1. For a discussion of intellectual life among Barcelona's artists at the turn of the century, see Leighten, Re-Ordering the Universe , 19-47; and John Richardson's Life of Picasso , vol. 1: 1881-1906, which appeared too late to be thoroughly assimilated in this book.

2. An unsurpassed analysis of the mural Guernica and Picasso's political views with respect to it can be found in Herschel B. Chipp, Picasso's "Guernica": History, Transformations, Meanings (Berkeley and Los Angeles: University of California Press, 1989). Chipp, Leighten, and Richardson, covering different periods of Picasso's work, are sure to establish models for research on Picasso for some time to come.

3. José Antonio González Casanova, Federalismo y autonomía. Cataluña y el estado español, 1868-1938 (Barcelona: Editorial Crítica, 1979), 258.

4. John Brademas, Anarco-sindicalismo y revolución en España, 1930-1937 , trans. Joaquín Romero Maura (Barcelona: Editorial Ariel, 1974), 87-91; Bookchin, Spanish Anarchists , 244. The two writers disagree about the level of violence used in the repression of the miners.

5. "El estatuto de Cataluña de septiembre de 1932," in Balcells, Cataluña contemporánea II , 103-107.

6. For a truly humane and thrilling evocation of a revolutionary time and place, see Jerome R. Mintz, The Anarchists of Casas Viejas (Chicago: University of Chicago Press, 1982). The eyewitness accounts of the massacre that overthrew the local commune can be found on pages 213-225.

7. Bookchin, Spanish Anarchists , 249-250.

8. Xavier Fàbregas' prologue to Ezequiel Vigués ["Didó"], Teatre de putxinel.lis , 61 Monografies de Teatre (Barcelona: Ediciones 62, 1975), 11-15.

9. Serrano Victori, "De Pedro Romeu al 'Didó,'" 7.

10. Joaquín de la Puente, El "Guernica." Historia de un cuadro (Madrid: Silex, 1985), 46.

11. Quoted and cited in Chipp, Picasso's "Guernica," 87, 216.

12. Juan Ainaud de Lasarte, "Museu de arte de Cataluña," in Museos de Barcelona (Madrid: Patrimonio Nacional, 1972), 17. See drawings and descriptions in the Liberal , October 5, 1902, 2-3.

13. Lydia Gasman, "Mystery, Magic, and Love in Picasso, 1925-38: Picasso and the Surrealist Poets" (Ph.D. diss., Columbia University, 1981), 3: 1028.

14. Sir Anthony Blunt was one of the first critics to recognize the importance that Romanesque art had for Picasso; see Picasso's "Guernica" (Oxford: Oxford University Press, 1969), 29-31. The 1931 article on medieval Catalan manuscripts appeared in Folch i Torres et al., "Les miniatures des commentaires aux apocalypse de Gerona et Seu d'Urgell," Cahiers d'art 6 (1931): 330-334, cited in Chipp, Picasso's "Guernica," 216.

15. For discussions about the 1934 uprising, see Gabriel Jackson, The Span- soft

ish Republic and the Civil War, 1931-1939 (Princeton: Princeton University Press, 1967), 153-161; Felix Morrow, Revolution and Counter-Revolution in Spain (New York: Pathfinder Press, [1938] 1974), 30-32; José Peirats, La CNT en la revolución españnola (Paris: Ruedo Ibérico, 1974), 1:93-104; Paul Preston, The Coming of the Spanish Civil War: Reform, Reaction, and Revolution in the Second Republic, 1931-36 (London: Macmillan, 1978), 127-132; Pamela Radcliff, "Community Politics: The Growth of Urban Radicalism in Gijón, 1900-1934" (Ph.D. diss., Columbia University, 1990), 649-670. As with other uprisings in Spain, it is hard to specify the number of those who participated or those who were wounded or died.

16. For assessments of the significance of Companys's declaration, see Fèlix Cucurull, Catalunya, republicana i autònoma (1931-1936) (Barcelona: Edicions de la Magrana/Institut Municipal d'Història, 1984), 234-250; Jackson, Spanish Republic and Civil War , 149-153; Edward E. Malefakis, Agrarian Reform and Peasant Revolution in Spain: Origins of the Civil War (New Haven: Yale University Press, 1970), 341-342; Hugh Thomas, The Spanish Civil War (New York: Harper/Colophon Books, 1961), 78-79; Ucelay Da Cal, Catalunya populista , 214-219.

17. Jackson, Spanish Republic and Civil War , 169-230; Preston, Coming of the Spanish Civil War , 169-172; Thomas, Spanish Civil War , 86-113.

18. A considerable amount of anecdotal information about Picasso's personal life can be found in the two books by Jaime Sabartés, Picasso. Documents iconographiques , trans. Felia Léal and Alfred Rosset (Geneva: Pierre Cailler, 1954), and Picasso: An Intimate Portrait . Sabartés's loyalty paid off in art. The secretary, always mindful of Barcelona, donated paintings from his personal collection to the city in 1968. The Picasso Museum, first officially known as the Sabartés Foundation, received the rest of Sabartés's collection at his death later that year; the collection has received additional donations from Picasso's family and collectors in Barcelona.

19. Cabanne, Pablo Picasso , 281; Rosa María Subiraná, "ADLAN and the Artists of the Republic," in Homage to Barcelona , 211-225.

20. Cabanne, Pablo Picasso , 282, 285.

21. Brenan, Spanish Labyrinth , 302, 309, 312; Stanley G. Payne, Falange: A History of Spanish Fascism (Stanford: Stanford University Press, 1961), 116-119.

22. For the first year of the war, see Ucelay Da Cal, Catalunya populista , 289-323.

23. George Orwell, Homage to Catalonia (New York: Penguin Books, [1937] 1977), 8-9.

24. Joan Amades, Auques comentades (Tárrega: F. Camps Cálmet, 1950); Joan Amades, El pessebre (Barcelona: Les Belles Edicions, 1950), 57, 91; R. Violant Simorra, El arte popular español a través del Museo de Industrias i Artes Populares (Barcelona: Editorial Aymà, 1953), 129, 133.

25. Sabartés, Picasso. Documents iconographiques , no. 83.

26. Museu Picasso. Catàleg de pintura i dibuix , 657-658; Sabartés, Picasso: Documents iconographiques , no. 83.

27. Georges Bloch, Pablo Picasso: Catalogue of the Printed Graphic Work , 1904-1967 (Bern: Kornfeld & Klipstein, 1971), 45; Bernhard Geiser, Picasso. Peintre graveur (Bern, privately printed, 1933), no. 135.

28. The definitive study of Guernica and how the press was manipulated by the Nationalists can be found in Herbert Routledge Southworth, Guernica! Guernica! A Study of Journalism, Diplomacy, Propaganda, and History (Berkeley and Los Angeles: University of California Press, 1977). Additional material can be found in Chipp, Picasso's "Guernica," 38-43.

29. G.L. Steer, "From the Tree of Gernika," in And I Remember Spain , ed. Murray A. Sperber (New York: Macmillan, 1974), 271.

30. Chipp, Picasso's "Guernica," 40.

31. Penrose, Picasso , 266.

32. Josep María Brincall, Política económica de la Generalitat (1936-1939). Evolució i formes de la producció industrial (Barcelona: Edicions 62, 1970); Ronald Fraser, Blood of Spain: An Oral History of the Spanish Civil War (New York: Pantheon Books, 1979), 213-236; Frank Mintz, L'autogestion dans l'Espagne revolutionnaire (Paris: Editions Belibaste, 1970), 51-61, 78-91.

33. "International Committee for Application of the Agreement Regarding Non-Intervention in Spain. Resolution Relating to the Scheme of Observations of the Spanish Frontiers by Land and Sea, Adopted at London, March 8, 1937," American Journal of International Law (Concord, N.H.) 31 (1937), suppl., 163-179; Douglas Little, Malevolent Neutrality: The United States, Great Britain, and the Origins of the Spanish Civil War (Ithaca: Cornell University Press, 1985).

34. Burnett Bolleten, The Grand Camouflage: The Communist Conspiracy in the Spanish Civil War (New York: Praeger, 1961), expanded as The Spanish Revolution: The Left and the Struggle for Power During the Spanish Civil War (Chapel Hill: University of North Carolina Press, 1979); David Tredwell Cattell, Communism and the Spanish Civil War (Berkeley and Los Angeles: University of California Press, 1955); David Tredwell Cattell, Soviet Diplomacy and the Spanish Civil War (Berkeley and Los Angeles: University of California Press, 1957); Sam Dolgoff, The Anarchist Collectives: Workers' Self-Management in the Spanish Revolution, 1936-1939 (New York: Free Life, 1974); Morrow, Revolution and Counter-Revolution , 140-164; Bertram David Wolfe, The Civil War in Spain , with appendix by Andreas Nin (New York: Workers Age, 1937). A recent fictional account from an anti-Stalinist perspective can be found in Stephen Hunter, The Spanish Gambit (New York: Crown, 1985).

35. Manuel Azaña, Memorias políticas y de guerra , vol. 2 (Barcelona: Editorial Crítica, 1980), 23; Pierre Broue and Emile Temime, The Revolution and the Civil War in Spain , trans. Tony White (Cambridge, Mass.: MIT Press, 1970), 282; Morrow, Revolution and Counter-Revolution , 142-159; Juan Augusto Marichal, La vocación de Manuel Azaña (Madrid: Alianza, 1982), 238-240, on the May Days; Peirats, La CNT 2:137-173.

36. "La Fiesta del Trabajo," Diluvio , May 1, 1931, 30.

37. Rudolf Arnheim, The Genesis of a Painting: Picasso's "Guernica" (Berkeley and Los Angeles: University of California Press, 1980), 30-41; Blunt, Picasso's "Guernica," 29-31.

38. Arnheim, Genesis of a Painting , 42-45. See also Josep Palau i Fabre, El "Guernica" de Picasso (Barcelona: Editorial Blume, 1979); and Chipp, Picasso's "Guernica," for color prints of studies for Guernica .

39. For events leading up to the May Days and their aftermath, see Broue and Temime, Revolution and Civil War , 285; "Para ganar la guerra y hundir el fascismo," Día gráfico , May 6, 1937; Peirats, La CNT en la revolución española 2:137-173; and Josep María Solé i Sabaté and J. Villarroya i Font, La repressió a la reraguardia de Catalunya (1936-1939) (Barcelona: Publicaciones de l'Abadia de Montserrat, 1989), 1:204-206, 212-216.

40. Since Picasso was reading Ce soir and Figaro during the spring of 1937 (according to Chipp, Picasso's "Guernica," 40), he may have read in Figaro on May 6, 1937, that there had been extraordinary violence throughout the city, followed on May 9 with the information that all the barricades were down in Barcelona and the city was back to normal.

41. Blunt, Picasso's "Guernica," 33.

42. The May 9 sketch of the composition for Guernica was filled with clenched fists, which Chipp says Picasso rejected because they were emblematic Communist symbols. The Popular Front, though certainly dominated by Communists, commanded more widespread support. Not all of the people discussed here or those who voted for the Popular Front in France in 1935 or Spain in 1936 were Communists, but they did give the clenched fist as their salute. Even with this more ample view of what the fist stood for, there is reason, as Chipp claims, for Picasso to think that it was far too specific a symbol for his purposes. See Picasso's "Guernica," 96-98.

43. Arnheim, Genesis of a Painting , 80.

44. Blunt was the first to notice that the drawing of the bull Picasso did in May evoked images from an eleventh-century Romanesque manuscript of Saint Luke's bull; see Picasso's "Guernica," 54-55; also Chipp, Picasso's "Guernica," 87, 216.

45. Marcel Durliat, L'art catalan (Paris: Arthaud, n.d.), opp. 156; Zervos, Art de la Catalogue , pl. LXX.

46. See Zervos, Art de la Catalogne , pls. LXVI, for an apochryphal animal covered with eyes, and LXXIV, for the lamb with seven eyes.

47. Fernández Almagro, Catalanismo y la república española , 21.

48. Stephen Spender, "Guernica," in And I Remember Spain: A Spanish Civil War Anthology , ed. Murray A. Sperber (New York: Macmillan, 1974), 151-152.