“Guernica” in CG

Guernica

Lena Grieseke created this 3D “exploration” of Picasso’s famed painting “Guernica.” In the description of the project, Grieseke writes that recreating the work in 3D “provides the unusual opportunity to view the painting from a unique perspective, revealing aspects that would normally stay hidden from the casual viewer.” While experimentation like this is worth applauding, I’d also argue that the 3D adds little to the original. The power of the painting derives largely from Picasso’s nightmarish Cubist-inflected composition, and attempting to ‘deconstruct’ the objects in realistic space diminishes the graphic impact of the original work. Picasso’s work is certainly not off-limits to animated interpretation, but I think such attempts are better served when there is original thought behind the artwork, as in Juan Pablo Etcheverry’s Minotauromaquia, instead of exercises in recreating his artwork literally.


  • red pill junkie

    Nice. Great idea for a museum installation.

  • http://www.autodaddy.blogspot.com tom

    I couldn’t get the site to load, but I was able to find a lower quality version posted on YouTube, of course.

    It’s interesting. It’s certainly attractive, and although it may not add anything to the original painting- how could it? It’s an experiment, and as an experiment, I’d have to call it a success.

    YouTube link:
    http://youtube.com/watch?v=eKVCov-XFXw

  • http://michaelspornanimation.com/splog/ Michael Sporn

    The whole exercise is pointless to me. Picasso painted FLAT because he wanted to paint flat. He was capable of painting realistically; he chose not to do so. To interpret his painted characters as little dolls whether computerized or made of clay seems to miss the point of the painting – both the intended meaning or the graphic one.

    Perhaps, instead of copying something in their own style, the artists would have learned more by trying to exactly duplicate what Picasso had done and tried to understand why he did what he did.

  • mudsock

    Lena Grieseke has used an emotionally provocative and compelling masterpiece to make the CGI equivalent of balloon animals.