Exploring the Creation of Picasso's Guernica: Composition Studies, Chance, Metaphors, and Expertise

Abstract

Simonton (2007) offered evidence for his Darwinian theory of creativity—blind nonmonotonic variation and selection—based on ratings of Picasso's preliminary sketches of the components for Guernica. This comment reexamines the sketches, adding two major sources of information: (a) consideration of the changing conceptions of the composition, as well as the components, and (b) inclusion of sketches from Picasso's first vision for his mural, the Studio sketches. Such analysis supports the notion of nonmonotonic variation including backtracking. It also suggests that the final mural, although radically different in its components from the Studio sketches, drew on the composition and theme of that initial vision for the mural, but in a completely reimagined form when a chance event pulled Picasso's thinking in a new direction. This comment also describes how Picasso drew on his expertise throughout his explorations, that lack of knowledge of outcome does not diminish the role of expertise in the artist at work. The terms Darwinian and blind mask this and other features of the creative process, and an alternate vocabulary is suggested.