What did Picasso think of the PNV’s ‘Guernica’ reclamation that failed in ‘his’ Republic?

It would be interesting to ask Pablo Picasso what he thinks the PNV government is working on Guernica in Bilbao. I say this because, like any other, the image is a symbol of the republic, used as a symbol to defend the fascist zarpaz during the civil war. In some of the rooms where I spent, it was necessary before the money to be able to enter and see a few shots for fighters in Spanish against Franco’s tropes.

It was, as we record, the Republic, inter alia, through the mediation of the writers Max Aub and Bergamín, who gave Picasso a work for the Spanish pavilion of the International Exhibition in Paris. The rescue of a Nazi bomb over the site ended up giving the painter a subject to focus on. The interesting thing is in the same spirit of the international exhibition in 1937, the PNV dealt with the soldiers of the republic with the Italian fascists, the return of Vasco’s army.

These talks proved to be the fruit of the Santoña Pact. For some, a practical solution to avoid a large drain of blood from the tank. Others see it as obvious devotion. And they say they are part of the direct transport to the Republic, key to the collapse of the Northern Front.

It would be exciting to see Guernica not at the Guggenheim in Bilbao, as requested by the PNV, to the same village of Guernica. Besides being a translation discouraged by Queen Sofia’s conservatives, it introduces a historiographical paradox with plenty of detail: that the republican framework par excellence was required by the party that failed the Republic.

For this reason, it is legitimate to ask what Picasso thought, who denied it Guernica entered Spain when it was dominated by Franco, this whole political maneuver of the “jeltzale” party.