Daniel Kim
Diana Garvin
ITAL 1301
21 April 2015
How Guernica and The Great Gatsby embody Modernism
Modernism was a philosophical movement that embodied many of the
ambitious changes that occurred in Western societies in the 19th
and 20th century. In particular, urban cities dramatically grew,
creating more technological and modern civilizations. Through rapid
industrialization, people began to reject religious beliefs and
turned to more concrete and practical values. For instance, modern
art focuses on geometric and organic elements, rather than the
fictional components highlighted in many classical works.
Similarly, modernist literature deviates from traditional prose and
expresses new and novel ideas. As a whole, although different
mediums, Guernica by Pablo Picasso and The Great Gatsby by F. Scott
Fitzgerald both utilize specific techniques to underscore modernist
values.
To begin, in the 1930s, Spain possessed considerable economic
disparities between the landless peasants and the rich, wealthy
Catholic men. Particularly, the elite Catholic Church controlled
secondary education and acquired most of the agricultural land in
Spain. Regarding monetary injustices, Cary Nelson asserts that
individuals desired a “certain fervent hope for change and a belief
in the possibility of finding collective solutions to common
economic problems” (Nelson 1). Due to economic and social
inequalities, political unrest between two political parties—the
Republican government and the Nationalist faction—occurred within
Spain. The Nationalists, led by General Francisco Franco, attempted
to overthrow the Republican government and control all of Spain
through numerous uprisings, which in turn contributed to the cause
of the Spanish Civil War of 1936 to 1939. However, Francisco Largo
Caballero led the Republican forces and gradually diminished these
uprisings by overthrowing many rebellious officers and by
controlling “most of the navy when [Nationalist] ships’ crews rose
up” (Nelson 1). As the violence continued, neither the Nationalist
nor the Republicans parties were strong enough to win an immediate
victory, so each “requested foreign aid not only in terms of
financial assets, but also in terms of war materials and troops”
(Goldstein 1). Specifically, Germany and Italy provided troops and
tanks for the Nationalists, while the Soviet Union contributed a
variety of equipment and supplies to the Republicans (Goldstein 1).
As a whole, what once started as a war between two political
parties now transformed into a war among nations.
In addition, on April 26th, 1937, Germany employed warplanes and
bombed Guernica, a small town in the province of Biscay, causing
massive infernos and chaos all throughout the community. Reflecting
a period of mournful and painful events, the large mural Guernica
was created when the government of the Second Republic of Spain
instructed Pablo Picasso to provide a work for the Paris World Fair
of 1937. Despite the imminent onset of a Second World War, the
Paris World Fair of 1937 “was intended to mainly showcase the new
advances in technology” (Serraller 214). Instead of focusing on new
and novel technologies, Pablo Picasso painted Guernica to make a
“clear denunciation of the barbarity and terrors of all wars”
(Serraller 215). Consisting solely of white, black, and grey
colors, Guernica contains geometric and abstract elements that
combine to display the emotions and distress experienced during the
destructive bombardment. Altogether, Guernica displays not only
modernist ideals, but also highlights the chaos and turmoil of the
Spanish Civil War.
Furthermore, the distorted bull in Guernica truly exemplifies
the shift from traditional values to more abstract elements. In
Guernica, Picasso illustrates a wide eyed bull in the top-left
corner of the painting. In particular, the bull maintains a neutral
facial expression and stands behind a woman who grieves over her
injured child. Notably, Picasso positions the bull’s horns
inconveniently above its right eye, creating a disfigured and
unrealistic representation of the animal (See Figure 1). Although
Picasso vividly depicts an unorthodox portrayal of a bull’s head,
he fails to include the entire torso or body of the bull. In a
sense, Picasso arranges the bull’s head and neck above the crying
woman, as if to resemble a ghost or spiritual entity. In agreement
with this assumption, Vincente Marrero claims that the bull
represents a spiritual evil, suggesting that the bull’s head is a
“personification of the miasmae of evil permeating the world”
(Gottlieb 106). Contrarily, I disagree with Marrero’s
interpretation that the bull symbolizes evil because Picasso
greatly endeared bulls throughout his life. Equally as important,
the woman underneath the bull does not seem intimidated or scared
by the massive animal, but actually seems to gain comfort from it
(See Figure 1). All in all, through complex and abstract elements,
Picasso illustrates a grotesque and improbable representation of a
bull, thus deviating from classical principles and ideas.
Moreover, bulls were traditionally viewed as dominant and
powerful animals that fought in dramatic bullfights. However,
Picasso contrasts this conventional viewpoint and displays a bull
as a distraught and mangled creature. By analyzing the bull in its
historical context, Francisco Serraller claims “Picasso depicts the
bull without its protective clothing, even though [protective
clothing] was already in general use at the time” (Seraller 219).
In a sense, Serraller further emphasizes how Picasso’s intentional
representation of the bull conflicts with traditional and even
contemporary perspectives of this animal. Rather than perpetuating
the notion that bulls are strong, destructive beasts, Picasso
humanizes these creatures and portrays them as vulnerable. Thus, by
depicting a bull in this manner, Picasso directly contradicts
previously accepted notions and perspectives. All in all, the bull
represents modernist values through its disfigured facial structure
and unrealistic representation.
Similar to the bull, the horse in Guernica also serves to
reiterate modernist principles. Using different shades of color and
geometric elements, Picasso paints a frantic, uncontrolled horse in
the middle of the mural. The horse, swaying its head back and
forth, wildly stomps on the individuals on the ground, further
contributing to the chaos caused by the German warplanes (See
Figure 1). Also, Serraller claims that the horse “[symbolizes] the
victims of the massacre of the Basque village, passive and
powerless in the face of the tragedy” (Serraller 219). Compared to
the numerous portrayals of horses in classical works, the horse
painted by Picasso in Guernica differs greatly in stylistic
techniques. For example, in the painting Napoleon Crossing the
Alps, Jacques-Louis David beautifully displays Napoleon and an
elegant, majestic white horse. Using precise and intricate
brushstrokes, David carefully illustrates the hairs in the horse’s
mane and depicts a realistic representation of the animal (See
Figure 2). In fact, David also considers the wind’s effect on the
horse’s mane, and thus portrays the hairs flowing to the left.
Contrarily, Picasso paints a horse in Guernica, but the horse does
not possess much detail. Created from geometric shapes, the horse
appears to be rough and unnatural, which is quite dissimilar from
David’s factual representation. Additionally, Picasso utilizes
hard, jagged brush strokes to illustrate his horse, creating a much
more manipulated and altered depiction of the animal (See Figure
1). To close, when compared to classical artists such as
Jacques-Louis David, Picasso strays from the smooth and soft
stylistic techniques and focuses on geometric and sharp brush
strokes.
Moreover, Picasso intentionally limits his range of colors when
illustrating Guernica to underscore the grieving and painful nature
of the bombing. In the mural, Picasso paints the entire canvas
using a limited palette consisting of only white, black, and
different shades of grey (See Figure 1). By illustrating the
bombardment in dark and monotonic colors, Picasso highlights the
sorrowful and bleak nature of the deplorable occurrence. Commonly,
the color black possesses a negative connotation because it
symbolizes evil and death. For instance, individuals wear black
clothes at funerals and sorrowful events to respect and mourn for
the death of a loved one. Likewise, Picasso primarily utilizes the
color black to lament the deaths of the individuals in Guernica.
Thus, simply due to the color scheme, Guernica serves not only as a
vivid description of the bombing, but also as a tribute to all of
the individuals who died in the horrific event.
To continue, Guernica differs significantly from vibrant,
classical works due to the lack of color present in the painting.
For example, in the Late Baroque era, The Swing by Jean-Honoré
Fragonard beautifully depicts a young woman, flowing gracefully on
a swing. Using specific stylistic elements, Fragonard elegantly
blends various colors and creates different textures that
complement one another throughout the painting (See Figure 3). In a
sense, Fragonard maintains a soothing and peaceful tone in The
Swing by using numerous soft colors such as light green and pink.
Dissimilarly, rather than using a variety of colors, Picasso
focuses on three main colors: white, black, and grey. As a whole,
Guernica classifies as a unique and interesting piece of art due to
its absence of bright paints. Even throughout many of Picasso’s
works, Picasso does not utilize colors that gracefully complement
one another, but more seems to incorporate colors that conflict. In
sum, Pablo Picasso underscores modernist ideals through his unique
incorporation of artistic elements.
Aside from Pablo Picasso and Spain, in the 1920s, the United
States rapidly industrialized due to numerous economic and cultural
changes. Prior to the Roaring Twenties or the Jazz Age, the United
States endured the First World War of 1914 to 1918, which allowed
for dramatic shifts to occur. Following World War I, the United
States experienced massive economic prosperity that allowed society
to truly flourish and grow. In particular, the automobile industry
drastically increased, leading to millions of more jobs and to the
increase in the value of steel, rubber, and glass. With the growing
economy, the automobile now “[rapidly] changed from a rich man’s
toy to a necessity for millions.” (Wukovits 200). Through the
introduction of the automobile, Americans now possessed more
freedom to leave their homes and explore the country. In a sense,
the automobile provided the foundation for the adventurous mindset
prevalent in United States in the 1920s.
From a cultural perspective, the 1920s in the United States
produced a wide variety of different music. First, originating from
New Orleans, jazz music played a significant role in the culture of
the United States. As a whole, jazz music caused individuals to
dance and relax, underscoring the general tone of the Roaring
Twenties. In fact, John F. Wokovitz addresses the universality of
jazz music, stating that “jazz captured America and then captured
the world” (Wokovitz 194). Quickly following jazz music, blues
music also contributed greatly to society and to the lifestyles of
many Americans. Particularly, blues music consisted of narrative
ballads and attempted to musically express emotions. Although blues
music possessed a different origin than jazz music, they both
culturally advanced the United States to a more upbeat and smooth
society. Altogether, the United States experienced economic
prosperity through the automobile industry and cultural diversity
from the different types of music produced.
Published in the 1920s, The Great Gatsby by F. Scott Fitzgerald
promotes modernist principles by rejecting traditional themes and
accepted beliefs. In particular, F. Scott Fitzgerald readily
disputes the notion of the American Dream, which claims that
individuals can achieve success through hard work. To discredit the
American Dream, Fitzgerald utilizes lavish and extravagant parties
as symbols of the declining moral and social values present in the
1920s. Regarding the protagonist, Fitzgerald describes Jay Gatsby
as an upscale, young individual who throws ostentatious parties
every Saturday night (Fitzgerald 39-41). Interestingly, Gatsby’s
parties represent the increased wealth and glamour that occurred
due to the dramatic increase in economic prosperity. Through the
ornate parties, Fitzgerald insinuates that the American Dream is
based not on hard work and dedication, but more on greed and
selfishness. As an example, Fitzgerald states that “people were not
invited to [Gatsby’s parties]—they [simply] went there” (Fitzgerald
41). Rather than focusing on more dignified goals, people
prioritized money and parties over their own moral values. With
newfound wealth, individuals became more materialistic and
disregarded the traditional goals that the American Dream advocated
for. Altogether, Fitzgerald suggests that the preconceived notion
of the American Dream has diminished through his portrayal of
fanciful parties.
In addition, Fitzgerald also uses Jay Gatsby’s sudden desire for
money and wealth as a symbol of the declination of morals in the
United States. Interestingly, despite the luxurious and rich
parties, Gatsby originated from humble beginnings. Coming from
underprivileged and unsuccessful parents, Jay Gatsby was born in
North Dakota as James Gatz. Due to his poor economic background,
James Gatz worked as a janitor in order to pay tuition for “the
small Lutheran college of St. Olaf’s in southern Minnesota”
(Fitzgerald 99). Additionally, in order to possess food and
shelter, Gatz worked along the shores of Lake Superior, digging up
clams and catching fish for money (Fitzgerald 99). Using Gatsby’s
modest upbringing, Fitzgerald makes a direct comparison between
James Gatz’s life and the American Dream. Theoretically, the
American Dream emphasized that through hard work and dedication,
any individual can achieve success and prosperity. In specific, the
American Dream was mainly aimed towards poorer individuals
searching for opportunities. Comparatively, Gatz does not maintain
an opulent lifestyle, and thus works belittling jobs to survive. As
a whole, Gatz’s humble lifestyle completely embodies the foundation
of the American Dream.
Straying from his impoverished lifestyle, James Gatz becomes
enamored with money after his interactions with Dan Cody. One
afternoon, Gatz “borrowed a rowboat, pulled out to the Tuolmee, and
informed Cody that a wind might catch him and break him up in half
an hour” (Fitzgerald 98). After this interaction, Dan Cody, a
fifty-year-old millionaire, provided James Gatz with the name “Jay
Gatsby” and employed the young seventeen year old as his personal
assistant. Through Cody, Gatsby “inherited money—a legacy of twenty
five thousand [dollars],” which exposed Gatsby to his first taste
of wealth (Fitzgerald 99-100). As a result, rather than continuing
his previous humble occupations, Gatsby devoted his life to
becoming a rich and successful individual. Altogether, Fitzgerald
underscores Gatsby’s transformation into a wealth-obsessed
individual as an indication of the declining social and moral
values in the United States. Instead of focusing on devotion and
hard work, the American Dream now consists of a philosophy based on
money and greed. Therefore, through the progression of Gatsby’s
life, Fitzgerald rejects the ideals of previously accepted notions,
further promoting modernist principles.
Lastly, Fitzgerald condemns American society and questions
religion through the use of the billboard of the eyes of Doctor
T.J. Eckleburg. In the 19th century, the Second Great Awakening
changed the lifestyles and beliefs of many individuals in the
United States. Concerned with reviving Christian faith, the Second
Great Awakening “recruited people into different denominations” and
ultimately “brought Christianity to the African slaves” (Alchin 1).
In The Great Gatsby, Fitzgerald states that the eyes of Doctor T.J.
Eckleburg “look out of no face, but, instead, from a pair of
enormous yellow spectacles” and “brood on over the solemn dumping
ground” (Fitzgerald 23-24). In my interpretation, the eyes of
Doctor T.J. Eckleburg symbolize God because the eyes are constantly
looking over and viewing the American society. Specifically, the
eyes of Doctor T.J. Eckleburg recognize the immoral relationship
between Tom Buchanan and his mistress Myrtle, which is not known by
many other characters. Thus, the eyes of Doctor T.J. Eckleburg
resemble God because they are all-knowing and examine the various
unethical practices of society. By comparing this particular
billboard to a religious entity, Fitzgerald questions the validity
of God. In particular, Fitzgerald materializes God into a pair of
eyes, directly contrasting traditional perspectives on
Christianity. All in all, Fitzgerald criticizes religious beliefs
and turns to more practical principles.
Lastly, although Guernica by Pablo Picasso and The Great Gatsby
by F. Scott Fitzgerald both dismiss previously accepted ideas and
promote modernist principles, there are dissimilarities between the
two mediums. For instance, Guernica concentrates more on emotional
significance and feelings, rather than societal critiques. As
stated before, due to the horrific nature of the bombing, Picasso
utilizes color to sympathize for the deaths of the individuals in
Guernica. In addition, Francisco Serraller claims that anger and
disgust for war primarily motivated Picasso to paint Guernica.
(Serraller 215). Even though Guernica does effectively contrast
classical works and notions, the mural primarily displays the
sadness, chaos, and turmoil created in the Spanish Civil War of
1936 to 1939. In contrast, without emotional motivation, The Great
Gatsby condemns the American society and claims that expected
social values are declining. Primarily through Jay Gatsby,
Fitzgerald suggests that the desire for money and wealth has
replaced the true American Dream. Closing, The Great Gatsby and
Guernica both successfully support modernist ideals, despite the
different societal and emotional undertones.
To sum, modernism was an ambitious period in which societies
transformed and people rejected popular assumptions. Primarily,
modernist art and literature effectively depict the dramatic
changes occurring throughout society. In art, geometric shapes and
practical elements were prevalent, contrasting the abstract and
organic features present in classical works. Similarly, modernist
literature dismisses Enlightenment principles and conveys
industrialization and globalization. Looking across mediums,
Guernica by Pablo Picasso and The Great Gatsby by F. Scott
Fitzgerald both incorporate unique stylistic techniques to promotes
modernist values.
Appendix
Figure 1
Picasso, Pablo. Guernica. 1937. Oil on Canvas, 349 cm x 776 cm.
Museo Reina Sofia, Madrid, Spain.
Figure 2
David, Jacques-Louis. Napoleon Crossing the Alps. 1801. Oil on
Canvas, 261 cm × 221 cm. Château de Malmaison,
Rueil-Malmaison.
Figure 3
Fragonard, Jean-Honoré. The Swing. 1767. Oil on Canvas,
81 cm × 64.2 cm. Wallace Collection, London, United
Kingdom.
Works Cited
Alchin, Linda. "Second Great Awakening." American Historama.
Accessed April 21, 2015.
http://www.american-historama.org/1790-1800-new-nation/second-great-awakening.htm.
David, Jacques-Louis. Napoleon Crossing the Alps. 1801. Oil on
Canvas, 261 cm × 221 cm. Château de Malmaison,
Rueil-Malmaison.
Fitzgerald, F. Scott, and Matthew J. Bruccoli. The Great
Gatsby. New York, New York: Scribner, 1996.
Fragonard, Jean-Honoré. The Swing. 1767. Oil on Canvas,
81 cm × 64.2 cm. Wallace Collection, London, United
Kingdom.
Goldstein, Tom. "Nazi Germany and the Spanish Civil War:
Continuity in Hitler's Foreign Policy." Nazi Germany and the
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http://www.janus.umd.edu/Feb2002/spanish civ war tom/01.html.
Gottlieb, Carla. The Meaning of Bull and Horse in Guernica.
2nd ed. Vol. 24. College Art Association, 1965. 106-112.
Nelson, Cary. "The Spanish Civil War: An Overview." The Spanish
Civil War: An Overview--by Cary Nelson. January 1, 2001. Accessed
April 18, 2015.
http://www.english.illinois.edu/maps/scw/overview.htm.
Picasso, Pablo. Guernica. 1937. Oil on Canvas, 349 cm x 776 cm.
Museo Reina Sofia, Madrid, Spain.
Serraller, Francisco, and Pablo Picasso. Picasso: Tradition
and Avant-Garde. Prado: Museo Nacional Del Prado, 2006.
Wukovits, John F. The 1920s. San Diego, California:
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