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van Hensbergen, G. Guernica: The Biography of a Twentieth-Century Icon. New York: Bloomsbury Publishing, 2004. Print. Guernica is still seen as a political work of art today. Guernica not only depicted the brutal bombings and aftermath of that April day but it is a depiction of what is yet to come. The horror of Guernica can still be seen in modern times; such as the attack on the Twin Towers in New York (van Hensbergen 1) and the war in Iraq (van Hensbergen 2). Many well known political figures refer to Guernica and it's political message in many speeches and addresses because its message is still relevant today.

"Guernica: Testimony of War." PBS.org. Web. 1 November 2010. This article has many sub-articles embedded into it that discuss different aspects of Guernica, such as Picasso's inspiration, the bombing of Guernica, and Picasso's political views. The main article discusses how Guernica came to be the center piece for the Spanish Pavilion at the Paris Exposition in 1937. It also gives an over view of the bombing of Guernica as well as the reception for the crowds that viewed it during the exposition.

Chipp, H. Picasso's Guernica: History, Transformations, Meanings. Berkeley and Los Angeles, CA: University of California Press, 1988. Print. In the third chapter, the actual events that lead up to, during, and after the village of Guernica is described in detail. The village was relentlessly bombed on Monday, April 26, 1937 (Chipp 24). Hundreds of bombs were used on a defenseless town. The places that were supposed to be targeted were untouched at the end of the almost four hour bombing mission. In the twelfth chapter, Guernica's political means are discussed but since Picasso could never give a consistent answer the political meaning of Guernica is unknown. Also, the two main figures of the painting, the bull and horse, were described by a poet by the name of Juan Larrea (Chipp 196). According to Larrea, the bull was a heroic figure of "Spanish life" (Chipp 196) and the suffering horse represented the end to "Francoist regime" (Chipp 196).

Martin, R. Picasso's War: The Destruction of Guernica, and the Masterpiece That Changed the World. New York: Penguin Putman Inc., 2002. Print. The struggles that the people of Guernika and the people of Spain, in general, had to endure to see a masterpiece of their countries artwork be displayed in Spain is discussed. It took over four decades for Guernica to be on display in Madrid, Spain. The day that Guernica was brought to Madrid it was an emotional but proud day for Spaniards. Guernica depicted a horrible yet important time in their history that deserved to be housed proudly in Spain, and it finally was but not after years of hardship, several "no's", and struggles.

Martin, R. Picasso's War: The Destruction of Guernica and the Masterpiece that Changed the World. New York: Dutton, 2002. Print. Martin's book describes Adolf Hitler's target practice on the Basque village of Guernica in 1937. This attack sparked Picasso into depicting the terrible event; the painting is known as Guernica. Although Picasso was living in Paris, France at the time of the attack he felt an obligation to depicting the terror that Hitler unleashed on his beloved homeland. The themes, events and individual scenes are discussed throughout the book.

Boeck, W., Jaime Sabartes. Picasso. New York and Amsterdam: Harry N. Abrams, Inc., 1955. Print. The figures that Picasso depicted in Guernica are discussed. Picasso drew several forms of each character in the painting before he began work on the Guernica that is seen today. Each figure Picasso chose to present in his final work of Guernica has a meaning and was painted in the most meaningful position. There are very subtle details that give significant meaning to Guernica. In the picture there are three woman, a suffering soldier, a bull, a horse, a lamp and bird.

"Guernica: Testimony of War." PBS: Treasures of the World. PBS. Web. 31 October 2010.\n\nThis article is a quick overview of how Pablo Picasso came to paint Guernica, where it was originally displayed, the bombing in Guernica, where it is housed, and how different countries reacted to the painting.

Byrne, L. "Picasso, Guernica, History." Art Book 14.3 (2007): OhioLINK: Electronic Journal Center. Web. 1 November 2010. Byrne reviews a work by Fransisco Calvo Serraller and Jorge Semprun on Picasso's Guernica. The painting was painted for the Spanish Pavilion at the International Exhibition in Paris in 1937. Guernica is a summary of the wars of the past one hundred years (Byrne 13). Serraller's thinks that the painting is one of the greatest paintings of all time because it was created out of "historical tradition" genius which he believed only Picasso and a select few were capable of.

Rosemblum, R. Picasso and the War Years: 1937-1945. New York: Thames and Hudson Inc., 1998. Print. Picasso's political choices are referred to. Picasso was apart of the the Spanish Republic. According to Picasso, while the painting hung in the Museum of Modern Art in New York, it was not a political piece it was simply a depiction of the horrible events of the bombing of the village of Guernica. However, later Picasso told one of his friends that Guernica is a political statement that hangs "in the middle of New York City" (Rosemblum 73). Nazi Germany ignored Picasso's works and called it "the work of a either a lunatic or a of a four-year-old" (Rosemblum 72), although it was a political statement to Nazi Germany and what they did to damage Picasso's homeland of Spain.

Beardsley, J. First Impressions: Pablo Picasso. New York: Harry N. Abrams, Inc, 1991. Print. Beardsley discusses what cubism is and Picasso's partner in creating cubist works. Cubism uses geometric shapes to express an object. Picasso's partner in cubism was Georges Braque, they would create works together. In Chapter 8, Beardsley explains how the brutal bombing of a small Basque village in Spain by General Fransisco Franco was Picasso's inspiration for Guernica. Guernica is painted in a distorted fashion with many hidden images of that April day.

Beardsley, J. Pablo Picasso. New York: H.N. Abrams, 1991. Print. A biography on the life of Pablo Picasso. Beadsley examines Picasso through his years; from early childhood to adulthood. Also, Beadsley write about the movements in which Picasso was involved in. The influences of Picasso are also discussed about Picasso and his works, as well as his most famous works of art.