Exploring the Creation of Picasso'sGuernica: 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.

Creative thought as blind-variation and selective-retention: Combinatorial models of exceptional creativity

“…To offer an illustration, much space has been wasted debating whether BVSR can provide a valid theory of creativity given the manifest disanalogies between biological evolution and creative thought (e.g., [34,80,190]). Besides differences in selection (sequential versus simultaneous and internal versus external), creative thought is held to be guided or directed whereas only biological evolution can be deemed genuinely blind.…”

Creativity and Discovery as Blind Variation: Campbell's (1960) BVSR Model after the Half-Century Mark

“…The latter is precisely what holds for the Guernica sketches (Simonton, 2007a). The sketches are decidedly nonmonotonic with a distinctive advance-retreat pattern (see also Damian & Simonton, in press;Doyle, 2008;Weisberg, 2004). Very frequently, the sketch closest to the final image in the painting appeared very early on in the series for that figure.…”

“…For example, some critics argue that creative individuals are engaged in highly purposeful behavior, unlike the (largely) mindless Darwinian organisms (e.g., Doyle, 2008;Sternberg, 1999). As Sternberg (1999) expressed it, "creativity is forward-looking and intentional, while evolution is not" (p. 357).…”

Creativity and discovery as blind variation and selective retention: Multiple-variant definition and blind-sighted integration.

“…This event inspired the artist to switch suddenly from his early "Studio 1" sketch to the later sketches for Guernica (Doyle, 2008). The self-portrait of the artist in his studio with a nude had no place in a painting depicting the horrors of war.…”