When we visited that room in 2012 or so the walls on the other 3 sides had Picasso's studies for the final painting.

The combination of those in proper size context to the astounding thing on that wall was... I dunno, very hard to bear? Chills and goosebumps. Just being in the presence of such genius. [Edited to add: I forgot! Many of the studies are clearly over complicated and colorful. And then you turn to see what was the final result. IMHO It's the same with genius software, in a different medium. Prose too, but maybe that's more contentious.]

There is no digital screen representation that can remotely approximate the psychic impact physical proximity to genius creates. I've felt this with many other greats as well.

I've sat alone in 3 different Rothko rooms. Damn. It's all I can say. You have to do it yourself. Tip: pan your eyes slowly while sitting in different corners.

In the autobiography of Man Ray, who was a good friend of Picasso, it's mentioned that the sketchbooks are not preliminary studies, but sketches that came _after_ he finished the painting. Aparently Picasso was still so outraged after finishing the painting, he had to keep going. Man Ray scoffs at the museumguides who explain the sketchbooks as preliminary when according to him they are not. Their original intent adds so much more gravitas to how Picaso (and other people) felt about Guernica.

The reason why I mention this is because those sketchbooks were the first time I got an insight in the process of an artist, realising that a painting doesn't just come out of thin air, but requires meticulous planning. (or so I thought) That's when I realised that anyone can be an artist and it's not just a matter of talent. Seeing the Geurnica and those sketchbooks was a pivotal moment for me to finally pick up a pencil and learn how to draw. Joke's on me... (although I realize the way Picasso works allows you to skip the planning phase, which is just not possible in other painting styles)