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Picasso, as we can see, used references and symbolism extensively, not just in this painting, but in many of his other works. In this work, we see this maximised.

This brings us to the third layer of the painting…where Picasso had incorporated hidden images within the shapes and tones of the figures that are there explicitly. It’s the feature, perhaps, that makes this painting so compelling and which might provide some explanation at least as to why this painting has endured so long as a great painting. Perhaps our subconscious awareness does pick out the hidden images and which together with the emotive references and symbolism at the second layer gel the overall impression way beyond what would be to the untrained eye, as simply a harrowing depiction of carnage.

There is no obvious place to start and the hidden images do not, I think, form a narrative on their own or collectively exclusive to the figures and impressions in the two former layers. So, I’ll address them individually but grouped by type.

People.

There are two hidden images of real people though I believe there should have been a third. Adolf Hitler and Benito Mussolini are clearly visible once shown… The axis of power. But where is Franco? Perhaps Mussolini, is not Mussolini, but instead is in fact Franco. Let’s see…

Adolf Hitler:  caricature of Hitler is clearly visible which forms part of the horse. His moustache is the giveaway and also provides regency to the perspective. The image is an unflattering image of Hitler as slightly effeminate. His left eye (from our vantage point) is visible. His right eye obscured by a flop of his dark hair. The handle of the spear, is his nose.

The second figure, Franco, might be made out facing, in profile, to our left. Again it’s a caricature of the man himself. He wears a hat that is oversized, so much so that it has slipped and rests on his nose, obscuring his eyes. So many potential metaphors… uneasy sits the crown, a small man wearing a big mans hat. All making him look rather inadequate. His mouth is agape, looking like he is screaming. Interestingly, his mouth is right on top of the horses anus which Picasso has taken the trouble to define in extended detail.

Here they are…the two main protagonists, Franco and Hitler who worked in unison. One on top of the other, almost merged as one. Caricatured as something less than men. Millions would grow to detest Hitler as Second World War began to take hold and progress through its own horror stories, but Picasso held a special place in his hatred of Franco. A brutal dictator, supported by another dictator, a fascist that was to become so dominant. Supported too by the inaction of the free powers of France, Britain and America. None of whom came to Spain aid to cease the brutal coup de etat netted out by the Republicans over the Nationalists. Picasso lived in Paris when Guernica was bombed. Learning of this event via the western free press. His outrage became palpable through its depiction in this painting.

I could find no other real people and could quite easily accept that there may be no other because there were only two main protagonists and Picasso was working against the clock to finish the work in time for it to be displayed in the Paris expo.

Harlequins:

There are at least three.

The first one is so big that it is hidden partly by its sheer size. It’s eyes are formed by the white shape under the bird and the internal mouth of the horse. The expression is sinister. Angry. This harlequin wears a huge hat where we can just see the underside of its large brim at the top of the painting. The side of its face follows, initially, the edge of the bulls head and the dark area which is part of 5he harlequins face. It follows down to form the underside of its chin. The horses main might be it’s hair at the right side of the face and the dark shadow of the sharp light shapes emanating from the light bulb, a fringe. And just below the eye on the right, the gash on the horse is now a tear that falls from this harlequins eye.

The second harlequin…

The third harlequin…

The skull.

At the underside area of the horse we can make out a skull. An obvious metaphor for the rampant images of death in the scene.

The bull

Also at the underside of the horse, we can see the image of a bull goring the horse. It is this, I believe has killed the horse. Not the spear.

Phallus

Perhaps to enhance or to highlight the symbol of femininity depicted by the horse we can see a phallus just below it. Angled to also penetrate the horse.

Punch & Judy Show

At the extreme left, we have the burning woman running screaming from the burning house. But there is something unusual about the way her hands have been composed. Which suggests a dual depiction. They’re different for a start. One looks like a bare human hand, the other a gloved hand much like the gloved hand of a puppet. The extended flap that we see lower down the arm as it joins the body, looks exactly like the puppets that were used in a Punch & Judy show. To add credibility to this, we can see an image of a crocodile above/below the puppet. What we took for flames on the burning woman, are the crocodiles teeth. The puppet figure is, in fact, upside down and would appear  more clearly if we turned the painting upside down. Then we would see the puppet flopped over the edge of the booth dangling in a manner which would reflect a dead body.

Picasso as a child is vaguely depicted, also upside down, watching and enjoying the Punch and Judy show. He is seen on his knees leaning forward with his hands on his knees in excited anticipation.