU DRAGON 75006 PARIS T: +33 (0)1 45 48 76 73 TUESDAY - SATURDAY 11AM - 7PM INFO@CAHIERSDART.COM

Original y/o facsímil:

Original

Num. inventario en MNCARS:

REVIIA 311

Observaciones:

Contiene fotografías en las que aparece el Guernica en las páginas 287 y 289.

The Endurance of the Pavilion of 1937 Paris Paris International Exhibition, 1937 Christian Zervos Spanish Civil War Interpretation The Spanish Pavilion at the International Exhibition of Art and Technology in Modern Life, Paris, 1937 The Spanish Pavilion

Carta de Luis Araquistáin a Pablo Picasso

Anónimo — Mon, 15 May 2017 13:10:59 +0000

Luis Araquistáin's letter to Pablo Picasso Anónimo (not verified) Mon, 05/15/2017 - 15:10

Año:

1953

Author:

Luis Araquistáin

Geneva, 3 April 1953

Medium:

Institutional correspondence

Dimensiones:

[2] h.; 30 cm.

Archived in:

Ministerio de Educación, Cultura y Deporte. Archivo Histórico Nacional

Reference in the source Archive:

DIVERSOS-ARAQUISTAIN, Car.1,N.1

Formato:

pdf

Original y/o facsímil:

Facsímil

Num. inventario en MNCARS:

Arch. FIG 2

Observaciones:

Luis Araquistáin recuerda a Picasso su último encuentro en París, finalizada la Guerra Civil, y el acuerdo llegado con Max Aub respecto a la adquisición del "Guernica" por el Gobierno Republicano. El recibo que Picasso firmó por la suma de 150.000 francos franceses, en concepto de gastos incurridos en la realización del cuadro, no tenía más que un valor simbólico y confirmaba su deseo de hacer donación del cuadro a la República. Le envía una fotocopia de la carta de Julio Álvarez del Vayo en la que informa de la pérdida del recibo en la evacuación de Barcelona. Así, de este acuerdo sólo queda la relación de sumas entregadas por la Embajada de París con fines de propaganda, y el testimonio personal de Araquistáin, Álvarez del Vayo y Max Aub. De Picasso depende el destino que decida dar al "Guernica". Luis Araquistáin plantea a Picasso la posibilidad de hacer donación del cuadro incluso si, al desaparecer Franco, se instituyera en España una monarquía constitucional, en lugar de la esperada República.

Guernica according to Picasso The Endurance of the Pavilion of 1937 Guernica as a political symbol A Key Museum Component Paris Paris International Exhibition, 1937 Spanish Embassy in France Julio Álvarez del Vayo Pablo Picasso Government of the Second Spanish Republic Spanish Civil War Legitimacy and property The Spanish Pavilion at the International Exhibition of Art and Technology in Modern Life, Paris, 1937

Luis Araquistáin, a Spanish ambassador in France and among those responsible for setting up the Spanish Pavilion at the Paris International Exhibition of 1937, writes to Pablo Picasso from Geneva, his place of exile. In addition to sending him an article he wrote around the stir caused by the painter’s portrait of Stalin, published in the French communist press, he praises his sense of humour, which foresaw the tragic sense of the lives of the Spanish people. He reminds him that the last time they saw one another in Paris after the Civil War, he explained to him that he had taken charge of Guernica, given that nobody in the Spanish embassy had done so once the exhibition was over due to the political limbo at the time and the fact that all documents were withdrawn for security reasons, including the invoice signed by Max Aub for 150,000 francs, the symbolic acquisition value of the work by the government of the Republic. Moreover, he informs him (and encloses a letter to verify it) of the disappearance of the said invoice and any trace of payment, apart from the list of figures submitted by the French Embassy in Paris for propaganda and his, Max Aub’s and Julio Álvarez del Vayo’s (the then minister of state) personal testimonies. He also reminds him of his insistence that Guernica form part of the artistic heritage of Spain once the Republic was restored and asks him about the decision that would have to be made should another type of regime take power, for instance a constitutional monarchy, in which case he believes that his appointment by the Government of the Republic as director of the Museo del Prado would be ratified; a post he would oversee in Madrid and could, therefore, personally hang Guernica in the Picasso Gallery.

Luis Araquistáin's letter to Pablo Picasso

Informe sobre la Exposición Internacional de París

Anónimo — Mon, 15 May 2017 13:10:59 +0000

Report on the Paris International Exhibition Anónimo (not verified) Mon, 05/15/2017 - 15:10

Año:

1937

Valencia, 11 March 1937

A report drawn up to set out the reasons for visiting the Paris International Exhibition and the different sections comprising it.

Medium:

Internal institutional documents

Dimensiones:

[3] h.

Archived in:

Ministerio de Educación, Cultura y Deporte. Centro Documental de la Memoria Histórica

Reference in the source Archive:

PS BARCELONA, Caja 47, exp. 11

Formato:

solicitado compra

The Endurance of the Pavilion of 1937 Paris Paris International Exhibition, 1937 Government of the Second Spanish Republic Spanish Civil War The Spanish Pavilion at the International Exhibition of Art and Technology in Modern Life, Paris, 1937 Report on the Paris International Exhibition