Joan MirÃÆ'³ i FerrÃÆ' ( Catalan: Ã, [? u'an mi '? oif?' ra ] ; April 20, 1893 - December 25, 1983) is a Spanish painter, sculptor, and ceramic who was born in Barcelona. A museum dedicated to his work, FundaciÃÆ'³ Joan MirÃÆ'³, was founded in his hometown of Barcelona in 1975, and the other, Fundación Pilar i Joan MirÃÆ'³, was founded in the foster city of Palma de Mallorca in 1981.
Gaining international recognition, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, the re-creation of children, and the manifestation of Catalan pride. In many interviews dating from the 1930s onwards, MirÃÆ'³ expressed disdain for conventional painting methods as a way of supporting bourgeois society, and famously declared a "murderous murder" that supported the disruption of the visual elements of an established painting.
Video Joan Miró
Biography
Born to the family of a goldsmith and watchmaker, MirÃÆ'³ grew up in the Barri GÃÆ'²tic neighborhood of Barcelona. The name MirÃÆ'³ shows Jewish roots (marrano or converso). His father is Miquel MirÃÆ'³ Adzerias and his mother is Dolors FerrÃÆ'. He began drawing classes at the age of seven at a private school in Carrer del Regomir 13, a medieval mansion. In 1907 he enrolled at the academy of fine arts at La Llotja, to his father's anxiety. He studied at Cercle Artic de Sant Lluc and he had his first solo performance in 1918 at the Galeries Dalmau, where his work was ridiculed and destroyed. Inspired by the Fauve and Cubist exhibitions in Barcelona and abroad, MirÃÆ'³ was interested in the art community that gathered at Montparnasse and in 1920 moved to Paris but continued to spend the summer in Catalonia.
Career
MirÃÆ'³ initially went to business school as well as art school. He started his career when he was a teenager as an employee, even though he left the business world entirely for art after a nervous breakdown. Early art, as influenced by the same Fauves and Cubism, was inspired by Vincent van Gogh and Paul CÃÆ' © zanne. MirÃÆ'Â Kem's similarity to the work of the avant-garde middle generation has led experts to dub this period of its Catalan Fauvist period.
Several years after the solo exhibition MirÃÆ'³ in 1918 Barcelona, ​​he settled in Paris where he completed a number of paintings that he started at home and his parents' summer farms in Mont-roig del Camp. One such painting, The Farm , shows the transition to a more individualized style of painting and a certain nationalistic quality. Ernest Hemingway, who later purchased the work, compared his artistic achievements with James Joyce's Ulysses and described them by saying, "There is everything you feel about Spain when you are there and all you feel when you go and can not go there.No one else is able to paint two very contradictory things. "MirÃÆ'³ each year returns to Mont-roig and develops the symbolism and nationalism that will remain with him throughout his career. The first two works of MirÃÆ' classified are classified as Surrealists, Catalan Landscape (The Hunter) and The Tilled Field, using the symbolic language that dominates the art of the next decade.
Josep Dalmau organized the first solo exhibition of Miró, at Galerie la Licorne in 1921.
In 1924, MirÃÆ'³ joined the Surrealist group. The symbolic and poetic nature of MirÃÆ'³, as well as the duality and contradictions attached to it, fit nicely in the context of automatism like a dream shared by the group. Much of MirÃÆ' lost works are missing from the lack of a chaotic focus that has defined his work so far, and he experimented with collage and painting processes in his work thus rejecting framing provided traditional paintings. This antagonistic attitude to the painting manifested itself when MirÃÆ'³ referred to his work in 1924 ambiguously as "x" in a letter to the friend poet Michel Leiris. The paintings that came out of this period were finally dubbed MirÃÆ'Â luk's dream painting.
MirÃÆ'³ does not completely leave the subject matter. Despite the Surreal automatic technique that he used extensively in 1920, the sketches show that his work is often the result of a methodical process. MirÃÆ' rarely works rarely dipped in non-objectivity, maintaining a schematic and symbolic language. This is perhaps the most prominent in the series "Head of the Catalan Farmers" repeated 1924-1925. In 1926, he teamed up with Max Ernst on a design for ballet impresario Sergei Diaghilev. With MirÃÆ''s help, Ernst pioneered the grattage technique, where he carved the pigment into his canvas.
MirÃÆ'³ returns to a more representative form of painting with The Dutch Interiors of 1928. Created after the works of Hendrik Martenszoon Sorgh and Jan Steen seen as postcard reproductions, the paintings reveal the effect of a trip to the Netherlands taken by the artist. These paintings share more in common with the Tilly Field or Harlequin Carnival than the minimalist dream paintings produced several years earlier.
MirÃÆ'³ married Pilar Juncosa in Palma (Majorca) on October 12, 1929. Their daughter, MarÃÆ'a Dolores MirÃÆ'³, was born on July 17, 1930. In 1931, Pierre Matisse opened an art gallery in New York City. The Gallery of Pierre Matisse (existing until Matisse died in 1989) became an influential part of the Modern art movement in America. From the beginning Matisse represents Joan MirÃÆ'³ and introduces his work to the United States market by frequently exhibiting MirÃÆ'³'s works in New York.
Until the outbreak of the Spanish Civil War, MirÃÆ'³ usually returned to Spain in the summer. Once the war starts, he can not return home. Unlike many of his surreal contemporaries, MirÃÆ'³ previously preferred to avoid explicit political commentary in his work. Although the sense of nationalism (Catalan) penetrated the early Surrealist landscape and the Head of the Catalan Farmers, it was not until the Spanish Republican government commissioned it to paint a mural, The Reaper, for the Pavilion of the Spanish Republic at the Paris Exhibition of 1937 , that the work of MirÃÆ' took a politically charged meaning.
In 1939, with the German invasion of France looming, MirÃÆ'³ moved to Varengeville in Normandy, and on 20 May the following year, when Germany invaded Paris, he fled to Spain (now controlled by Francisco Franco) during the reign of Vichy Regime rule. In Varengeville, Palma, and Mont-roig, between 1940 and 1941, MirÃÆ'³ created twenty-three gouache series Constellations . Rolling around heavenly symbolism, Constellation earned the artist's praise from AndrÃÆ'Â © Breton, who seventeen years later wrote a series of poems, named and inspired by the MirÃÆ'Â seri series. The features of this work reveal a shifting focus on the subject of women, birds and moon, which will dominate the iconography for much of the rest of his career.
Shuzo Takiguchi published the first monograph on MirÃÆ'³ in 1940. In 1948-49 MirÃÆ'³ lived in Barcelona and frequently traveled to Paris to work on printing techniques at Mourlot Studios and Atelier LacouriÃÆ'¨re. He developed a close relationship with Fernand Mourlot and who produced the production of over a thousand different lithographic editions.
In 1959, AndrÃÆ'Â © Breton asked MirÃÆ'³ to represent Spain in The Homage to Surrealism exhibition with Enrique TÃÆ'¡bara, Salvador DalÃÆ', and Eugenio Granell. MirÃÆ'³ created a series of sculptures and ceramics for the Maeght Foundation park in Saint-Paul-de-Vence, France, completed in 1964.
In 1974, MirÃÆ'³ created a tapestry for the World Trade Center in New York City along with Catalan artist Josep Royo. He initially refused to do the tapestry, then he learned the craft from Royo and the two artists produced some works together. The World Trade Center is displayed in the building and is one of the most expensive artworks lost during the 9/11 attacks.
In 1977, MirÃÆ'³ and Royo completed the tapestry to be showcased at the National Art Gallery in Washington, DC.
In 1981, MirÃÆ'³'s The Sun, the Moon and One Star - later renamed MirÃÆ'³'s Chicago - was inaugurated. This large mixed media statue is located outdoors in downtown Chicago's Loop area, across the street from another large public statue, Chicago Picasso. MirÃÆ'³ has created bronze models of the Sun, Moon and One Star in 1967. His maket is now in the Milwaukee Art Museum.
Late life and death
In 1979 MirÃÆ'³ received a doctoral degree honoris causa from the University of Barcelona. The artist, who suffered heart failure, died at his home in Palma (Majorca) on December 25, 1983. He was then buried at MontjuÃÆ'¯c Cemetery in Barcelona.
Maps Joan Miró
Work
Initial Fauvist
The early modernist works included the image of Vincent Nubiola (1917), Siurana (street), Nord-Sud (1917) and Portrait of Toledo . These works show the influence of CÃÆ'Â © zanne, and fill the canvas with a colorful surface and more painter treatment than the hard-edge style of most of his later works. In Nord-Sud , the literary newspaper of the name appears in a silent life, a device of composition common in cubic composition, but also a reference to the literary and avant-garde interests of the painter.
Magical realism
Beginning in 1920, MirÃÆ'³ developed a very precise style, selecting each element in isolation and detail and arranging it in a deliberate composition. These works, including Houses with Palm Trees (1918), Nude with a Mirror (1919), Horses, Pipes, and Red Flowers (1920), and The Table - Still Life with Rabbit (1920), shows the obvious influence of Cubism, albeit in a controlled manner, applied only to a portion of the subject. For example, The Farmer's Wife (1922-23), is realistic, but some parts of distillation or defects, such as foot care, are enlarged and flattened.
The highlight of this style is The Farm (1921-22). The illustrated rural Catalan scene coupled with an avant-garde French newspaper in the center, shows MirÃÆ'³ seeing this work altered by Modernist theories he witnessed in Paris. The concentration on each element is just as important as the key step toward generating the pictorial sign for each element. Backgrounds are flat or patterned in simple areas, highlighting the separation of shape and soil, which will be important in the adult style.
MirÃÆ'³ made many attempts to promote this work, but his surrealist colleagues considered him too realistic and seemingly conventional, and thus he quickly turned to a more explicit surrealist approach.
Initial Surrealism
In 1922, MirÃÆ'³ explored the abstract, highly colored surrealism in at least one painting. From the summer of 1923 in Mont-roig, MirÃÆ'³ started a set of key paintings in which abstract pictorial signs, rather than the realistic representations used in The Farm, were dominant. In the The Tilled Field , Catalan Landscape (The Hunter) and Pastoral (1923-24), these form and flat lines (mostly black or very colored) suggests a subject, sometimes quite faint. For Catalan Landscape (The Hunter) , MirÃÆ'³ represents a hunter with a combination of signs: a triangle for the head, a curved line for a mustache, an angular line for the body. So encoded is this work which at the later time MirÃÆ'³ gives a proper explanation of the signs used.
Surreal picture language
Through the mid 1920s MirÃÆ'³ developed a pictorial sign language that would become a center for the rest of his career. In Harlequin Carnival (1924-25), there is a clear continuation of the line beginning with The Tilled Field. But in subsequent works, such as The Happiness of Loving My Brunette (1925) and Painting (Fratellini) (1927), there are fewer foreground figures, remain simplified.
Soon after MirÃÆ'³ also started the series Spanish dancer it. This simple collage, like the conceptual counterpoint to his painting. In Spanish Dancer (1928) he combines corks, feathers and hats onto a blank sheet of paper.
Livres d'Artiste
MirÃÆ'³ creates more than 250 picture books. This is known as "Livres d 'Artiste." One such work was published in 1974, at the urging of the widow of French poet Robert Desnos, entitled Les pÃÆ'Â © nalitÃÆ'Â| s de l'enfer ou les nouvelles HÃÆ' Â © brides ("Punishment from Hell or The New Hebrides "). It's a set of 25 lithographs, five black, and the other in color.
In 2006 the book was featured in "Joan MirÃÆ'³, Illustrated Books" at the Vero Beach Museum of Art. One critic says it is "a very powerful set, not only for rich imagery but also for the story behind the making of books." The lithographs are long, narrow vertical, and while they display the familiar form of MirÃÆ'Â,, there is an unusual emphasis on texture. "The critic continued," I was immediately attracted to these four prints, being an emotional luxury, in contrast to the cold surface of MirÃÆ'Â karya's many works. "Their beauty is even greater, I think, when you read how they become Artists it meets and befriends with Desnos, perhaps the most beloved and influential surrealist writer, in 1925, and shortly thereafter, they made plans to collaborate on the livre d'artiste Defend because of the Spanish Civil War and World War II. The harsh criticism of Desnos led to his imprisonment at Auschwitz, and he died at the age of 45 shortly after his release in 1945. Nearly three decades later, on Desnos' widow's suggestion, MirÃÆ'³ set out to illustrate the poet's manuscript. This was his first work in prose, written in Morocco in 1922 but remained unpublished until this posthumous collaboration. "
Style and development
In Paris, under the influence of poets and writers, he developed his unique style: organic shapes and drawn areas drawn with sharp lines. Generally regarded as surrealist because of their interest in automatism and the use of sexual symbols (eg, ovoids with wavy lines derived from them), MirÃÆ' was influenced in varying degrees by Surrealism and Dada, but he rejected any artistic membership. movement in the inter-war European years. Andrà ©  © Breton described it as "the most surreal of us all." MirÃÆ'³ claimed to create one of his most famous works, Harlequin Carnival , in similar circumstances:
How do I think of my pictures and my ideas for painting? I'm going home to my Paris studio on Rue Blomet at night, I'm going to bed, and sometimes I do not eat dinner. I saw things, and I recorded them in my notebook. I see the shape on the ceiling...
The miraculous origins of Miras evolved from "oppression" like all surreal realism and Spanish magical realism, largely because of its Catalans, who were subjected to special persecution by the Franco regime. Also, Joan MirÃÆ'³ is well aware of Voodoo Haitian art and Cuba's religion of Santera through her journey before going into exile. This led to his artistic writing style.
Experimental style
Joan MirÃÆ'³ was one of the first artists to develop automated images as a way to overturn previous established techniques in painting, and thus, with AndrÃÆ'Â © Masson, representing the beginning of Surrealism as an art movement. However, MirÃÆ'³ chose not to become an official member of the Surealists to be free to experiment with other artistic styles without sacrificing their position within the group. He pursues his own interests in the art world, ranging from automatic drawing and surrealism, to expressionism, Lyrical Abstraction, and Color Field painting. The four-dimensional painting is a proposed theoretical type of MirÃÆ'Â luk painting in which the painting will transcend two dimensions and even three dimensional sculptures.
MirÃÆ'Â Min's often cited interest in painting murder comes from the displeasure of bourgeois art, which he believes is used as a way of promoting propaganda and cultural identity among the rich. In particular, MirÃÆ'³ responds to Cubism in this way, which at the time of its quote has become an established art form in France. He was quoted as saying "I will break their guitar," referring to Picasso's paintings, with a view to attacking the popularity and deprivation of Picasso's art by politics.
The view of the sky overwhelms me. I was overwhelmed when I saw, in the huge sky, the crescent moon, or the sun. There, in my photos, small shapes in a very large empty space. Empty space, empty horizon, empty plains - everything bare always impressed me deeply. --Joan MirÃÆ'³, 1958, quoted in Twentieth-Century Artists on Art
In an interview with biographer Walter Erben, MirÃÆ'³ expressed his displeasure with art critics, saying they were "more concerned with being philosophers than others." They formed a preformed opinion, then they saw works of art.Painting only serves as a cloak in which to wrapping their skinny philosophical system. "
In the last few decades of his life, MirÃÆ'³ accelerated his work in various media, producing hundreds of ceramics, including Wall of the Moon and Wall of the Sun at the UNESCO building in Paris. He also made temporary window paintings (on glass) for an exhibition. In the last years of his life, MirÃÆ'³ wrote the most radical and least known ideas, exploring the possibilities of making gas sculptures and four-dimensional paintings.
Exhibition
Throughout the 1960s, MirÃÆ'³ was a major artist in many salons assembled by the Maeght Foundation which also included works by Marc Chagall, Giacometti, Brach, Cesar, Ubac and Tal-Coat.
The large retrospective devoted to MirÃÆ'³ in his old age in cities such as New York (1972), London (1972), Saint-Paul-de-Vence (1973) and Paris (1974) is a good indication of the growing international recognition steadily for half a century before; Another major retrospective occurs posthumously. The political changes in his home country in 1978 became the first full-fledged exhibition of his paintings and graphics, at the Museo Nacional Centro de Arte Reina SofÃÆ'a in Madrid. In 1993, the year of the centenary of his birth, several exhibitions were held, among them the most prominent being held at FundaciÃÆ'³ Joan MirÃÆ'³, Barcelona, ​​Museum of Modern Art, New York, Museo Nacional Centro de Arte Reina SofÃÆ'a , Madrid, and Galerie Lelong, Paris. In 2011, another retrospective was installed by Tate Modern, London, and traveled to FundaciÃÆ'³ Joan MirÃÆ'³ and National Art Gallery, Washington, D.C.. Joan MirÃÆ'³, Printmaking , Fundación Joan MirÃÆ'³ (2013). And two exhibits in 2014, MirÃÆ'³: From Earth to Heaven at the Albertina Museum, and Masterpiece of Kunsthaus ZÃÆ'¼rich , National Art Center, Tokyo.
The exhibition entitled Joan MirÃÆ'³: Instinct & amp; Imagination and "MirÃÆ'³: The Experience of Seeing" was held at the Denver Art Museum from March 22 to June 28, 2015 and at the McNay Art Museum from September 30, 2015 - January 10, 2016 (respectively), showing the works created by MirÃÆ'³ between 1963 and 1981, on loan from the Museo Nacional Centro de Arte Reina SofÃÆ'a in Madrid.
Inheritance and influence
MirÃÆ'³ has become a significant influence on the art of the 20th century, especially American abstract expressionist artists such as Motherwell, Calder, Gorky, Pollock, Matta and Rothko, while its lyrical abstractions and color field paintings are precursors of a style that by artists such as Helen Frankenthaler, Olitski and Louis and others. His work also influenced modern designers, including Paul Rand and Lucienne Day, and influenced recent painters such as Julian Hatton.
One of Man Ray's 1930s photos, MirÃÆ'³ with Rope , depicts a painter with a rope pinned to a wall, and is published in a single edition of the surrealist work of Minotaure .
Recognition
In 1954 he was awarded the Venice Biennale print-making, in 1958 the Guggenheim International Award,
In 1981, the Palma City Council (Majorca) founded Fundación Pilar i Joan MirÃÆ'³ a Mallorca, housed in four studios that MirÃÆ' for donated for the purpose.
Art market
Today, MirÃÆ' luk painting sells for between US $ 250,000 and US $ 26 million; US $ 17 million at a US auction for La Caresse des ÃÆ'  © toiles (1938) on May 6, 2008, when the highest amount was paid for one of his works. In 2012, Paintings-Poems ("le corps de ma brune puisque je l'aime kome ma chatte habillà © à © e en vert salade comme de la grÃÆ'ªle pareil") (1925) are sold at Christie's London for $ 26.6 million. Later that year at Sotheby's in London, Peinture (Etoile Bleue) (1927) brought nearly 23.6 million pounds at a cost, more than double what it had sold at an auction in Paris in 2007 and record price for artist at auction.
Gallery
References
Further reading
- Jacques Dupin, Joan MirÃÆ'³ Living and Work , Harry N. Abrams, Inc., Publisher, New York City, 1962, Library Catalog Catalog Catalog Congress: 62-19132
- Margit Rowell, Joan MirÃÆ'³: Selected Posts & amp; Interview , Da Capo Press Inc.; New edition (August 1, 1992) ISBN 978-0-306-80485-4
- Joan MirÃÆ'³ and Robert Lubar (introduction), Joan MirÃÆ'³: I Work Like a Gardener , Princeton Architectural Press, Hudson, NY, 2017. Reprint limited edition 1964. ISBN 978-1-616- 89628-7
External links
- Joan MirÃÆ'³ works at the National Art Gallery
- Joan MirÃÆ'³ Art
- Joan MirÃÆ'³ in the Museum of Modern Art
- Olga Gallery: Joan MirÃÆ'³
- Artcyclopedia Directory of online works
- Art Signature Dictionary - See Joan Miro's signature, even if the police block the fraud
- Joan MirÃÆ'³ in the American public collection, on the website of the French Hero Statue
- Biography & amp; 120 pieces of art
Source of the article : Wikipedia
0 Comments