When we analyze a work of art, it is important to remember that in writings, we encounter biblical metaphors used to convey unusual or transcendent truths and ideas, these being the images of God.

God expects His disciples to be invested in penetrating and understanding the sacred truth. By extension, this applies to any sacred truth, whether it concerns art, wars, or the climate disasters of this world...

Furthermore, we must distinguish between the artist's intent at the moment (connected to 13), and its evolution over time, notably the classification of the work itself, which is nothing other than the work of God transmitting a message retrospectively.

What about Guernica, the famous, engaged war painting, a depiction of a massacre and a powerful political symbol, a great universal cry for peace?

Let’s apply this metaphorical logic by expanding the analysis of the work beyond the work itself. This means making other connections to access the sacred truth: an analysis that aims to be holistic, not isolated.

Guernica is a monumental historical painting, executed primarily in black and white, to better express the gravity of the subject, with a range of gray tones (grisaille), but also with areas of bluish-gray (a hint of hope in the pain, like the presence of a flower above the soldier's dismembered body, defeated, leaving room for hope), bistre and pale golden yellow (light in a dark world).

"Bistre" or OXIDIZED TIN is a blackish layer that forms on the interior walls of a chimney and resembles tar. This deposit, formed from the accumulation of combustion residues, can have serious consequences. From a spiritual angle, symbolizing heaviness and stagnation, tar represents the obstacles and difficulties we encounter in our daily lives. It also evokes the need to take a step back and reflect before acting, to call upon our conscience to avoid getting trapped in complex situations that can lead to the loss of humanity.

This painting represents the alarming pollution of humanity, a sullied humanity, just as the Mona Lisa was sullied, targeted on January 28th at the Louvre, or as the sea is sullied by plastic waste (plastic being the opposite of purity), breaking the record for floating objects, all of which prevent the balance of BERESHIT 12/13 (the connection between Earth and Heaven), thus sending moments of terror in the 12, too far from the 13.

Guernica is a painting in the Cubist and Expressionist styles, using chiaroscuro, LIGHT, and SHADOW.

This Spanish painter is considered the founding father of Cubism, a technique aimed at fragmenting the image plane into a mosaic-like texture, similar to that of a broken mirror (representing our consciousness), presenting the same object from multiple angles on a single canvas, inviting the soul to deep reflection.

It is noteworthy that this painting is exhibited at the Reina Sofia Museum in Madrid, in honor of Queen Sophia, born a princess of Greece, wife of Juan Carlos I, who became king after the death of General Franco. This is quite a symbol: a dictatorial regime coming to an end, making the return of the work from N.Y. to Madrid possible. What a victory! Yet, once man gains freedom, caught by human nature and temptation, he quickly loses balance, leading this world into the chaos depicted in the painting.

It is also worth noting that the Olympic Games, like Queen Sophia, have their origins in Greece. They represent the Olympic flame, which originally came from a religious festival, and can be associated with God's fire that was first brought to Berlin.

Note that the Olympic flame, originally, was used as a propaganda tool by the Nazi regime. It is represented in this painting by the oil lamp: the light reaching the center and top of the pyramidal composition of this masterpiece.

Returning to the Cubist style, Plato's solids, the great Greek philosopher (amazing link), are part of sacred geometry. These volumes, considered geometric gold, play an important role in the genesis of life and help us reconnect with the intelligence of the universe. The cube connects us to the stability of the earth, and the tetrahedron (three triangles) connects us to the sharp heat of fire.

When Plato "created" the solids that bear his name, he sought synthesis, the link that unites all elements of life.

The Cube of Metatron is widely recognized as a spiritual symbol known for its ability to ward off negative energies. It is often used in life projects and for spiritual awakening, healing practices, and energetic protection to establish a deep connection with the divine. It represents the energy circulating between the world above and the world below, allowing us to connect with the sacred.

In Jewish tradition, especially Jewish mysticism (Kabbalah): Metatron is a high-ranking archangel, considered the intermediary between God and humanity, serving as a connection between the divine and the earthly. He is a celestial messenger who facilitates communication between the 12 and the 13.

Guernica is a town that the Nazis bombed during the Spanish Civil War.

Many people see Guernica as an anti-war statement and a prophetic warning about the war that would soon engulf the world. But what kind of war did they imagine? A literal war, or the war of man with himself and his conscience, leading to an Apocalyptic landscape?

This is the first time in modern history that an urban population has been deliberately massacred. This massacre was ordered by Hitler, an ally of General Franco in the Spanish Civil War, to terrorize the civilian population (notably the meeting between Hitler and Franco at the Hendaye train station in the Basque Country).

The archangel Metatron, Hitler, Franco's ally, Greece associated with Berlin... everything refers us to the massacre of the Jews (Jesus himself was Jewish), to the introduction of the Holocaust (a Hebrew word meaning "catastrophe," much like this painting). Strangely, the Nazis came to power in 1933 (33, the age of Christ when he was crucified). Strangely, the memorial to the Jews, powerfully evoking the atrocity of genocide, is located in Berlin, as is the origin of the Olympic flame (God’s fire or the gates of hell: CHOOSE!). Strangely, when I wrote this text, I discovered in the evening that a massive power outage had struck Paris. It was reportedly an incident on the transport network at an electrical station in "Villejuif." Does that sound familiar?

Through reading this work, we witness the catastrophe of man, capable of committing crimes of unimaginable cruelty (the broken mirror) for which we must ask for unconditional and wild forgiveness to avoid repeating them.

The Promised Land (haaretz hamuvtakhat) represents what, from Genesis onward, the Torah (Hebrew Bible) designates as the "Land of Israel" in the land of Canaan, "a land flowing with milk and honey," which, according to the texts, was promised by God to the Hebrew patriarch Abraham.

Do you now see the image of milk and honey in the Land of Israel?

Strangely, Guernica has adopted the colors of Palestine to pay tribute to the Palestinian victims of the conflict in Gaza, whose children were the target of this new human massacre (reminding us of the massacre of the innocents). This martyr city in the Basque Country has transformed into a giant human mosaic in the colors of the Palestinian flag. A strong symbol, 86 years after the Nazi bombings of the city of Guernica.

Strangely, the technique used in this work is a mosaic texture; note that Israelites or Mosaic Faith Citizens was a term for Jewish citizens in many Western and Central European states during the period of emancipation, from the Act of Tolerance to the interwar period. After the Holocaust, this expression gradually fell into disuse, and the ideology behind it practically disappeared.

Strangely, we find the dove in this work, also the symbol of peace and reconciliation, soaring over the city of Gaza. It fades into the darkness in the face of brutality and suffering. Independently of the work, another symbol has been used by Palestinians as a sign of resistance and become a symbol of pro-Palestinian support: the watermelon, strangely, the fruit most full of water, reminding us of the source that quenches thirst forever. It’s worth noting that the first phase of the truce between Israel and Hamas predicted 33 Israeli hostages (Strangely, 33 like the age of Christ when he was crucified, like the soldier on this canvas in a crucified position on the ground). Also, by extension, we can consider that this peace represents the peace of the soul one must find within oneself to reach eternity. This painting is a projection of ourselves at the moment of death, hence its classification by the 13.

Strangely, Trump wants to relocate the inhabitants of Gaza to Jordan or Egypt. This is quite a symbol, referring us to the Massacre of the Innocents as told in the Gospel, ordered by King Herod, initiating the flight of the Holy Family from Nazareth, which sought refuge in Egypt to save their child Jesus, destined to become the King of the Jews. Everything leads us back to Christ and His sacrifice to redeem humanity’s sin. It’s worth noting that from Mount Nebo in Jordan, Moses gazed upon the Holy Land before taking his last breath.

It’s worth noting that Mosaicism refers to the religions based on the religious message given to Moses, which he received from God on Mount Sinai, according to the Bible. These religions also make Moses the most important prophet, even though he’s not the only one.

Regarding the idea of relocating the inhabitants, this is an extremely sensitive subject because it’s about trying to save human lives and protect them from repeating patterns. But once again, by relocating the inhabitants of Gaza, one is moving a problem, not addressing it at its root, not treating the bistre.

It’s worth noting that Plato also went to Egypt, particularly to Heliopolis, to meet the Egyptian priests, who allegedly "initiated" him into their "wisdom."

Just as fashion is an eternal recurrence, repetitive patterns make difficult, painful, and horrific situations live on endlessly.

So, what should we do to stop this repetitive evil?

The answer lies in this painting. Let’s return to the great fundamentals, let’s return to the true city of angels in Los Angeles, not the one it has become and that was razed (12,000 structures destroyed: 12 like the 12 apostles), symbolically by the sacred, leaving some signatures from Heaven: the Virgin of Guadalupe and a few boat-shaped buildings (referring to the anchor, stability, leading us to the Pope’s visit to Corsica, represented by the anchor and boat, and after a whale strangely overturned a tourist boat off the same island, reminding us of the need for more balance) that miraculously survived the fires.

Note on this canvas, the absence of plastic representation. It is man facing himself at the moment of death, inviting us to resonate with BERESHIT 12/13.

Through this work, the viewer is first drawn to a central triangle that directly refers to a pyramidal composition. Picasso sought to guide the viewer's eye toward the horse pierced by a spear. Above him, there is an oil lamp forming the apex of the triangle.

Strangely, this triangle, symbolizing the Trinity, was represented in violet by analysts, inviting purification.

Endowed with natural tranquility, very communicative, the horse is a true hope for salvation. He is prepared for the day of battle, but deliverance comes from the Eternal. The horse can help us better understand and manage our emotions, even the most buried ones. It allows us to discover ourselves with a new perspective, to immediately realize our emotional impact, and to move forward in self-discovery for our personal fulfillment.

The horse, the central image of this work, is mentioned 150 times in the Bible. In the Apocalypse, the horsemen represent Death, Famine, Pestilence, and War, while those of Salvation represent Life, Abundance, Health, and Peace. A true paradox, underscored by this woman who, through an opening, extends her arm (with an oversized size to draw our gaze to this plane) holding an oil lamp. This woman comes from a Picasso engraving titled: “Minotauromachia,” showing a fatally wounded woman bullfighter on her horse, thrown backward.

Strangely, the oil lamp she holds is placed just above the horse. It is thus framed by the bulb (the sun), an eye that sees and denounces the events to break out of the darkness and "shed all the light" on this horror, and the oil lamp. From a spiritual perspective, the oil lamp symbolizes a return to origins or traditional values, suggesting the need for rest or introspection. In conclusion, if we do not call upon the light, under God’s gaze (our conscience), if we do not go through this central purification stage, the horse, a sacred animal guiding man, will fall, it will suffer, and will end up pierced like the one on this canvas.

Note that in L.A., the stables burned down, further emphasizing this central image of the work.

The horse also sees life in color, but not in the same way we do. Unlike man (who is trichromatic: blue, green, red), the horse is dichromatic and cannot distinguish red (the color of evil: danger, blood, passion, sexuality). It is particularly sensitive to blue (the color of the Virgin) and yellow (light). It invites us to place our gaze in the right place.

Its binocular vision is naturally directed downward, toward its nose, allowing it to see where it will place its hooves. It invites us to reflect before acting by placing our conscience at the heart of every action and decision. Note the horseshoe present in the sword piercing the soldier screaming in pain. Near the broken spear, a small flower appears, the flower of hope. From a spiritual angle, the horseshoe was believed to protect its bearer from evil spirits (the Evil of this world), balanced by the flower of hope (Good).

The gestures (outstretched arms, open hands), ascending and descending movements, recall these tensions and this call for stability, further emphasizing the inseparable link between the 12 and the 13.

The bull, symbolizing the sacrifice of the desire for a spiritual life, enables man to triumph over animal passions with courage and bravery.

If Heaven has classified this masterpiece among the most famous in the world, it is to send us a strong message.

The flame as the breath of God or the fire of hell? Which one? Choose! Let’s remind everyone that 12, in no way, is isolated or disconnected from 13. Everyone seems to have forgotten!!

When a chimney is blocked, its performance is reduced; it presents a risk of poisoning and fire because clean air no longer circulates properly. The exit is blocked by a colorless and odorless gas. Likewise, in a company, when elements provoke dullness, we don’t break the chimney, we call in an external expert, detached from any current and/or past tar projections, to CO-EDUCATE and transform this asphalt into a light gray so that the air can finally circulate properly and find the exit it is destined for.

By extension, for air to circulate between 12 and 13, we must remove the soot from the 12 conduit’s walls, allowing access to 13. This involves a collective awareness to spread UNRESTRICTED and individual work on oneself, passing through confession (we purify the bistre) and daily prayer.

Man's true intelligence is to perceive the invisible and thus find HIS PEACE to access eternity. In this way, Man will be able to restore the balance of BERESHIT 12/13 and avoid the catastrophe, Picasso’s Apocalypse, that looms over us. OPEN YOUR EYES & GET THE DIVINE LIGHT!