juan miro paintings

Chapel of Sant Joan d’Horta, 1917
Portrait of a young girl, 1919

The work illustrates important innovations signature to the artist as it includes various abstracted elements, like the black circle where the eucalyptus tree rises in the center, symbols like the two ladders, one with a goat standing on top, and the other with a rooster. Furthermore, as Cummings notes, in “his new way of painting. objects have a double life as letters – the E of a crate, the A of a ladder, the O of wheel, pail and sun – and everything is simultaneously inside the scene and written on its surface. The Farm is both picture and poem.”
This painting depicts a festive and crowded scene where quixotic biomorphs seem to be caught up in a lively celebration. Every form both evokes resemblances and refuses them, as at center left, the harlequin, identified by the black and white checks of the costume of the Italian commedia dell’arte‘s stock figure, has a body shaped like a distorted guitar. The cat, at lower right, stands up on its hind legs, as if dancing, its “arms” held out to the scene, while its red and yellow face turns to look at the viewer. A yellow and black fish lies on the table, an ear and an eye grow out of the ladder on the left, music notes appear on the wall, black and white snakelike tubes cross in the center, and many of the forms are connected by thin scrolling lines, as the black and yellow creature dancing in the lower center grasps a thread that extends to the cat’s whiskers. The viewer is caught up in this imagined world, intrigued by the dissonance between identification and meaning.

Miró initially went to business school as well as art school. He began his working career as a clerk when he was a teenager, although he abandoned the business world completely for art after suffering a nervous breakdown. [17] His early art, like that of the similarly influenced Fauves and Cubists, was inspired by Vincent van Gogh and Paul Cézanne. The resemblance of Miró’s work to that of the intermediate generation of the avant-garde has led scholars to dub this period his Catalan Fauvist period. [18]
Miró married Pilar Juncosa in Palma (Majorca) on 12 October 1929. Their daughter, María Dolores Miró, was born on 17 July 1930. In 1931, Pierre Matisse opened an art gallery in New York City. The Pierre Matisse Gallery (which existed until Matisse’s death in 1989) became an influential part of the Modern art movement in America. From the outset Matisse represented Joan Miró and introduced his work to the United States market by frequently exhibiting Miró’s work in New York. [27] [28]

Born into the family of a goldsmith and a watchmaker, Miró grew up in the Barri Gòtic neighborhood of Barcelona. The Miró name indicates Jewish (marrano or converso) roots. His father was Miquel Miró Adzerias and his mother was Dolors Ferrà. He began drawing classes at the age of seven at a private school at Carrer del Regomir 13, a medieval mansion. In 1907 he enrolled at the fine art academy at La Llotja, to the dismay of his father. He studied at the Cercle Artístic de Sant Lluc and he had his first solo show in 1918 at the Dalmau Gallery, where his work was ridiculed and defaced. Inspired by Cubist and surrealist exhibitions from abroad, Miró was drawn towards the arts community that was gathering in Montparnasse and in 1920 moved to Paris, but continued to spend his summers in Catalonia.
Miró initially went to business school as well as art school. He began his working career when he was a teenager as a clerk, although he abandoned the business world completely for art after suffering a nervous breakdown. His early art, like that of the similarly influenced Fauves and Cubists exhibited in Barcelona, was inspired by Vincent van Gogh and Paul Cézanne. The resemblance of Miró’s work to that of the intermediate generation of the avant-garde has led scholars to dub this period his Catalan Fauvist period.

Joan Miró rejected the constraints of traditional painting, creating works “conceived with fire in the soul but executed with clinical coolness,” as he once said. Widely considered one of the leading Surrealists, though never officially part of the group, Miró pioneered a wandering linear style of Automatism—a method of “random” drawing that attempted to express the inner workings of the human psyche. Miró used color and form in a symbolic rather than literal manner, his intricate compositions combining abstract elements with recurring motifs like birds, eyes, and the moon. “I try to apply colors like words that shape poems, like notes that shape music,” he said. While he prized artistic freedom, Miró revered art history, basing a series of works on the Dutch Baroque interiors of Hendrick Sorgh and Jan Steen. In turn, Miró has inspired many artists—significantly Arshile Gorky, whose bold linear abstractions proved a foundational influence on Abstract Expressionism.
Joan Miró rejected the constraints of traditional painting, creating works “conceived with fire in the soul but executed with clinical coolness,” as he once said. Widely considered one of the leading Surrealists, though never officially part of the group, Miró pioneered a wandering linear style of Automatism—a method of “random” drawing that attempted to express the inner workings of the human psyche. Miró used color and form in a symbolic rather than literal manner, his intricate compositions combining abstract elements with recurring motifs like birds, eyes, and the moon. “I try to apply colors like words that shape poems, like notes that shape music,” he said. While he prized artistic freedom, Miró revered art history, basing a series of works on the Dutch Baroque interiors of Hendrick Sorgh and Jan Steen. In turn, Miró has inspired many artists—significantly Arshile Gorky, whose bold linear abstractions proved a foundational influence on Abstract Expressionism.

References:

http://m.theartstory.org/artist/miro-joan/
http://en.m.wikipedia.org/wiki/Joan_Mir%C3%B3
http://www.wikiart.org/en/joan-miro
http://www.artsy.net/artist/joan-miro
http://www.artchive.com/glyphs/kandinsky/index.html