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During the Age of Anxiety, there seemed to be mixed emotions about how to come down from World War I. Considering each country that participated was left in different financial, physical, and emotional states from the war, that triggered various responses from the common people. In places like the U.S, there were many technological innovations along with many cultural and musical styles also. In areas such as Germany and France, many artists revealed their depressing perspective on the damages of the war. However, generally speaking, most places felt a great deal of a suffering, anxiety, and scarcity because of how different their countries looked from before World War I, to after World War I.

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Government Control: Prohibition of Alcohol in U.S 

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Government Control: Prohibition of Alcohol in U.S 

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During this time, the United States government was very influential in terms of economy. In this particular image, it shows local townsmen being told to dump a barrel of beer, because it was illegal. This contributed greatly to the Age of Anxiety because it made people feel untrustworthy, which fueled their anxietal states as well.

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Although this period brought on many depressing outlooks, there were some benefits of such a period. Those like Louis Armstrong became popular, and spread the power of jazz music to calm the terror of the post- World War I world.

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Max Ernst - At the Rendez-vous of Friends 1922

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Max Ernst - At the Rendez-vous of Friends 1922

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This painting was during the Dadaist movement, which was an important time for art forms that broke the typical aesthetic of art. It brought on a new perspective that can be utilized for sorrowful purposes. This particular painting depicts many writers, artists, and poets worldwide in one setting. Overall, dadaism art contributed greatly to the Age of Anxiety because it conveyed that there are indirect escapes from such a difficult time, and also better ways to create a global message.

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Skyscrapers began to be constructed as a solution for the increased population and the increase in new office jobs, making cities expand upward instead of outward. The new innovations in technology provided the materials for these projects: steel framing, concrete, heat and plumbing and elevators.

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Influenza, aka the flu, was a prime example of a critical epidemic disease during this time. Symptoms of this disease include pain in the muscles, chills, fever, cough, etc. This played an important role in the Age of Anxiety because it showed the physical effects that contributed to the depressive, sorrowful emotional effects of the Post-World War I world.

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Scientific Paradigm Innovation:  Neuroplasticity 

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Scientific Paradigm Innovation:  Neuroplasticity 

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Neuroplasticity is a characteristic the human brain has, which allows the brain to adapt for any loss in it, over time. Typically, children have a higher brain plasticity than adults. This innovation, during the mid twentieth century, gave hope for war victims after World War II (holocaust victims).

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This painting was a visual description of New York City during the Great Depression. The dark and gloomy color choice depicted the mood of the entire event, while the other physical aspects of the painting also show the tragic mood of the time. The top being skyscrapers, telling the location, the middle being rows of sleeping men in a shelter of steel and glass and finally the very bottom being a bank waiting room with people on the inside and the outside. This entire scene is meant to depict the sadness and hurt that the Great Depression caused.

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Stock Photo - RIVERA: FROZEN ASSETS, 1931. /nMural painting by Diego Rivera, 1931, depicting the Manhattan skyline, commuters in the subways, a homeless shelter and a safety deposit vault

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Download this stock image: RIVERA: FROZEN ASSETS, 1931. /nMural painting by Diego Rivera, 1931, depicting the Manhattan skyline, commuters in the subways, a homeless shelter and a safety deposit vault. EDITORIAL USE ONLY. - FFY0TB from Alamy's library of millions of high resolution stock photos, illustrations and vectors.

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The Guernica is one his most famous works, which portrays the Spanish Civil War casualties and how it greatly affected the lives of citizens. Considering the time period, which was around the era of contemporary art, this painting used those ideals along with discoloration, to reveal such a strong message. Meaning, since this painting was constructed in contrast of black and white instead of bright color (contemporary), it conveys the intense, sorrowful reactions from such a war.

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An accurate depiction of a cruel, dramatic situation, Guernica was created to be part of the Spanish Pavilion at the International Exposition in Paris in 1937. Pablo Picasso's motivation for painting the scene in this great work was the news of the German aerial bombing of the Basque town whose name the piece bears, which the artist had seen in the dramatic photographs published in various periodicals, including the French newspaper L'Humanité. Despite that, neither the studies nor the finished picture contain a single allusion to a specific event, constituting instead a generic plea against the barbarity and terror of war. The huge picture is conceived as a giant poster, testimony to the horror that the Spanish Civil War was causing and a forewarning of what was to come in the Second World War. The muted colours, the intensity of each and every one of the motifs and the way they are articulated are all essential to the extreme tragedy of the scene, which would become the emblem for all the devastating tragedies of modern society.
Guernica has attracted a number of controversial interpretations, doubtless due in part to the deliberate use in the painting of only greyish tones. Analysing the iconography in the painting, one Guernica scholar, Anthony Blunt, divides the protagonists of the pyramidal composition into two groups, the first of which is made up of three animals; the bull, the wounded horse and the winged bird that can just be made out in the background on the left. The second group is made up of the human beings, consisting of a dead soldier and a number of women: the one on the upper right, holding a lamp and leaning through a window, the mother on the left, wailing as she holds her dead child, the one rushing in from the right and finally the one who is crying out to the heavens, her arms raised as a house burns down behind her.
At this point it should be remembered that two years earlier, in 1935, Picasso had done the etching Minotauromaquia, a synthetic work condensing into a single image all the symbols of his cycle dedicated to the mythological creature, which stands as Guernica's most direct relative.
Incidents in Picasso's private life and the political events afflicting Europe between the wars fused together in the motifs the painter was using at the time, resulting both in Guernica itself and all the studies and 'postscripts', regarded as among the most representative works of art of the 20 th century.

Paloma Esteban Leal

Related gallery conversations

Related visits

Other ways to explore the Collection from different points of view. Download of brochures to prepare the tour

Pablo Picasso (Pablo Ruiz Picasso)

Buste de femme souriante (Bust of Smiling Woman)

Pablo Picasso (Pablo Ruiz Picasso), Pierre Reverdy

Le Chant des Morts (The Song of the Dead)

Pablo Picasso (Pablo Ruiz Picasso), Max Jacob

Saint Matorel

April 5 - September 4, 2017

Pity and Terror

Picasso's Path to Guernica

06 june, 2006 - 25 september, 2006

Picasso. Tradición y vanguardia

Equal access

First working Wednesday and next to the last Saturday of each month - 11:00 a.m. Past event

Guernica, testimony of an epoch

18 november, 2011 - 18 november, 2011 - 11 a.m.and 17:00 h

About Guernica

Pity and Terror. Picasso's Path to Guernica

April, 2017

Comments from Pablo Picasso. In: Panorama, October 21, 1966

Abril, 2017

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Pablo Picasso (Pablo Ruiz Picasso) - Guernica

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An accurate depiction of a cruel, dramatic situation, Guernica was created to be part of the Spanish Pavilion at the International Exposition in Paris in 1937. Pablo Picasso's motivation for painting the scene in this great work was the news of the German aerial bombing of the Basque town whose name the piece bears, which the artist had seen in the dramatic photographs published in various periodicals, including the French newspaper L'Humanité.