Spanish Surrealist Artist 4 Letters
Spanish Surrealist Artist 4 Letters – “The joy of achieving a perfect understanding of a blade of grass in a landscape.. as beautiful as a tree or a mountain. I am most interested in the calligraphy of roof tiles or the calligraphy of the scanned leaves of a tree. leaf by leaf, branch by branch.”
“Never, never do I work on a canvas as it comes from the shop. I provoke accidents – a form, a blob of paint. Any accident is good enough. I let the material decide. Then I prepare to sand, for example by wiping my brushes on the canvas. The same a few drops of turpentine would also work well. When I want to draw, I crease the paper or wet it; the flowing water traces a line, and that line can hint at what comes next.”
Spanish Surrealist Artist 4 Letters
“How can you say that, given the fact that all the marks I transcribe onto the canvas correspond to something specific – how can you say that they support a foundation in reality, are not part of the real world?”
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“For me, a picture should be like a spark. It should dazzle like a woman’s beauty or a poem. It should have a sparkle; it should be like the stones with which the shepherds of the Pyrenees light their pipes.”
“As for my means of expression, I try my best to achieve maximum clarity, power, and plastic aggressiveness; physical feeling at first, followed by an effect on the psyche.”
“You should be able to discover new things in a picture every time you see it. But you can look at a picture for a week together and never think about it again. You can also look at a picture for a while and think about it for a lifetime.”
“How did I come up with my drawings and ideas for painting? I came home in the evening to my Paris studio on the Rue Blomet, I went to bed and sometimes I didn’t eat dinner. I saw things and wrote them down in a notebook. I saw shapes on the ceiling..”
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“I live like an ordinary citizen. But there is a Catalan saying that the procession marches inside you. What happens is inside.”
Constant experimentation and a lifelong flirtation with non-objectivity made Joan Miró’s great mark on the art world. His canvas represented a sandbox for his subconscious, from which sprang a powerful desire for childishness and a manifestation of his Catalan pride. His signature pictorial marks, biomorphic forms, geometric shapes, and abstract and semi-abstract objects helped inform relentlessly original work in a variety of forms, from ceramics and engravings to large-scale bronze installations. His radically inventive style contributed to the early 20th century
The journey of the 20th century avant-garde towards increasing and then total abstraction. Although Miró has been associated with early Surrealism and influenced the Abstract Expressionists and Color Field painters, he remains one of the greatest figures in contemporary art, with a visual vocabulary unmistakably his own.
Although Miró lived a quiet life with roots in Spain, Miró was fiercely independent, saying at a 1978 exhibition: “I painted these paintings frantically, with real violence, so that people would know that I was alive and breathing. , that I still had a few date. I’m heading in new directions.” He was 85.
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The dramatically tilted picture plane represents a view of the artist’s masia, or “family farm,” with many animals, farm tools, plants, and evidence of human activity. Miró explained: “The farm was a summary of my whole life in the country. I wanted to put in this canvas everything I liked about the country – from a huge tree to a tiny snail.” The visual intensity and almost maniacal attention to detail give the work the quality of eidetic memory reconfigured in a dream and foreshadow his later surrealist work.
As art critic Laura Cummings wrote, “each essence is given its own autonomous space in the picture, praised individually but joined by rhyming figures” due to the “quasi-cubist, upright-tilted space; and presumably because Miró represents the upward flourishing”. home growth.”
The work illustrates important innovations for the artist, as it contains various abstract elements, such as a black circle with a eucalyptus tree rising in the middle, symbols such as two ladders, one of which stands a goat and the other a rooster. Moreover, as Cummings notes, “in his new way of painting, the objects have a double life as letters—the E of the box, the A of the ladder, the O of the wheel, the bucket, and the sun—and all are simultaneously a scene within and written on its surface. Farm is both a picture and a poem.”
The artist considered this work to be his most important, marking a turning point. Although the work reflected several influences, including Catalan folk art, the Romanesque sense of hierarchy where scale reflects importance, and Cubist vocabulary, the work resisted settling on a style, demonstrating the artist’s restless and iconoclastic approach.
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After completing the work, Miró struggled to find a buyer in the Paris modern art market, which favored Cubism. One dealer suggested that it be cut into several smaller paintings to facilitate sales. Fortunately, the artist had befriended writer Ernest Hemingway, then a struggling unknown, and after hours of work they would meet for boxing sessions to relax. Hemingway was determined to buy The Farm, and after borrowing money and working as a grocery clerk, he was able to buy it and keep it his whole life. As he wrote: “I wouldn’t trade it for any picture in the world. It has everything you feel about Spain when you’re there, and everything you feel when you’re away and can’t go there.”
This painting depicts a festive and crowded scene where the quixotic biomorphs seem to be engrossed in a lively celebration. Each form invites and refuses similitudes, as the harlequin at center left, identified by the black-and-white checks of an Italian commedia dell’arte stock figure costume, has a body shaped like a distorted guitar. The cat below right rears up on its hind legs as if to dance, its “hands” reaching towards the scene while its red and yellow face turns to the viewer. A yellow and black fish lies on the table, an ear and eye grow out of a ladder on the left, musical notes appear on the wall, black and white snake-like tubes cross in the center, and many forms are joined by thin scrolling lines as a dancing black and yellow creature in the lower center grabs a thread that reaches the cat’s whiskers . The viewer is drawn into this imaginary world, intrigued by the dissonance between identification and meaning.
An early example of the artist’s turn to Surrealism, this work also pioneered his use of biomorphic forms, as most objects evoke living organisms. He explained some of the symbolic meaning of the painting, saying that the black triangle symbolized the Eiffel Tower and the ladder represented both height and evasion. But the merging and melting forms subvert the certainties of the conscious world, including those of art, as the artist said: “I’m only interested in anonymous art, the kind that comes from the collective unconscious.” Miró never wanted to settle for a specific art style and tried to overturn aesthetic hierarchies. In this work, he created his pictorial idiom. As art critic Laura Cummings wrote: “When Miró died in 1983, aged 90, he was long regarded as the last modernist star. His pictorial language was unique, instantly recognizable and – quite rightly – no longer perceived as a dialect of Catalan Surrealism.”
A whimsically distorted dog barks at the moon above him in vivid colors in a surreal and humorously cartoonish landscape split between a rich chocolate land and a black night sky. On the left, a ladder with red sticks in white and yellow color reaches into the sky. The distortions of the moon and dog combined with the improbability of the ladder create a sense of play where everything is and is not what it seems, while the white, red and yellow used for the four forms create a certain mysterious connection between them.
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As art critic Laura Cummings wrote: “On the ground, a motley creature like paws and jaws barks at the moon with all the energy contained in its tightly arched form. The moon is not immune to this absurd display: it has a painted heart. But it also wears a satirical red nose.” But the vast space filled by the dark background also evokes a sense of deep loneliness and mystery, as art critic Judith Flanders wrote: “At its best, in works like ‘The Barking Dog’