The Spanish State and the culture policies have influenced the historiographic discourse related to contemporary Spain and to artistic manifestations, especially referring to the period of the Civil War and the political commitments with the Government of the Republic. The heritage of exile, as a consequence of the big diaspora, is one of the major pending subjects, as it refers to the Spanish art carried out beyond our frontiers which is practically unknown and belatedly valued in the institutional and historiographic field.
In this sense, it is essential to analyze the figure of Picasso, due to the political commitment he took on with the Government of the Republic during the Civil War and the Communist Party, along with the role of patronage that he undertook with artists of the diaspora. He therefore becomes an integrating element of a disperse generation in exile, as a circle of intellectuals was formed around the artist from Malaga who found, among the difficulties of exile, the opportunity of continuing their professional careers in French exile.
The main aim of this proposal is to open up a new of study with approaches about how the circle of intellectuals of the diaspora was gathered together around the figure of Picasso. As it contributed to rescuing them from the French concentration camps; and the facet of the collector and trader of the work of exiled artists will be analysed. Furthermore, the marks left by Picasso in the works of the exiled artists will also be analysed and the aesthetic influences of these on the Malaga painter, an innovative perspective but necessary for knowing the contacts established between them.
The idea is to study, from an innovative starting point and necessary for the contemporary artistic historiography and the historic memory, how the relations between Picasso and the Spanish artists were in exile, so as to determine the contributions made by the Malaga painter in the Spain of the diaspora within the framework of identity and republican contributions.
Furthermore, reference will be made to Mercedes Guillén, his first biographer, who revealed a lot of information about the painter from Malaga and his relations with his compatriots. A revealing testimony which gets even closer to this double sense of memory and exile, and whose words are determinant for knowing the Picassian roots with tradition and the Spanish identity.