how do you pronounce joan miro
Has the above debate ever been officialy settled? Lampros 05:01, 10 September 2005 (UTC)
Anonymous Coward writes “In a homage to Joan Miro on his birthday, Google changed its logo as to spell out the word “Google” in Miro’s style. Google has a history of changing its logo in order to commemorate events and holidays of particular significance. In this case, the homage was not well received by the Miro family or the Artists Rights Society which represents them, as reported by the Mercury News. According to Theodore Feder, president of the ARS, “There are underlying copyrights to the works of Miro, and they are putting it up without having the rights”. The ARS demanded that Google removed the logo, and Google complied, though not without adding that it did not believe it was in violation of copyright. The ARS has raised similar complaints regarding Google’s tribute to Salvador Dali in 2002. “It’s a distortion of the original works and in that respect it violates the moral rights of the artist,” Feder said.” It seems to me that the art world has a glorious history of incorporating prior art into modern creations. It’s amusing to me that ARS doesn’t understand that.
Boy! (or girl!), you Americans are always so concerned about ‘safety’, LOL! Don’t worry at all, the city is safe, you can walk any time day or night and it’s (mostly) all right. Fyi, there is no gangs’ problem nor guns in Barcelona. Having said that, it’s a city nonetheless with 2 million inhabitants, so no heavenly haven either, therefore exercise common sense: ie. don’t go jogging into the park behind the apartment at 2am!, watch your surroundings if you happen to be at the train station late at night, avoid dark alleys, best to skip La Rambla past midnight during weekdays not because it’s unsafe but just because there are all sorts of seedy characters and you probably can do without unwanted attention. but again, this is advice I’d be given you for any city in Europe you visit! If anything -and this is not a violent sort of crime but a pain in the neck type!- watch your belongings when in crowded areas (ie. metro, streets in the central district, etc) because there are pickpockets operating.
Any thoughts on the area —safety at night etc. This seems to be bear Sants but not sure if it is a safe walk/area. For context, we are a family of 4 with 2 kids and were planning to go in December.
Barcelona, 23 October 2017.- As a result of the indefinite strike called by the workers of Serveis Educatius Ciut’art, the external company responsible for providing visitors information and support services, the Fundació Joan Miró will be unable to open its exhibition rooms and is compelled to postpone the activities open to the public due to take place from 24 October 2017, including the presentation and opening of the exhibition Sumer and the Modern Paradigm. The library, restaurant, bookshop and gift shop will be open at usual times, which are published on the Fundació’s website.
While respecting the right to strike of all workers, and without wishing to pronounce any judgement on a labour dispute at an external company, the management and team at the Fundació deeply regret this situation wich affects the rights of visitors to enter the museum.
The first of the show’s 13 rooms has the earliest works. The most famous of them is “The Farm”, painted in 1921-22 (pictured right). (Ernest Hemingway, who boxed with the painter, bought it as a present for his first wife Hadley. After his death, his fourth and last wife Mary gave it to the National Gallery in Washington.) Wherever the viewer’s eye falls in this exceptionally, even obsessively, detailed painting, there is something gripping, fanciful or curious. The large central tree looks barren from a distance. Up close its branches end with curls of green like feathery bouquets of flowers. In the garden outside the chicken coop, a goat stands on a wooden box as if he were a statue on a pedestal.
Soon after comes the shock of Miró’s vision in which he unites and distils his waking world, his dreams and the fables on which he was raised. “The Tilled Field”, for example, features a large ear sticking out of a tree trunk, a dog that appears to be part cactus, a jack-in-the box with pencils for fingers, a fish surrounded by rabbits, a big pink rooster and a lilac snail. (Walt Disney’s animators may well have been inspired by such paintings.) Only once in the first rooms of this show is there any sign of another artist’s influence; one landscape has more than a whiff of Van Gogh. Yet there are many works in which Miró’s influence on such artists as Alexander Calder and Arshile Gorky is evident (the series called “Head of a Catalan Peasant”, for example). Only later in his career, after he achieved international success and made his first visit to New York in 1947, does Miró’s magical sparkle fizzle. Now it is painters like Rothko and Pollock who are influencing him. His very late burnt paintings, which are exactly that, are lauded by some. To this viewer they look like the desperate efforts of an old man trying to keep up with the young.
In 1919, he traveled to Paris, France, which was then the center of the art world. He was friends with many surrealist and abstract painters, including Pablo Picasso, Andre Masson and Max Ernst. In France, Miro developed his individualistic and recognizable style and eventually became famous.
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