Indexes and political iconography in the move of Guernica: from the Casón del Buen Retiro to the Reina Sofía Museum, July 1992
Abstract
This article constitutes an approach to the complex as diverse study of the work of Pablo Picasso: Guernica (1937). However, instead of dealing with the canvas as such, it focuses on an episode in its biography: the transfer of the painting from the Museo Nacional del Prado-Casón del Buen Retiro to the Museo Nacional Centro de Arte Reina Sofía, which occurred on July 26, 1992, based on the analysis of the images generated during the transfer and were mostly disseminated in the media. For that, and from the perspective of political iconography, the aim of this article, on the one hand, is to address the capacity of Guernica to connect with the time it passes through and, in this specific case, with the change in the national and international political cycle that is witnessed at the end of the 1980s. On the other hand, to reflect on the potential of the analysis of (photographic) images as supports for symbolic practices.
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