Guernica (Picasso) in political commitment and faulted it for not offering a vision of a better future. In contrast, Morgado's painting was a great success with Spanish Communists and with the public. The art critic Clement Greenberg was also critical of "Guernica", but for different reasons. In a later essay, Greenberg termed "Guernica" "jerky" and "too compressed for its size", and compared it unfavorably to the "magnificently lyrical" "The Charnel House" (1944–48), a later antiwar painting by Picasso. Among the painting's admirers were the art critic Jean Cassou and the poet José Bergamín, both of whom praised the painting as quintessentially Spanish.
Picasso and the Ballets Russes drawn figure of Picasso is the result of endless well-drawn figures he erases, corrects, covers over, and which serves him as a foundation. In opposition to all schools he seems to end his work with a sketch." Additionally, Guillaume Apollinaire, who wrote the program notes for "Parade", described Picasso's designs as "a kind of surrealism" three years before Surrealism developed as an art movement in Paris. In 1924, Picasso designed the sets and costumes for Massine's "Mercure", which was produced not by Diaghilev, but by Comte Étienne de Beaumont with music by Satie. Picasso did not design for the theater