MOMA : Final Peer Review Documentary

BIOGRAPHY OF PABLO PICASSO

Painter and Spanish sculptor, considered one of the most important artists of the 20th century. Versatile artist was unique and great in all its facets, inventor of forms, innovative techniques and styles, artist graphic and sculptor, being one of the most prolific creators in history, with more than 20,000 works to his credit. Picasso was born in Malaga on October 25, 1881, son of María Picasso López and the Professor of art José Ruiz Blasco. Until 1898 always paternal and maternal last names he used to sign his works, but around 1901 left the first to use only the surname of the mother since then. The genius of Picasso becomes already clear from very early, at the age of 10 years made his first paintings and 15 approved with brilliance the entrance exams at the school of fine arts in Barcelona, with his great canvas science and charity (1897, Picasso Museum, Barcelona), which represents, in even academic stream a doctor, a nun and a child at the bedside of a sick woman, won a gold medal. Between 1900 and 1902, Picasso made three trips to Paris, finally settling there in 1904. The Bohemian atmosphere of the Parisian streets fascinated him from the outset, showing his pictures of people in dance halls and cafes the assimilation of post-impressionism and symbolism of the nabis painters Paul Gauguin. The themes of the work of Edgar Degas and Henri Marie Raymond de Toulouse-Lautrec, as well as the style of the latter, exerted a great influence on Picasso. The blue room box (1901, Phillips collection, Washington) reflects the work of both artists and, at the same time, shows its evolution towards the blue period, so called by the predominance of blue tones in the works that took place during these years. They will reflect the human misery, with workers exhausted, beggars, alcoholics and prostitutes, represented with bodies and slightly elongated forms, recalling the style of El Greco. Shortly after settling in Paris in a ramshackle building known as the Bateau-Lavoir, Picasso met his first girlfriend, Fernande Olivier. With this happy relationship Picasso changed his palette to shades of pink and red, the years 1904 and 1905, known as pink period. Their topics focused on the world of the circus, which he visited with great assiduity, creating works as a family of acrobats (1905, National Gallery, Washington). In the figure of Harlequin, Picasso painted his other I, his alter ego, practice also repeated in subsequent works. 




Their first season in Paris date from his friendship with the poet Max Jacob, writer Guillaume Apollinaire, art dealers Ambroise Vollard and Daniel Henry Kahnweiler, and the American wealthy residents in France Gertrude Stein and her brother Leo, who became his first patrons. All of them were portrayed by the painter. 

In the summer of 1906, during a stay in Gósol Picasso, his work will enter a new phase marked by the influence of Greek, Iberian and African art. The famous portrait of Gertrude Stein (1905-1906, Metropolitan Museum of Art, New York) reveals a treatment of the face as a mask. The key work of this period is the young ladies of Avignon (1907, Museum of modern art, New York), so radical in style - the surface of the box resembles a fractured crystal - that was not understood, even by the critics and avant-garde painters of that time. Against the traditional painting, Picasso breaks in this work with spatial depth and ideal representation of the nude female form, restructuring it through lines and sharp and angular planes. Inspired by the volumetric treatment of Paul Cézanne pictorial forms, Picasso and Georges Braque painted in 1908 a series of landscapes in a style that one critic described later as if they had been made of small cubes, imposing thus the term Cubism. Between 1908 and 1911 they worked in close collaboration within this line of breakdown and analysis of the forms together to develop the first phase of cubism, known as analytic Cubism. The monochromatic palette prevailed in these representations of totally fragmented motifs, shown simultaneously from several sides. The favourite subjects of Picasso were musical instruments, the still lifes and his friends, notably the portrait of one of their dealers Daniel Henry Kahnweiler (1910, Art Institute, Chicago). In 1912 he made his first collage, still life with Chair of straw (Picasso Museum, Paris), combining paper pulp and a piece of rubber on a canvas painted only in some areas, representing a glass, a newspaper, a pipe, an oyster and a lemon. This technique indicates the transition to synthetic Cubism. This second phase of cubism is more decorative and colour plays a more prominent role, although never in a exclusive way. 
Two works from 1915 show the simultaneity of styles used, Harlequin (Museum of modern art) is a synthetic Cubist painting, while a drawing of his dealer, Vollard (Metropolitan Museum of Art), it is made inside of what is known as style ingrista, so called because it emulates the art forms of the French painter Jean August Dominique Ingres. 1923 is the Harlequin with a mirror (Museo Thyssen-Bornemisza in Madrid). Work of his called classical period (1921-1925), announced, in part, on drawings ingristas and result of his stay in Italy in 1917. The bronze bust of Fernande Olivier (also called head of woman, 1909, Museum of modern art) shows the consummate technical skill of Picasso in the treatment of three-dimensional shapes. Also held assemblies - such as mandolin and clarinet (1914, Picasso Museum, Paris)-made up of fragments of wood, metal, paper and other materials, exploring this space assumptions raised by Cubist painting. His glass of Absinthe (1914, Museum of modern art) is a colored bronze sculpture representing a glass of Absinthe on which is placed a silver spoon and the exact reproduction of a lump of sugar, this is perhaps the most interesting example of Cubist polychrome sculpture by Picasso, anticipating it so much later creations of found objects of type Chuck and young (1951 (, Museum of modern art), as the Pop art of the 1960's objects. During World War I, Picasso traveled to Rome for the decorations of the ballets Russes of Sergei Diáguilev. She met there the dancer Olga Koklova, whom was married shortly after. In a figurative, realistic style in lathe to 1917 Picasso portrayed her on several occasions, as well as his only legitimate son, Pablo (for example in Paul gown Harlequin, 1924, Picasso Museum, Paris) and his many friends. 

Although he always declared that it was surreal, in many of his paintings you can see qualities and characteristics of this artistic movement, as in woman sleeping in an armchair (1927, private collection, Brussels) and seated bather (1930, Museum of modern art). Several Cubist paintings at the beginning of the Decade of 1930, in which predominates the harmony of lines, the curvilinear outline and a certain underlying eroticism, reflect the pleasure and passion of Picasso by his new love, Marie Thérèse Walter, with whom he had his daughter Maya in 1935. Marie Thérèse, very often portrayed in attitudes of rest, was also the model of the famous painting girl before the mirror (1932, Museum of modern art). In 1935 Picasso carried out the series of engravings Minotauromaquia, a beautiful work that blends the themes of the Minotaur and the bullfights, in this work, both the figure of the bull and the horse gutted announce images of Guernica, the large mural considered by most as one of the individual works of art most important of the 20th century. On April 26, 1937, during the war Civil Española, German aviation, by order of Francisco Franco, bombed the Basque town of Guernica. Few weeks after Picasso began to paint the enormous mural known as Guernica. In less than two months it completed the work, exhibiting it in the Pavilion Spanish of the international exhibition in Paris in 1937. 


The picture does not portray the event itself, rather he wanted to express with the violence and cruelty of the event through the use of images such as del toro, dying horse, the fallen Warrior, the mother with her dead son or a woman trapped in a burning building. Despite the complexity of these and other symbols, and the impossibility of work give a definitive interpretation, the Guernica achieved an overwhelming impact as retrato-denuncia of the horrors of the war. The picture remained in the Museum of modern art in New York from 1939 until 1981, year in which he returned to Spain, here called in the Cason del Buen Retiro, next to the Museum of the Prado, in Madrid, until in 1992, he moved again, this time permanently, to its current location at the Museo Nacional Centro de Arte Reina Sofía , also in Madrid. The outbreak and subsequent development of World War II contributed to the palette of Picasso is particularly and that death was the most frequent theme in most of his works. Thus we see this, for example, in still life with skull of ox (1942, Kunstsammlung Nordrhein-Wesfalen, Düsseldorf) and the ossuary (1945, Museum of modern art). Meet the painter Françoise Gilot, which will have two children, Paloma and Claude, then both will be portrayed in many works that retrieved the first styles of Picasso. His last girlfriend, who also portrayed on several occasions, was Jacqueline Roque, which met in 1953 and that he married in 1961. Since then he lived almost always in the South of France. Many of the recent pictures of Picasso are based on the works of the great masters of the past such as Diego Velázquez, Eugène Delacroix and Gustave Courbet, Édouard Manet. Besides in pictures painting, Picasso also worked on hundreds of lithographs made in the printing of Fernande Mourlot. She was also interested in ceramics, and thus, in 1947, in Vallauris, made nearly 2,000 pieces. During this time Picasso was also important sculptures, the man of the RAM (1944, Philadelphia Museum of art), a bronze life-size and goat (1950, Museum of modern art), also in bronze work of enormous force. In 1964 he carried out model of head of woman, a monumental sculpture erected in 1966 in welded steel in Chicago's Civic Center. Picasso died on April 3, 1973 at Notre - Dame-de-vie, near Mougins residence. © M.E.

Political ideology of Pablo Picasso

Pablo Picasso's life unfolds in an era marked by wars, but which tremendously affected the artist was the outbreak of the Spanish Civil war and the bombing of Guernica, which resulted in the realization of the most famous work of contemporary art, which criticizes war and the injustice involved in an armed conflict.

In the Picasso exhibition, "War and peace", the work of this, it highlights especially from the years of the Spanish civil war, with the task entrusted the Government of the Republic of the realization of the Guernica mural for the Spanish Pavilion of the international exhibition in Paris in 1937 and all works that revolve around it that have become a symbol of human suffering.

Membership to the French Communist Party in October 1944 marks an intense activity in favour of a strong defense for freedom and peace, which is reflected in his work of that moment and acquires a definitive dimension with its participation in the congresses of the peace of 1948 in Wrocław, in Paris 1949 and 1950 in London where his drawings and lithographs of pigeons become emblematic of world peace.

In addition to those already mentioned in the peace congresses, Picasso embarks on the realization of large panels entitled war and peace, that would be installed in a chapel of Vallauris in 1954 and which involve extensive preparatory work in 1945.

On the other hand, in the fifty drawings made on the sculpture l'Homme au mouton, embodiment of the good Christian pastor and reminiscent of the Mediterranean tradition, a long reflection on the power of art against terror us forwards by its humanism in the context of the war, in which lamb embodies the victim and the pastor stands in champion of peace and tolerance.

Source:

http://www.barcelona2004.org/esp/eventos/exposiciones/ficha.cfm?IdEvento=113

Picasso's masterpiece was seen, aside from artistic transcendence which acquired, from the first moment as a radical denunciation of violence imposed by those winners would result in civil war. The mural took as a point of departure the bombing of the Basque town of Guernica, but soon became not only an icon of peace and allegation against the war, but also, with his return to Spain in 1981, in the image of the final transition to a democracy.

The Franco regime, Picasso was the political enemy that only with time was accepting its artistic significance and, after all, a certain normalization occurred whenever the painter not expressed in a resounding way its political attitude antirregimen. The biographical history of Picasso is not characterized by be a painter completely involved in politics. Media that attended in the Barcelona youth could be anarchists, but not can be attributed no particular significance until the outbreak of the civil war. During the 1930s, Picasso, who had already been recognized internationally to become a myth, was a painter known only indirectly by the Spanish public, albeit very admired by the younger generation that emerged in the mid-1920s. A reduced exposure was not an initiative of the Government of the Republic, but a contest organized by the Association of friends of the new Arts (ADLAN), was held in Barcelona and Madrid in 1936. The political commitment of Picasso began with the civil war and had his appointment as Director of the Prado Museum, as a preamble that the artist accepted but without taking possession of it or visit for this reason Spain. 

When held the international exhibition in Paris in 1937 did the initiative of Commission mural Guernica which, together with other works by Julio González, Joan Miró and Alexander Calder, was exhibited in the Pavilion of the Spanish Republican government.

These circumstances, well known and that therefore only we aim here, they explain what happened after the civil war. Picasso was considered as an enemy of the regime with the same Spain, although with the passage of time it was accepting his eminent artistic significance, but until then his work was unknown in direct and the exhibitions of the artist were made to wait. Until 1964 the unique picture of Picasso in Spanish collections was woman in blue (1901), the own painter not removed after submitting it to the national exhibition, so it was forgotten in the warehouses of the Museum of modern art. Even so, for young artists Picasso had become a myth and a permanent attraction motive, although his direct influence was already weak from 1945. Worth a quote the words that Antoni Tàpies dedicated to him in memory of their first meeting: "I saw him in 1950 when I was in Paris on a scholarship. Picasso was for me a kind of symbol which, in political terms, explained me what had happened in this country, which was not clear to young people, because the winners what distorted everything. Both Picasso and Miró were those who were alert and made us start to ask some things... The example of Picasso I encouraged to study of the Republic"[1] .

The affiliation of Picasso to the French Communist Party in the mid-1940s, coinciding with the German occupation and after liberation of Paris in August 1944, ended up further sour relations between the painter and the regime. In the most intimate circle of friends of Picasso not you surprised at all his Communist affiliation, not in vain intellectuals and artists around him as Paul Éluard were affiliated to the party, but yes it was received with biggest surprise in Spain, especially by the statements of the painter in this regard. "I wanted very much to find a homeland - declared to L' humanitéPicasso -. " I've always been an exile, but now I'm not; until Spain finally able to welcome me, the French Communist Party has opened me his arms (...)" [2]. its political attitude was interpreted so benevolent and ironic in the Spanish press, presenting the painter as a "village ready", a "rustic agitanado"[3] for which membership in the Communist Party was but a means to thrive in the dissemination of his work.

The tab that the General Directorate of security opened by Pablo Picasso reveals that the police knew very early membership in the French Communist Party. The tab was initiated with an annotation of December 7, 1944, referring to his involvement in the sending of a letter to General De Gaulle, "in union with other meanings red elements", "in order to support the Spaniards against Franco and the Falange". Also referred to his election as a member of the world peace Council in 1951, described as a "directed and inspired by the Sovietism entity". And, finally, included on your tab a press cutting from the American magazine Life corresponding to the 30 January 1950 in which, under his picture, he said: "Pablo Picasso, whose art is denounced by Soviet critics, continues politically worshiping the Red"[4] .

Picasso was affiliated with the French Communist Party until 1952, as attested by its membership of affiliation, which is preserved in the archives of the Picasso Museum in Paris. During that time he remained in close contact with the activities of the party, especially with its attempts to organize international opinion against the war by participating in various conferences for peace directly organized by this political organization. The strained relations between the painter and the Franco regime were patents on many of the anti-Franco exhibitions organized in various countries but especially in France in the 1940s and 1950s, which almost always revolved around Picasso, who acted in them both as an organizer as an exhibitor.

 In 1951, on the occasion of the I biennial Latin American art organized by the Institute of Hispanic culture, the painter refused to participate in official initiatives, but along with other painters and Spanish intellectuals exiled in Paris signed a proclamation recommending not only the non-attendance to her, but also the celebration of a "contra-bienal" in the French city and various American capitals. Rejection which Picasso expressed towards the biennial angered even more their organizers and one of them, despite having officially invited initially to Picasso, he refused subsequent have "simply because it is not Spanish, as (...)" It has taken some time another foreign nationality"[5]. Two years later, when the Spanish Embassy in Paris organized the exhibition "Artistes Espagnols to Paris", the Ambassador decided that it would invite "all the artists whose names knew, without excluding any political reasons, except in what concerns the Communist Picasso"[6], with which his name was deleted from the same conception of the exhibition.

The allusions to the political affiliation of Picasso were frequent in the offices of the Spanish ambassadors abroad, making echo of any news posted on the painter. With the passage of time, the Spanish diplomats were aware of the remoteness that was taking place between the artist and the communism, which was irreversible in 1956 with the invasion of Hungary by the Soviet army. Spain's Ambassador to Washington, José María de Areilza, echoed such attempts of a Russian delegation moved to Cannes to meet Picasso, who finally did not receive them. All this occurred in the eyes of the Ambassador to "Picasso belongs to the French Communist Party, but has hinted certain disappointment towards Russia since the uprisings that occurred in Hungary last spring"[7]. Any minimum of news regarding Picasso was politically interpreted by the Spanish authorities.

at this figure represent?

The affiliation of Picasso to the French Communist Party in the mid-1940s, coinciding with the German occupation and after liberation of Paris in August 1944, ended up further sour relations between the painter and the regime. In the most intimate circle of friends of Picasso not you surprised at all his Communist affiliation, not in vain intellectuals and artists around him as Paul Éluard were affiliated to the party, but yes it was received with biggest surprise in Spain, especially by the statements of the painter in this regard. "I wanted very much to find a homeland - declared to L' humanitéPicasso -. " I've always been an exile, but now I'm not; until Spain finally able to welcome me, the French Communist Party has opened me his arms (...)" [2]. its political attitude was interpreted so benevolent and ironic in the Spanish press, presenting the painter as a "village ready", a "rustic agitanado"[3] for which membership in the Communist Party was but a means to thrive in the dissemination of his work.

The tab that the General Directorate of security opened by Pablo Picasso reveals that the police knew very early membership in the French Communist Party. The tab was initiated with an annotation of December 7, 1944, referring to his involvement in the sending of a letter to General De Gaulle, "in union with other meanings red elements", "in order to support the Spaniards against Franco and the Falange". Also referred to his election as a member of the world peace Council in 1951, described as a "directed and inspired by the Sovietism entity". And, finally, included on your tab a press cutting from the American magazine Life corresponding to the 30 January 1950 in which, under his picture, he said: "Pablo Picasso, whose art is denounced by Soviet critics, continues politically worshiping the Red"[4] .

Picasso was affiliated with the French Communist Party until 1952, as attested by its membership of affiliation, which is preserved in the archives of the Picasso Museum in Paris. During that time he remained in close contact with the activities of the party, especially with its attempts to organize international opinion against the war by participating in various conferences for peace directly organized by this political organization. The strained relations between the painter and the Franco regime were patents on many of the anti-Franco exhibitions organized in various countries but especially in France in the 1940s and 1950s, which almost always revolved around Picasso, who acted in them both as an organizer as an exhibitor. In 1951, on the occasion of the I biennial Latin American art organized by the Institute of Hispanic culture, the painter refused to participate in official initiatives, but along with other painters and Spanish intellectuals exiled in Paris signed a proclamation recommending not only the non-attendance to her, but also the celebration of a "contra-bienal" in the French city and various American capitals. Rejection which Picasso expressed towards the biennial angered even more their organizers and one of them, despite having officially invited initially to Picasso, he refused subsequent have "simply because it is not Spanish, as (...)" It has taken some time another foreign nationality"[5]. 



Two years later, when the Spanish Embassy in Paris organized the exhibition "Artistes Espagnols to Paris", the Ambassador decided that it would invite "all the artists whose names knew, without excluding any political reasons, except in what concerns the Communist Picasso"[6], with which his name was deleted from the same conception of the exhibition.

The allusions to the political affiliation of Picasso were frequent in the offices of the Spanish ambassadors abroad, making echo of any news posted on the painter. With the passage of time, the Spanish diplomats were aware of the remoteness that was taking place between the artist and the communism, which was irreversible in 1956 with the invasion of Hungary by the Soviet army. Spain's Ambassador to Washington, José María de Areilza, echoed such attempts of a Russian delegation moved to Cannes to meet Picasso, who finally did not receive them. All this occurred in the eyes of the Ambassador to "Picasso belongs to the French Communist Party, but has hinted certain disappointment towards Russia since the uprisings that occurred in Hungary last spring"[7]. Any minimum of news regarding Picasso was politically interpreted by the Spanish authorities.

The allusions to the political affiliation of Picasso were frequent in the offices of the Spanish ambassadors abroad, making echo of any news posted on the painter. With the passage of time, the Spanish diplomats were aware of the remoteness that was taking place between the artist and the communism, which was irreversible in 1956 with the invasion of Hungary by the Soviet army. Spain's Ambassador to Washington, José María de Areilza, echoed such attempts of a Russian delegation moved to Cannes to meet Picasso, who finally did not receive them. All this occurred in the eyes of the Ambassador to "Picasso belongs to the French Communist Party, but has hinted certain disappointment towards Russia since the uprisings that occurred in Hungary last spring"[7]. Any minimum of news regarding Picasso was politically interpreted by the Spanish authorities.

Brief history of the Spanish civil war

1. INTRODUCTION

The system of Government that had been in Spain before the civil war, was the Republic, which was led by President Juan Negrín and which was opposed to the dictatorship, which was the political regime Francisco Franco wanted to impose in Spain by a military uprising (coup).

Before this military uprising, Spain was divided into two camps:

- The rebel, "national" side that dominated the two Castillas, Galicia, Cáceres and Western Andalusia. The nationalists formed the National Defense Board, which was a form of organization that general Miguel Cabanellas, presided over the 24 July 1936.

At the end of September of that year, the National Defense Board appointed Franco Generalísimo of the rebel forces (main military Chief of them) and head of the Government. Thus, on 1 October 1936 was made official Franco access to military and political Chief who called it "national", charges which he himself joined that of head of State. This side received support of nazi Germany and fascist Italy.

-The Republican side controlled most of Aragon, Northern Spain, Catalonia, Levante, Madrid and almost all Andalusia. This camp was organized in popular armies, formed by trade unions and workers parties. They counted with the help of the international brigades and the Soviets.

2 DEVELOPMENT AND MOST SIGNIFICANT EVENTS OF THE SPANISH CIVIL WAR

We could say that the war was divided into two stages

(A) FROM JULY 1936 TO NOVEMBER 1937

On 17 July 1936 Francisco Franco against the Republic military uprising began. Facing the failure of this revolution began the Civil War. The North African Spanish troops, who were the most ready, crossed the Strait of Gibraltar and arrived at Cádiz. In Andalusia they went to Extremadura and Toledo, falling on November 6, 1936, at the gates of Madrid. Place where took place the first battle of the Civil War.

Battle of Madrid , fuel fight librado among troops who attack the capital of Spain and its supporters during the Civil War, which ran from November until April 1937.

The initial plan of the military revolted in July 1936 was the conquest of Madrid, the failure of the advance of the forces from Navarra and the North to attempt the invasion with the armies brought from Morocco. They reached the outskirts of the capital November 6, what did the Republican government left the city, leaving the command of the invasion to the Defense Board of Madrid. After resisting the hard attacks, the armies of Miaja, assisted by 2,500 members of the international brigades, spent to attack the 13th, taking place a fierce combat between the troops. Ten days later, Francisco Franco himself ordered to suspend the frontal attack against Madrid.

Thereafter, the Francoist defeats in Jarama (February 1937) and in the battle of Guadalajara, who was a combat war rid from 8 until March 21, 1937, in the vicinity of the city of Guadalajara. That gave start once failed the direct attack on the capital of Spain. The Republican troops, had to defeat forces sublevadas at the battle of Jarama. However, they returned to attempting to encircle Madrid, this time from the Northeast, trying to first conquer the cities of Guadalajara and Alcalá de Henares. To do so, rebel military commanders decided that troops sent by Italian dictator Benito Mussolini, to carry out the main attack from March 8 of that year. The battle would take place to the northeast of the city of Guadalajara. The Italians conquered Brihuega on March 10. Immediately, the Republican forces in the area were replaced by the IV Army Corps, commanded by Lieutenant Colonel Enrique Jurado. March 14, the jury men arrested Franco's attack and four days later recovered Brihuega, causing the end of the fighting in the area the 21st of that month.

They led to Franco's forces to move to the North of Spain.

From March until October 1937 Franco was occupying enemy territory without that Republicans might prevent it. First to fell the Basque country (the Condor Legion bombed Durango and Guernica in April), and later Cantabria and Asturias (October). Also, Malaga and Granada was conquered.

(B) IN DECEMBER OF 1937 TO MARCH 1939

It begins the final phase of the Civil War. After conquering the North, and disputed the battle of Teruel, which ended the nationalist victory, the Francoist troops headed to the Mediterranean. In July 1938 the rebels had already isolated to Catalonia from the rest of the Republican territories.

On July 25 he began the decisive Battle of the Ebro , that was the last great battle of the Spanish Civil War, the most bloody and decisive. Delivered, between July 25 and November 15, 1938, in the vicinity of the Ebro river.

The Francoist troops reached on April 15, 1938 the Mediterranean Sea (Castellón). The Republican territory was divided in two: North Catalonia and to the South the big bag of the downtown area. General Francisco Franco's troops carried out between the months of April and July of that year an offensive in the East to the South, in the direction of Valencia.

Then the Republican offensive took place in the Ebro, in order to entertain the enemy and thus be able to reorganize the Republican Army on other fronts.

July 25 began the offensive of the Republican Army, crossing the Ebro river by surprise and establishing a bridge head in Gandesa (Tarragona), which was to become the Centre of gravity of the battle.

General Franco, carried out a frontal battle. The heaviest clashes took place in September, the superiority of the resources and strength of the Francoist troops determined the fate of the battle. On 15 November, the last Republican troops crossed retreating the Ebro.

In this battle, he finished deciding the war. Catalonia had just held by franco (February 10, 1939). Many Republicans are exiled to France.

In March 1939 a military coup destroys the President Juan Negrín. On 28 March, Madrid was occupied by Franco, the war had ended.

On April 1, 1939 the defeat of the Republican experience meant an interruption of constitutionalism in Spain.

3 CONSEQUENCES

The number of people killed in the Spanish civil war, have set the figure of between 1,000,000 and 500,000, including not only those killed in combat but also the victims of bombings, executions and assassinations. An immediate effect was the exile of many Republicans fearful of reprisals by the victors.

The Spanish civil war was seen around the world as part of an international conflict, waged between tyranny and democracy. For Germany and Italy, Spain was proof of new methods of air war and tanks. For Great Britain and France, the conflict represented a new threat the international balance which were incurred trying to preserve.

The demographic consequences:

The strife caused immense havoc on the life of Spaniards. A true demographic bleeding that took place during the years of the war.

• Studies raise the deaths on fronts around 145,000 people. The repression on both sides claimed some 135,000 victims along with some 35,000 and 50,000 more executed.

• Many people exiled is, although many returned later. The best scientists and intellectuals in the country, left with which it was culturally impoverished.

• 400,000 Spaniards wounded in military operations and 300,000 prisoners of war in Francoist prisons were also affected.

• This demographic bleeding would later influence the fall of the birth rate.

The impossible reconciliation.

The war marked morally to the Spanish society of postwar, and considerably hindered the reconciliation between the victors and the vanquished. From the military point of view, the war had ended on April 1, 1939, but the peace did not quite get, since a period of forty years, peace was the application of what the Franco felt like his victory. More than peace, the war brought a strict police order. The Civil War was present in the memory of the Spanish while the passage of time their influence diluted. The authorities of the new regime were responsible for remembering it. Only the adoption of a democratic Constitution after the death of Francisco Franco closed definitively the chapter of the Civil War.

The economic effects.

In the economic field, the Civil war had disastrous effects:

• Spain lost many men and women occupationally active (more than two million).

• Some nine hundred thousand homes were destroyed.

• More than one-third of the Merchant Navy, 60% of locomotives and train cars, and a considerable part of the laying railway and road networks were useless.

• Two-thirds of the cattle disappeared. Agriculture and industry suffered very significant devastation.

The Treasury also offered a disastrous scenario:

• On the one hand, much of the gold from the Bank of Spain (about six hundred thousand kilos of gold) had been given by the Republicans to the USSR in 1936, as a last resort in the absence of support from democratic countries, in Exchange for assistance.

• On the other hand, the Government of Francisco Franco was indebted with Germany and Italy and numerous companies and U.S. banks for supplies that these countries and entities had contributed; the debt amounted to more than 1.5 billion dollars in the period. Altogether, the Civil war had been to Spain large economic losses.
• 

Spain, an exception in Western Europe.

Spain fell in their level of development because because of international isolation that led to the dictatorship of Francisco Franco. It stayed in power for almost forty years, constituting an exception with regard to the democratic Government of the rest of European countries after World War 2.

Graphic and documentary materials to categorize the students the present work:

Selected bibliography: Spanish Civil War

Alfieri, Carlos. Spain: perforated bubble. -Buenos Aires: Capital Intelectual, 2015. 88 p.: IL. Col.; 28 cm. – (browser. Third series; 5)

HISTORY; HISTORY POLITICS; LITERATURE; FOREIGN POLICY; Spain

[1] Inv.: 29343 S.T.: 327 5 MONex
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Azcárate, Manuel. Defeats and hope: the Republic, the civil war and resistance. 2a. ed. - Barcelona: Tusquets, 1994. 358 p. - (Adventures)

HISTORY; SPANISH CIVIL WAR, 1936-1939; SECOND WORLD WAR; COLD WAR; COMMUNIST PARTY; MEMORIES; BIOGRAPHIES; Spain

[1] Inv.: 29260 S.T.: 946.0 AZC
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Neighborhood Navarro, José de (1907-1989). Political and military memoirs / editor Velasco, Miquel-Angel, preface the neighborhood, firing, epilogue Hernández Sánchez, Fernando. -Barcelona: Past and present, 2013. 440 p.

HISTORY; BIOGRAPHIES; SPANISH CIVIL WAR, 1936-1939; COMMUNIST PARTY; Spain

[1] Inv.: 29225 S.T.: 946.0 BAR
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Beevor, Antony. The Spanish civil war. -Barcelona: Criticism, 2015. 902 p.

HISTORY; SPANISH CIVIL WAR, 1936-1939; Spain

[1] Inv.: 29390 S.T.: 946.0 BEE

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White school, Carlos. Franco and Red: two generals to two Spains. -Barcelona: Labor, 1993. 253 p.

HISTORY; SPANISH CIVIL WAR, 1936-1939; ARMIES; MILITARY; STRATEGIES; WAR; FRANCO BAHAMONDE, FRANCISCO, 1892-1975; RED LLUCH, VICENTE, 1894-1966; Spain

[1] Inv.: 29222 S.T.: 946.0 BLA
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Brenan, Gerald. The face of Spain. -Barcelona: Plaza & Janés, 1985. 224 p.

HISTORY; MEMORIES; TRAVEL; SOCIETY; DECADE OF 1940; CITIES; Spain

[1] Inv.: 29340 S.T.: 946.0 BREf
—————————————-
Brenan, Gerald. Personal memoir: 1920-1975 / translator López Muñoz, Luis José. -Madrid: Alianza, 1976. 528 p.

HISTORY; BIOGRAPHIES; MEMORIES; Spain

[1] Inv.: 29313 S.T.: 946.0 BRE
—————————————-
Cabanellas de las Cuevas, William. The war of the thousand days: birth, life and death of the Spanish Republic II. -2a. ed. Rev. and corrected. -Buenos Aires: Heliasta, 1975. 2 v.

HISTORY; SPANISH CIVIL WAR, 1936-1939; REPUBLIC; Spain

[1] Inv.: 29131 S.T.: 946.0 CAB v.1; [1] Inv.: 29132 S.T.: 946.0 CAB v.2
—————————————-
Carr, Raymond. The Spanish tragedy: the civil war in perspective / Mauro Fernández Zulaica, Jesus Hernandez Benitez translator, translator. -revised ed. -Madrid: Alianza, 1986. 279 p.

HISTORY; SPANISH CIVIL WAR, 1936-1939; Spain

[1] Inv.: 29224 S.T.: 946.0 CARt

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Carr, Edward H. The Comintern and the Spanish civil war / Ed., intr. and notes Deutscher, Tamara, translator Reigosa white, Fernando. -Madrid: Editorial Alianza, 1986. 140 p.

HISTORY; SPANISH CIVIL WAR, 1936-1939; INTERNATIONAL COMMUNIST; THIRD INTERNATIONAL; Spain

[1] Inv.: 29303 S.T.: 946.0 CARc
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Casanova, Julián, coord. Die, kill, survive: violence in the Franco dictatorship / Espinosa, Francisco, Mir, Conxita, Moreno Gómez, Francisco. 2a. ed. - Barcelona: criticism, 2002. 365 p.

HISTORY; SPANISH CIVIL WAR, 1936-1939; FRANCOISM; FRANCO BAHAMONDE, FRANCISCO, 1892-1975; REPRESSION; VIOLENCE POLICY; Spain

[1] Inv.: 29397 S.T.: V CCC No. 3456
—————————————-
Coverdale, John F. The fascist intervention in the Spanish civil war / translator Santos Fontenla, Fernando. -Madrid: Alianza, 1979. 390 p.

HISTORY; SPANISH CIVIL WAR, 1936-1939; FASCISM; FOREIGN INTERVENTION; ITALY; Spain

[1] Inv.: 29312 S.T.: 946.0 VOC
—————————————-
Franco Salgado-Araujo, Francisco (1890-1975). My private conversations with Franco. -Barcelona: Planeta, 1976. 565 p.

HISTORY; POLITICAL THOUGHT; FRANCO BAHAMONDE, FRANCISCO, 1892-1975; Spain

[1] Inv.: 29314 S.T.: 946.0 FRA
—————————————-
Hemingway, Ernest (1899-1961). The war of Spain / Weintraub, Stanley, Garosci, Aldo. 3a. ed. - Buenos Aires: El Cid Editor, 1977. 174 p.

HISTORY; SPANISH CIVIL WAR, 1936-1939; HEMINGWAY, ERNEST; Spain

[1] Inv.: 29356 S.T.: 946.0 HEM
—————————————-
Miller, Carme. An immense prison: concentration camps and prisons during the civil war and Francoism / room, Margarida, Sobrequés, Jaume; Fontana, Josep prologue. -Barcelona: Criticism, 2003. 358 p.

HISTORY; CONCENTRATION CAMPS; PRISONERS; PRISONS; POLITICAL PRISONERS; SPANISH CIVIL WAR, 1936-1939; FRANCOISM; Spain

[1] Inv.: 29112 S.T.: 946.0 MOLu
—————————————-
Ossorio, Angel. My memories. – Buenos Aires: Losada, 1946. 262 p.

HISTORY; BIOGRAPHIES; MEMORIES; SPANISH CIVIL WAR, 1936-1939; Spain

[1] Inv.: 29357 S.T.: 946.0 OSS

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Palafox, Jordi. Economic backwardness and democracy: the second Republic and the Spanish economy, 1892-1936. -Barcelona: Criticism, 1991. 350 p.

ECONOMIC HISTORY; ECONOMY; DEMOCRACY; Spain

[1] Inv.: 29339 S.T.: 946.0 PAL
—————————————-
Preston, Paul. The end of the war: the last stab to the Republic. -[s.l.]: Titivillus ePub, 2014. 389 p.

HISTORY; SPAIN; SPANISH CIVIL WAR, 1936-1939

[1] Inv.: 29355 S.T.: V CCC No. 3454
—————————————-
Preston, Paul. The Spanish Holocaust. -[Madrid]: Debate, [2011]. 641 p.

HISTORY; SPANISH CIVIL WAR, 1936-1939; REPRESSION; PROSECUTION POLICY; Spain

[1] Inv.: 29396 S.T.: V CCC No. 3455
—————————————-
Raguer Suñer, Hilari (1928-...). The sword and the cross: the Church 1936-1939. -Barcelona: Bruguera, 1977. 218 p.

HISTORY; SPANISH CIVIL WAR, 1936-1939; CATHOLIC CHURCH; Spain

[1] Inv.: 29398 S.T.: V CCC No. 3457
—————————————-
Raguer Suñer, Hilari (1928-...). The gunpowder and the incense: the Church and the Spanish civil war (1936-1939) / prologue Preston, Paul. 2a. ed. - Barcelona: Peninsula, 2001. 478 p. - (history, science, society, 309)

HISTORY; SPANISH CIVIL WAR, 1936-1939; CATHOLIC CHURCH; Spain

[1] Inv.: 29223 S.T.: 946.0 RAG
—————————————-
Richards, Michael. A time of silence: civil war and the culture of repression in Franco Spain, 1936-1945 / prologue Preston, Paul. -Barcelona: Criticism, 1999. 356 p.

HISTORY; SPANISH CIVIL WAR, 1936-1939; REPRESSION; FRANCO BAHAMONDE, FRANCISCO, 1892-1975; Spain

[1] Inv.: 29277 S.T.: 946.0 RIC

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Toryho, Jacinto (1911-...). We were not so bad. -Madrid: G. Bull, 1975. 338 p.

HISTORY; SPANISH CIVIL WAR, 1936-1939; DURRUTI DUMANGE, JOSÉ BUENAVENTURA, 1896-1936; FELIPE, LEÓN, SEUD., 1884-1968; USSR; Spain

[1] Inv.: 29104 S.T.: 946.0 TOR
—————————————-
Tunon de Lara, Manuel. The Civil War / Tusell Gomez, Xavier (1945-...), Arostegui, July, Cardona, Gabriel, vines, Angel, Balcells, Albert. -Madrid: Historia 16, 1986. vol. 24 - (the civil war)

HISTORY; SPANISH CIVIL WAR, 1936-1939; Spain

[1] Inv.: 29279 S.T.: 946.0 TUN 1-24
—————————————-
Tusell Gomez, Xavier (1945-...). Franco in the civil war: a political biography. -3rd. ed,. -Barcelona: Tusquets, 1993. 428 p. – (Adventures)

HISTORY; BIOGRAPHIES; SPANISH CIVIL WAR, 1936-1939; FRANCO BAHAMONDE, FRANCISCO, 1892-1975; Spain

[1] Inv.: 29061 S.T.: 946.0 TUSf

—————————————-
Villa Rodriguez, Joseph, ed. Hit: 75 years (1936-2011): papers / find the coup, 75 years (1936-2011) (18-19 Oct. of 2011: Seville). -London: Association memory, freedom and democratic culture, 2012. 143 p.

HISTORY; COUPS; SPANISH CIVIL WAR, 1936-1939; Spain

[1] Inv.: 29329 S.T.: V CCC No. 3452
—————————————-
Vines, Angel. The nazi Germany and July 18. -Madrid: Alianza, 1974. 558 p.

NAZISM; INTERNATIONAL RELATIONS; SPANISH CIVIL WAR, 1936-1939; FRANCOISM; GERMANY; Spain

[1] Inv.: 29110 S.T.: 946.0 Vina——