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The Spainish Great Artist - Joan Miro Painting Gallery

Posted by Art Of Legend India [dot] Com On 4:39 AM
The Great Artist Joan Miro Painting “Kitchen Garden” with a Donkey 1918 25 ½  x 27 ½ Moderne Museet, Stockholm
Miro was an extremely versatile, inventive and prolific artist. His career does not show any steady evolution of style, but rather an unquenchable thirst for experiment, a tireless ability to absorb and transform new influences, and an imaginative response to the varied qualities of the differing materials with which he worked. Miro himself commented on the element of uncertainty and lack of premeditation in his creative processes, writing 'It is difficult for me to speak of my painting, for it is always born in a state of hallucination, provoked by some shock or other, objective or subjective, for which I am entirely unresponsible', and although he later modified the views in this statement (made in 1933) it gives an indication of the fascinating unpredictability of his work. It ranges from the loving detail of Kitchen Garden with a Donkey to the daringly empty abstract forms of Blue III, from the mischievous playfulness of Harlequin's Carnival to the bitter anger of Aidez l'Espagne. And Mire's genius was such that he was just as happy working on a fairly small scale in the medium of lithography as he was creating huge decorative murals. Both satisfied his urge to create an art which belonged to the public at large, by-passing the exclusivity of the museums.

The Great Artist Joan Miro Painting “Carnival of Harlequin” 1924-25 Oil on Canvas 26" x 36W Albright-Knox Art Gallery, Buffalo, New York Room of Contemporary Art Fund, 1940 This is one of the first paintings in which Mini worked in the style to which a friend gave the name 'detallista', characterized by great attention to detail and sharpness of focus from foreground to background. The overall feeling, however, is not naturalistic, for the stylized forms and the rhythmic patterns made by, for example, the lines of cultivation and the branches against the sky, produce an effect somewhat like a complex stage set. Miro holds together the diverse elements with consummate skill, and the bright colours and clear forms convey with great vividness the heat of his native Catalonia.

In 1938, Miro wrote an article in which he described the geitesis of this painting, one of his most famous works and one of the first in which he revealed his unmistakable personal style. At the time, he was experiencing a period of great hardship and he wrote 'For Harlequin's Carnival I made many drawings in which I expressed my hall my hallucinations brought on by hunger. I came home at night without honing dined and noted my sensations on payer. A room with a window and table are indicated and they belong more or less to the everyday world, but alter that Miro's imagination takes over. A bizarre assembly of insect-like creatures play dance and make music, one of them having the suggestion of a human face with a ridiculous moustache. It has been said that Miro's vision at this painting is essentially childlike, but the skill with which he unifies the flow of movement and incident is that of a highly sophisticated artist.

The Great Artist Joan Miro Painting “Portrait of Mistress Mills in 1750” 1929 Oil on canvas, 46" X 351/4". Collection, The Museum of Modern Art, New York. James Thrall Soby Bequest





In 1929, Miro made a series of four 'Imaginary Portraits' based on paintings of the past; this one was inspired by an engraving of a portrait by the minor English painter George Engleheart (1752-1829). The head and neck of the sitter are reduced to little more than cipher underneath the dominating form other broad-brimmed hat.






The Great Artist Joan Miro Painting “Help Spain” 1937 from Cahier d'Art, Vol. 12 no. 4-5 Stencil, printed in colour, Composition 9 ¾ x 7 5/8. Collection, The Museum of Modern Art, New York. Gift of Pierre Matisse  





Miro felt despair at the Spanish Civil War and he produced this silk-screen print to be sold in aid of relief for his native country the price of one franc is a bold part of the design. The powerfully conceived figure is shown clenching a massive fist in the Loyalist salute and the inscription tells of the 'immense creative resources' of the people of Spain.

The Great Artist Joan Miro Painting “Inverted Personages” 1949 31 ¼ x 21 1/2 Kunstmuseum, Basle
 




On his return to Paris from America, Miro produced a great number of paintings in two complementary styles which have been described as 'slow paintings' and 'quick paintings'. This light-hearted work belongs to the former category, with its careful delineation of shapes and forms and its dense application of bright primary colour. 






The Great Artist Joan Miro Painting “Women and Birds” in the Moonlight 1949 32" x 26" Tate Gallery, London  




Miro was haunted by the theme of the night, the time for dreams, silence and solitude and for mystic communion with the stars. His nocturnal landscapes are often inhabited by women, who sway in the moonlight, and 'birds of the night' symbols of the flight of the spirit from the waking consciousness of day.





The Great Artist Joan Miro Painting “Mural Painting (1950-51)” Oil on canvas, 6'2 3/4 x 19'5 3/4. Collection, The Museum of Modern Art, New York. Mrs. Simon Guggenheim Fund
Miro's decorative style was well adapted to work on a large scale and he liked the challenge of painting for a specific public place. This mural almost 20 feet wide was painted for the dining room of the Harkness Commons building at Harvard University, at the suggestion of the great architect Walter Gropius. Miro executed the painting in Barcelona and it was installed in 1951, but in the next few years it was found that it was deteriorating and Miro proposed that a ceramic version should be substituted. Miro described the subject cryptically as 'of a moralistic and poetic significance', but some commentators have suggested that it shows a bullfight scene. In the centre of the composition is a bull, with two enormous black horns and the enlarged sexual organs so often seen in Miro`s work.                                     
The Great Artist Joan Miro Painting “Blue III” 1961 106 1/4 x 139 3/4" Mosee National d'Art Moderne, Paris
This is the last in a series of three similar paintings (Blue I, II and III) flint Mira executed in 1961. It illustrates the great range of Miro's imagination, for whereas many of his best-known works are comparatively small and crowded with restlessly moving incident and detail, this one is huge and serenely sparse. It has links with some of his more characteristic works, however, in the strange, amoeba-like form that trails across the blue void, suggesting the immensity and mysteries of the universe. The blue itself-one of Miro's favourite colours was described by his early champion, Rene Gaffe, as 'a savage blue, insolent, electric, which sufficed by itself to make the canvas vibrate'.

The Great Artist Joan Miro Painting “Lithograph from Art for Research” 1969 30"x 21 1/2" Private Collection






Miro was one of the greatest graphic artists the 20th century has seen, excelling particularly at lithography the making of prints from a specially prepared stone surface. This is one of a series of ten prints by Miro and nine other artists published as a portfolio to benefit the Swiss Centre for Clinical Research on Cancer.

The Great Artist Joan Miro Painting “Lithograph from 'Seers'” 1970 20" x 26" Private Collection



This is one of a series of six lithographs entitled 'Seers'. A seer is a prophet or someone who has the power to see into the future, and the handprints here allude to the idea of palm-reading. The bright colours, spattered background and whirling shapes suggest the state of ecstasy which the seer must enter in order to transcend earthly experience.









Writer – Marshall Cavendish
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