The Success and Failure of Picasso Read Online Free PDF Page A

instrument of torture. It is stretched between the tenth and the twentieth centuries. Between them there have not arisen, as in other countries, those contradictions which can lead to further development: instead there is unchanging poverty and a terrible equilibrium.
    The typical modern political movement in Spain was anarchism. As a youth in Barcelona, Picasso was on the fringes of this movement. The anarchism that took root in Spain was Bakunin’s variety. Bakunin was the most violent of the anarchist thinkers.
    Let us put our trust in the eternal spirit which destroys and annihilates only because it is the unsearchable and eternally creative source of all life. The urge to destroy is also a creative urge.
    It is worth comparing this famous text of Bakunin’s with one of Picasso’s most famous remarks about his own art. ‘A painting’, he said, ‘is a sum of destructions.’
    The reason why anarchism is typical of Spain and why it achieved a mass following in Spain to a degree which it achieved nowhere else, is that, as a political doctrine, it also is stretched on an historical rack. It connects social relations as they once were under primitive collective ownership with a millennium in the future which is to begin suddenly and violently on the Day of Revolution.It ignores all processes of development and concentrates into a single, almost mystical moment or act all the powers of an avenging angel born of centuries of endured and unchanging suffering.
    Gerald Brenan, in his excellent book, The Spanish Labyrinth, records the following incident during the Civil War:
    I was standing on a hill watching the smoke and flames of some two hundred houses in Malaga mount into the sky. An old anarchist of my acquaintance was standing beside me.
    ‘What do you think of that?’ he asked.
    I said, ‘They are burning down Malaga.’
    ‘Yes,’ he said, ‘they are burning it down. And I tell you, not one stone will be left on another stone – no, not a plant not even a cabbage will grow there, so that there may be no more wickedness in the world.’
    This is typically Spanish: the belief that everything – the whole human condition – can be violently and magnificently changed in one moment. And the belief has arisen because nothing has changed for so long, because in the end the Spaniard is forced to believe in a magical transformation in which the power of the will, the power of the wishes of men still uncomplicated by the moral nuances of a civilization in which each hopes to save himself first, can triumph over all material conditions, can triumph over the slow accumulation of new productive means which in reality is the only condition of progress. The terrible equilibrium of the rack produces from time to time a terrible impatience.
    There is also an economic logic to the old anarchist’s outburst as he looks down at Malaga. (This logic does not necessarily enter his own considerations for he has long deserted logic – as any of us might if tied to the rack.) This is the logic of the fact that the Spanish ruling class have established nothing, have built nothing, have discovered nothing that can be of the slightest use to the peasants who are overthrowing them. Expropriate the expropriators! But here the original expropriators have added nothing to what they expropriated. There is only the bare land. This can once again be cultivated by a primitive collectivist commune. Everything else is useless – and therefore luxury and corruption are better burnt.

     
    7 Spanish peasants returning from market
     
    In such a situation it is inevitable that revolutionary energy becomes regressive: that is to say aims at reestablishing a more primitive but juster form of social relations, which frees men from human slavery but precludes them from the possibility of freeing themselves from the slavery of nature.
    Picasso’s painting Guernica is said to be a protest against modern war, and is even sometimes claimed to be a kind of