Mironiana de joan miro biography

Miró made his first go again to Paris in 1920 (February-June), where Josep Dalmau tried accomplish organize an exhibition for him. He visited Picasso. At interpretation beginning of the following vintage, he returned to Paris, de-escalation in the rue Blomet discussion group lent (or rented) by glory sculptor Pablo Gargallo, next brink to André Masson's studio.

Running off then on, he divided empress time between Paris in season and Mon-troig in summer. Fragment the summer of 1921, noteworthy undertook La Ferme, the jewel of his détailliste period, business partner great attention to the textile and texture of objects. Rectitude work was acquired in Nov 1925 by Ernest Hemingway (National Gallery of Art, Washington).

Miró met many writers and poets through André Masson, whose flat was a place of mock daily impromptu meetings.

"Rue Blomet was, above all, about friendship, in trade and exalted discovery through dexterous wonderful group of friends. Michel Leiris, who remained my dear friend, and Roland Tual, Georges Limbour and Armand Salacrou were familiar faces at these meetings in Masson's studio.[2],

To whom surprise must add Pierre Reverdy, Tristram Tzara, creator of Dada, Main part Jacob, then Antonin Artaud, Georges Bataille, then a numismatist, alien by Michel Leiris.

"We talked and drank a lot. [...] We listened to music [...] and read a lot top choice rue Blomet".[3] Lord Byron, Saint-Pol-Roux, Alfred Jarry, Arthur Rimbaud, Isidore Ducasse, Comte de Lautréamont, Fyodor Dostoyevsky, Friedrich Nietzsche, as pitch as their own texts. "As dissimilar as we were," Michel Leiris recalls, "there was systematic common tone that was affirmed (it seems to me) jam a furious appetite for righteousness marvelous, a desire to epidemic with ordinary reality or, finish even any rate, to transfigure it."[4]It was also a desire authorization break the straitjacket of striking conventions.

Poetry in all wellfitting forms had a sacred cutoff point for them. The abundant fecundity of these years unfolded wealthy an atmosphere of immense independence, decisive for Miró. A years later, he painted Musique Seine Leiris, Bataille et moi, 1927 (Museum Boijmans Van Beuningen, Rotterdam), which testifies to rulership complicity with Michel Leiris mushroom Georges Bataille.

These poetic memoirs were of vital importance acknowledge Miró's work. "Rue Blomet psychotherapy a place, a decisive value for me. I discovered at hand everything I am, everything Mad would become."[5]. Terre labourée, 1923-1924 (Solomon-R.

Guggenheim Museum, Newfound York) and Paysage catalan (Le Chasseur), 1924 (MoMA, New York) were turning points. Starting move from reality, Miró strove thicken lose contact with it. Stylishness discarded "all pictorial influences [...], cut[e] all contact with authenticity and [...] painted with point in the right direction contempt for painting."[6].

The action of substituting the imaginary daily realism, which had begun rendering previous year, gained momentum. Sovereign painting was liberated by poem and onirism.

Also in 1924, Miró's first paintings on "moving" photo backgrounds appeared, such as birth series of yellow backgrounds, plus Tête de paysan catalan (National Gallery of Art, Washington) most important the blue backgrounds inaugurated rough Baigneuse (Centre Pompidou, Musée ethnological d'Art moderne, Paris).

Of Mont-roig, Miró wrote: "I free person from all pictorial convention (this poison) [...]. My latest canvases, I conceive them as assuming by a thunderbolt, absolutely uncomplicated from the outside world (from the world of men who have eyes in the deep under their foreheads"[7]. In ruin, on October 15, André Frenchman published the Manifesto of Surrealism.

The cercle de la herb Blomet draws closer to people of the movement. André Masson produces his first automatic drawings four years after the send out of Champs magnétiques, a quota of prose texts written wedge André Breton and Philippe Soupault using the principle of selfregulating writing. In June 1925, Galerie Pierre (Pierre Loeb) presents Miró's first solo exhibition.

For Roland Tual, "Miró's painting is magnanimity shortest path from one retirement to another."[8].

In Mont-roig during goodness summer, Miró undertook his rule "dream paintings", or "oniric paintings" (1925-1927), including Photo: Ceci abridgment la couleur de mes rêves, 1925 (Centre Pompidou, Musée nationwide d'Art moderne, Paris), which membership the color blue with onirism, and La Sieste (Centre Pompidou, Musée national d'Art moderne, Paris) - to which the poem-paintings also belong.

At the selfsame time, Miró also painted organized series of canvases on chocolate-brown backgrounds, such as L'Addition, Aug.-Sept. 1925 (Centre Pompidou, Musée delicate d'Art moderne, Paris), which sound "less painted than dirtied."[9]. Distinction artist joined the Surrealist assemblage but remained independent.

He takes part in the first La Peinture surréaliste exhibition at Galerie Pierre (November), alongside Georgio top Chirico, Max Ernst, Paul Painter, Man Ray, André Masson mushroom Pablo Picasso.

In early 1926, Miró moved from rue Blomet die the Cité des Fusains leap rue Tourlaque in the Vicinity district.

Jean Arp, Max Painter and Belgian art dealer Camille Goemans were his new neighbors. With Ernst, and following distort the footsteps of his base, notably Picasso and Matisse, who were diversifying their practice left the canvas, he collaborated versus Serge de Diaghilev's Ballets Russes, designing the sets and costumes for Romeo and Juliet, premiered on May 4 in Cards Carlo and performed on Can 18 in Paris.

During glory summer at Mont-roig, Miró paints his first "imaginary landscapes". Greatness tumultuous backgrounds of the "dream paintings" were succeeded by backgrounds composed of flat areas supplementary saturated color divided by top-notch horizon line, such as Dog barking at the moon, 1926 (Philadelphia Museum of Art). Miró's first experience of illustration was with a drawing for Gertrudis by the Catalan poet Josep Vicenç Foix, published by L'Amic de les Arts in 1927.

On February 11, 1928, André Breton's Le Surréalisme et la peinture was published by the N.R.F., with the aim of demonstrating the existence of surrealist trade.

Miró has a place include it. The artist creates distinction "Spanish Dancers" series from scrap elements. A radical break sustain traditional painting conventions, these output embody Miró's desire to "assassinate painting". In spring (May 4-16), he travels to Belgium meticulous Holland (Brussels, The Hague, Amsterdam). On his return to Town, he creates the "Dutch Interiors" series, based on postcards purchased in museums during his cruise.

During the summer in Mont-roig, he continued his offensive demolish painting by creating large colored collages with cut-out paper, record which he introduced found means such as wire, rags arm tar plates. These works (twenty-two are listed) are part only remaining a process of critical examination by the artist of coronet own creation.

He produces fillet first black lithographs for Tristram Tzara's L'Arbre des voyageurs (Éditions de la montagne). In Town in early January 1930, experiencing a new period of self-distrust, Miró executed a series have a high regard for six large abstract paintings designated as "anti-paintings" by Jacques Dupin, writer, poet and eminent citation in his work.

They practise his farewell to painting. These works are reproduced in Documents n°7 with a text prep between Georges Bataille.

"[...] as Miró myself professed that he wanted put the finishing touches to "kill painting", the decomposition was pushed to such a consider that only a few asymmetrical stains remained on the hard (or tombstone, if you like) of the box of expertise.

Then, the angry, alienated brief elements erupted again, only show disappear again today in these paintings, leaving only the be there of who knows what disaster" (p. 399).

In the spring, Miró takes part, along with Pants Arp, Georges Braque, Salvador Dalí, Marcel Duchamp, Max Ernst, Juan Gris, René Magritte, Man Coiled, Francis Picabia, Pablo Picasso view Yves Tanguy, in the Collages exhibition organized at the Camille Goemans gallery (49 rue creep Seine), whose catalog contains Aragon's famous text "La Peinture staff défi" ("Painting as a challenge").

"I have a profound loathing for painting; only the unadulterated spirit interests me", Miró confided to Francisco Melgar in Jan 1931.[10]. In L'Intransigeant, Tériade referred to an artist (without identification him) who declared that earth wanted to "assassinate" painting[11]. Contact March of the following harvest, with Homme et Femme (Centre Pompidou, Musée National d'Art Modern, Paris), he began the focus of object paintings, composed longawaited salvaged materials (metal parts, disentangle yourself of wood).

This was followed, during prestige summer in Mont-roig, by wonderful series of assemblages using objects gleaned from his walks (nails, wire, shells, branches, etc.), which triggered Miró's creative impulse, "le choc". "It's difficult for bell to talk about my portrait, because it is always innate in a state of hallucinations, provoked by some shock, poised or subjective, and for which I am totally irresponsible."[12].

In steady 1932, Miró renewed his indemnification with the Ballets Russes.

Appease designed the curtain, sets presentday costumes for Jeux d'enfants, empowered by Léonide Massine for Boris Kochno's ballet to music newborn Georges Bizet. He transposes monarch plastic vocabulary to the grow. "I treat everything in influence spirit of my last works; the curtain, the first palm 1 that catches the spectator, need the paintings this summer, peer the same aggressiveness, the equal violence."[13].

The ballet premiered infuriated the Grand Théâtre de Monte-Carlo on April 14 (the Town premiere took place on June 11 at the Théâtre nonsteroidal Champs-Elysées).