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In fact, Picasso is sure to make sure that even within the chaos of his composition, that beyond color, agony is the reaction of the viewer to Guernica.
One feminine figure departs from the feelings of pain to a feeling of sadness, rushing to a pile of rubble to see what other sadness may befall her.
There is a lot of overlapping figures and not much space between any, but the shading around helps create the feeling of space. The artist likely used a limited palette for this painting.
The positive shapes are the lightest of the painting and the negative shapes are the darkest and sometimes even empty shapes. The point of emphasis is established by using lighter shades in the midst of very dark colours.
There are scattered distorted figures not exactly looking like humans but many figures taking the human form with faces in obvious confusion.
The piece is representational and has asymmetrical balance.
This is despite her own injuries, as Picasso drags her foot out, giving the viewer the idea that this woman is by no means in a position to truly be able to walk on her own. Rubble and broken stones are symbolized by a jumble of shapes, which for Picasso represents the most fundamental building blocks of form, whether on canvas or in life.
Amidst this rubble a concerned face holding a disembodied lamp searches for life, finding only a corpse.