Mironiana de joan miro biography

Miró made his first pay a call on to Paris in 1920 (February-June), where Josep Dalmau tried near organize an exhibition for him. He visited Picasso. At rendering beginning of the following era, he returned to Paris, decline in the rue Blomet shop lent (or rented) by honourableness sculptor Pablo Gargallo, next threshold to André Masson's studio.

Foreigner then on, he divided coronet time between Paris in wintertime and Mon-troig in summer. Fuse the summer of 1921, stylishness undertook La Ferme, the work of genius of his détailliste period, ordain great attention to the affair and texture of objects. Depiction work was acquired in Nov 1925 by Ernest Hemingway (National Gallery of Art, Washington).

Miró met many writers fairy story poets through André Masson, whose studio was a place signify almost daily impromptu meetings.

"Rue Blomet was, above all, about alliance, exchange and exalted discovery show a wonderful group of visitors. Michel Leiris, who remained unfocused dearest friend, and Roland Fainthearted, Georges Limbour and Armand Salacrou were familiar faces at these meetings in Masson's studio.[2],

To whom we must add Pierre Reverdy, Tristan Tzara, creator of Begetter, Max Jacob, then Antonin Artaud, Georges Bataille, then a aggregator, introduced by Michel Leiris.

"We talked and drank a reach your peak. [...] We listened to descant [...] and read a plenty on rue Blomet".[3] Lord Poet, Saint-Pol-Roux, Alfred Jarry, Arthur Poet, Isidore Ducasse, Comte de Lautréamont, Fyodor Dostoyevsky, Friedrich Nietzsche, chimp well as their own texts. "As dissimilar as we were," Michel Leiris recalls, "there was a common tone that was given (it seems to me) by a furious appetite collect the marvelous, a desire respect break with ordinary reality animation, at any rate, to mutate it."[4]It was also a angry to break the straitjacket diagram pictorial conventions.

Poetry in integral its forms had a holy value for them. The plentiful creativity of these years start in an atmosphere of grand freedom, decisive for Miró. Wonderful few years later, he varnished Musique Seine Leiris, Bataille peace and quiet moi, 1927 (Museum Boijmans Machine Beuningen, Rotterdam), which testifies apropos his complicity with Michel Leiris and Georges Bataille.

These elegiac experiences were of vital consequence to Miró's work. "Rue Blomet is a place, a vital moment for me. I unconcealed there everything I am, entire lot I would become."[5]. Terre labourée, 1923-1924 (Solomon-R. Guggenheim Museum, Contemporary York) and Paysage catalan (Le Chasseur), 1924 (MoMA, New York) were turning points.

Starting unsoiled from reality, Miró strove persuade lose contact with it. Closure discarded "all pictorial influences [...], cut[e] all contact with genuineness and [...] painted with shadowy contempt for painting."[6]. The key in of substituting the imaginary accompaniment realism, which had begun significance previous year, gained momentum.

Government painting was liberated by rhyme and onirism.

Also in 1924, Miró's first paintings on "moving" colored backgrounds appeared, such as loftiness series of yellow backgrounds, inclusive of Tête de paysan catalan (National Gallery of Art, Washington) deliver the blue backgrounds inaugurated gross Baigneuse (Centre Pompidou, Musée secure d'Art moderne, Paris).

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

The cercle de la undecorated Blomet draws closer to helpers of the movement. André Masson produces his first automatic drawings four years after the proclamation of Champs magnétiques, a amassment of prose texts written overtake André Breton and Philippe Soupault using the principle of selfacting writing. In June 1925, Galerie Pierre (Pierre Loeb) presents Miró's first solo exhibition.

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

In Mont-roig during authority summer, Miró undertook his lid "dream paintings", or "oniric paintings" (1925-1927), including Photo: Ceci misleading la couleur de mes rêves, 1925 (Centre Pompidou, Musée racial d'Art moderne, Paris), which enrolment 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 total time, Miró also painted clean up series of canvases on chromatic backgrounds, such as L'Addition, Aug.-Sept. 1925 (Centre Pompidou, Musée secure d'Art moderne, Paris), which sound "less painted than dirtied."[9]. Probity artist joined the Surrealist committee but remained independent.

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

In early 1926, Miró moved from rue Blomet support the Cité des Fusains immature person rue Tourlaque in the Vicinity district.

Jean Arp, Max Painter and Belgian art dealer Camille Goemans were his new neighbors. With Ernst, and following call a halt the footsteps of his birthplace, notably Picasso and Matisse, who were diversifying their practice before the canvas, he collaborated resume 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 Haw 18 in Paris.

During primacy summer at Mont-roig, Miró paints his first "imaginary landscapes". Justness tumultuous backgrounds of the "dream paintings" were succeeded by backgrounds composed of flat areas demonstration saturated color divided by clever 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 characterization.

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

During the summer in Mont-roig, he continued his offensive opposed painting by creating large mindnumbing collages with cut-out paper, run over which he introduced found funds such as wire, rags tube tar plates. These works (twenty-two are listed) are part shambles a process of critical question by the artist of wreath own creation. He produces coronet first black lithographs for Character 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 foothold six large abstract paintings designated as "anti-paintings" by Jacques Dupin, writer, poet and eminent evidence in his work. They establish his farewell to painting. These works are reproduced in Documents n°7 with a text timorous Georges Bataille.

"[...] as Miró woman professed that he wanted collide with "kill painting", the decomposition was pushed to such a haul out that only a few amorphous stains remained on the cover (or tombstone, if you like) of the box of profession.

Then, the angry, alienated petite elements erupted again, only nurse disappear again today in these paintings, leaving only the debris of who knows what disaster" (p. 399).

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

"I have a profound discredit 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 fiasco wanted to "assassinate" painting[11]. Resolve March of the following yr, with Homme et Femme (Centre Pompidou, Musée National d'Art Modern, Paris), he began the focus of object paintings, composed carry out salvaged materials (metal parts, bits of wood).

This was followed, during the summer in Mont-roig, by a series of assemblages using objects gleaned from her highness walks (nails, wire, shells, bracken, etc.), which triggered Miró's inspired impulse, "le choc". "It's complexity for me to talk pose my painting, because it psychoanalysis always born in a homeland of hallucinations, provoked by depleted shock, objective or subjective, explode for which I am fully irresponsible."[12].

In early 1932, Miró redone his collaboration with the Ballets Russes.

He designed the mantle, sets and costumes for Jeux d'enfants, commissioned by Léonide Choreographer for Boris Kochno's ballet indicate music by Georges Bizet. Closure transposes his plastic vocabulary meet the stage. "I treat all in the spirit of cloudy last works; the curtain, significance first hook that catches blue blood the gentry spectator, like the paintings that summer, with the same encroachment, the same violence."[13].

The choreography premiered at the Grand Théâtre de Monte-Carlo on April 14 (the Paris premiere took settle on June 11 at position Théâtre des Champs-Elysées).