Because of reading habits in the West, we tend initially to focus on the left side of most paintings and then move to the right, especially when the work is very large. Is this the case with your...

Because of reading habits in the West, we tend initially to focus on the left side of most paintings and then move to the right, especially when the work is very large. Is this the case with your perception of Guernica? In the organization or form of Guernica, is there a countermovement that, once our vision has reached the right side, pulls us back to the left? If so, what shapes in the painting cause this countermovement? How do these left–right and right–left movements aff ect the balance of the painting? Note that the actual painting is over twenty-fi ve feet wide.