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The angular mother and child on the right of "Guernica" change into a single figure in this state. Their form owes something to the Samson figure in (113B). His foot raised in the air was probably adopted by Picasso to form the head and neck of his woman. Other forms from this painting, turned into abstract shapes, fit nicely into the composition of "Guernica." Some of Rembrandt's use of contrast between light and dark areas is also present.

In concluding this tour of "Guernica's" sources, return to (103C) and (103D), The lighted forms in (103C) had an impact on the shape of the woman holding the lantern and the thrust of the gesture seems to come from (103D).

The head (122) of the fallen warrior assumes its final drawing and position from a figure in the "Apocalypse of St. Sever, Commentary of Beatus" (122A). Perhaps the dove in this work influenced the inclusion of a dove in this final state. I believe the twisted postures of the men and animals must also have been very attractive to Picasso.

The following list provides points of comparison between Picasso' "Guernica-Composition Study" (Arnheim 15) of May 9, 1937 (113) and "Venus Wounded by Diomedes" by Ingres (111A).

Picasso's will be listed on the left.

"Guernica-Composition Study" "Venus Wounded by Diomedes"

Long arms on the left =

horses' legs on the left.

Head of the bull =

heads of far horses.

Dark area under the bull's mouth =

dark plumes on the helmet of Diomedes

The hand of the woman holding a candle = 

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