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Miró, JoanCatalonian painter joan Miró, one of the great pioneers of modern art, came to painting by a circuitous route. His ancestors were peasants and artisans, and his father was a goldsmith. Miró began drawing at a young age, as a way to escape the strictures of family life. His choice of motifs - tufts of grass, insects, tiny birds - revealed an early affinity for the organic, a love, as one commentator says, of "the little things" of this world. After finishing his military service Miró worked in an office, and attended crafts courses in his spare time. "I was a paragon of awkwardness," he confessed. In painting, too, judged by academic standards, Miró was entirely unsuccessful. "I was very unhappy," he wrote, "and in my feeling of rebellion; I became an ever greater dreamer." It was as such that he was to go down in the history of art, as a teller of lyrical and fabulous tales whose pictorial idiom was shaped out of allusive signs and symbols derived from subconscious depths.
born: 1893 Barcelona, Spain
died: 1983 Palma de Mallorca
In 1919 Miró travelled to Paris, where he met Pablo Picasso and made friends with him. From
192o onwards he participated in Dadaist manifestations and became a close friend of Andre Masson, who lived in the next studio. This period saw Miró consciously attempting to forget the principles of art he had been taught, or, as he himself put it, "to kill painting." He became involved in Surrealism, adding to it his own, inimitable touch of playful humor. One aesthetic source of Miró's new approach, as Bönnefoy notes, lay in "the paintings and sculptures of archaic cultures, which do not seek similarities, but rather in which symbol and metaphor form the essence of the work." Love belongs to a group of works of
1925-1927, collectively referred to as "dream paintings," which were done in Paris after Miró's stylistic breakthrough in
1923-1924. The artist himself described the picture as follows: "It is a work that I love very much, and which caused me a great deal of worry, because I thought it had been lost. .. The idea for the painting came during my Christmas holidays in Barcelona, as I was watching a dancer - the vertical, upward line and the circles describe her movements. In a notebook I had in my pocket I drew a few rapid sketches, which I developed after my return to Paris in the Rue Blomet" (the address of Miró's studio at the time).
- JOAN MIRÓ PART 1 klick
- JOAN MIRÓ PART 2 klick