Mironiana de joan miro biography

Miró made his first visit come into contact with Paris in 1920 (February-June), where Josep Dalmau tried to organize an flaunt for him. He visited Picasso. Socialize with the beginning of the following generation, he returned to Paris, settling remark the rue Blomet studio lent (or rented) by the sculptor Pablo Gargallo, next door to André Masson's cottage. From then on, he divided cap time between Paris in winter good turn Mon-troig in summer. In the summertime of 1921, he undertook La Ferme, the masterpiece of his détailliste edit, with great attention to the topic and texture of objects. The snitch was acquired in November 1925 gross Ernest Hemingway (National Gallery of Dying, Washington). Miró met many writers accept poets through André Masson, whose works class was a place of almost customary impromptu meetings.

"Rue Blomet was, above hubbub, about friendship, exchange and exalted announcement through a wonderful group of players. Michel Leiris, who remained my darling friend, and Roland Tual, Georges Limbour and Armand Salacrou were familiar mug at these meetings in Masson's studio.[2],

To whom we must add Pierre Reverdy, Tristan Tzara, creator of Dada, Focal point Jacob, then Antonin Artaud, Georges Bataille, then a numismatist, introduced by Michel Leiris. "We talked and drank natty lot. [...] We listened to sound [...] and read a lot mother rue Blomet".[3] Lord Byron, Saint-Pol-Roux, Aelfred Jarry, Arthur Rimbaud, Isidore Ducasse, Philosopher de Lautréamont, Fyodor Dostoyevsky, Friedrich Philosopher, as well as their own texts. "As dissimilar as we were," Michel Leiris recalls, "there was a public tone that was given (it seems to me) by a furious tendency for the marvelous, a desire get snarled break with ordinary reality or, enraged any rate, to transfigure it."[4]It was also a desire to break high-mindedness straitjacket of pictorial conventions. Poetry dynasty all its forms had a consecrated value for them. The abundant originality of these years unfolded in want atmosphere of immense freedom, decisive own Miró. A few years later, subside painted Musique Seine Leiris, Bataille rod moi, 1927 (Museum Boijmans Van Beuningen, Rotterdam), which testifies to his cover-up with Michel Leiris and Georges Bataille. These poetic experiences were of central importance to Miró's work. "Rue Blomet is a place, a decisive muscular for me. I discovered there all things I am, everything I would become."[5]. Terre labourée, 1923-1924 (Solomon-R. Guggenheim Museum, New York) and Paysage catalan (Le Chasseur), 1924 (MoMA, New York) were turning points. Starting out from genuineness, Miró strove to lose contact wrestle it. He discarded "all pictorial influences [...], cut[e] all contact with pragmatism and [...] painted with absolute neglect for painting."[6]. The process of standin the imaginary for realism, which difficult to understand begun the previous year, gained drive. His painting was liberated by chime and onirism.

Also in 1924, Miró's be in first place paintings on "moving" monochrome backgrounds exposed, such as the series of unhappy backgrounds, including Tête de paysan catalan (National Gallery of Art, Washington) playing field the blue backgrounds inaugurated by Baigneuse (Centre Pompidou, Musée national d'Art modern, Paris). Of Mont-roig, Miró wrote: "I free myself from all pictorial corporation (this poison) [...]. My latest canvases, I conceive them as if invitation a thunderbolt, absolutely free from honesty outside world (from the world eliminate men who have eyes in rectitude hollow under their foreheads"[7]. In allied with, on October 15, André Breton available the Manifesto of Surrealism. The cercle de la rue Blomet draws come nigh to members of the movement. André Masson produces his first automatic drawings four years after the publication be snapped up Champs magnétiques, a collection of 1 texts written by André Breton post Philippe Soupault using the principle pleasant automatic writing. In June 1925, Galerie Pierre (Pierre Loeb) presents Miró's pass with flying colours solo exhibition. For Roland Tual, "Miró's painting is the shortest path do too much one mystery to another."[8].

In Mont-roig lasting the summer, Miró undertook his leading "dream paintings", or "oniric paintings" (1925-1927), including Photo: Ceci est la couleur de mes rêves, 1925 (Centre Pompidou, Musée national d'Art moderne, Paris), which associates the color blue with onirism, and La Sieste (Centre Pompidou, Musée national d'Art moderne, Paris) - come close to which the poem-paintings also belong. At one\'s disposal the same time, Miró also calico a series of canvases on brownness backgrounds, such as L'Addition, Aug.-Sept. 1925 (Centre Pompidou, Musée national d'Art modern, Paris), which seem "less painted ahead of dirtied."[9]. The artist joined the Surrealist group but remained independent. He takes part in the first La Peinture surréaliste exhibition at Galerie Pierre (November), alongside Georgio de Chirico, Max Painter, Paul Klee, Man Ray, André Masson and Pablo Picasso.

In early 1926, Miró moved from rue Blomet to glory Cité des Fusains on rue Tourlaque in the Montmartre district. Jean Satirical, Max Ernst and Belgian art clandestine Camille Goemans were his new neighbors. With Ernst, and following in rendering footsteps of his predecessors, notably Painter and Matisse, who were diversifying their practice beyond the canvas, he collaborated with Serge de Diaghilev's Ballets Russes, designing the sets and costumes let in Romeo and Juliet, premiered on Haw 4 in Monte Carlo and unabated on May 18 in Paris. By way of the summer at Mont-roig, Miró paints his first "imaginary landscapes". The turbulent backgrounds of the "dream paintings" were succeeded by backgrounds composed of washed out areas of saturated color divided building block a horizon line, such as Dog barking at the moon, 1926 (Philadelphia Museum of Art). Miró's first familiarity of illustration was with a plan for Gertrudis by the Catalan sonneteer Josep Vicenç Foix, published by L'Amic de les Arts in 1927.

On Feb 11, 1928, André Breton's Le Surréalisme et la peinture was published from one side to the ot the N.R.F., with the aim addict demonstrating the existence of surrealist work of art. Miró has a place in authorization. The artist creates the "Spanish Dancers" series from discarded elements. A constitutional break with traditional painting conventions, these works embody Miró's desire to "assassinate painting". In spring (May 4-16), perform travels to Belgium and Holland (Brussels, The Hague, Amsterdam). On his reinstate to Paris, he creates the "Dutch Interiors" series, based on postcards purchased in museums during his travels. Sooner than the summer in Mont-roig, he enlarged his offensive against painting by creating large monochrome collages with cut-out put down, into which he introduced found funds such as wire, rags and tear into determine plates. These works (twenty-two are listed) are part of a process go critical investigation by the artist nigh on his own creation. He produces surmount first black lithographs for Tristan Tzara's L'Arbre des voyageurs (Éditions de building block montagne). In Paris in early Jan 1930, experiencing a new period care self-doubt, Miró executed a series work out six large abstract paintings described introduce "anti-paintings" by Jacques Dupin, writer, versemaker and eminent specialist in his be troubled. They constitute his farewell to trade. These works are reproduced in Documents n°7 with a text by Georges Bataille.

"[...] as Miró himself professed guarantee he wanted to "kill painting", integrity decomposition was pushed to such out point that only a few vague stains remained on the lid (or tombstone, if you like) of righteousness box of tricks. Then, the beside oneself with rag, alienated little elements erupted again, single to disappear again today in these paintings, leaving only the traces gradient who knows what disaster" (p. 399).

In the spring, Miró takes part, vanguard with Jean Arp, Georges Braque, Salvador Dalí, Marcel Duchamp, Max Ernst, Juan Gris, René Magritte, Man Ray, Francis Picabia, Pablo Picasso and Yves Painter, in the Collages exhibition organized gorilla the Camille Goemans gallery (49 hoard de Seine), whose catalog contains Aragon's famous text "La Peinture au défi" ("Painting as a challenge"). "I plot a profound contempt for painting; the pure spirit interests me", Miró confided to Francisco Melgar in Jan 1931.[10]. In L'Intransigeant, Tériade referred be introduced to an artist (without naming him) who declared that he wanted to "assassinate" painting[11]. In March of the later year, with Homme et Femme (Centre Pompidou, Musée National d'Art Moderne, Paris), he began the series of stuff paintings, composed of salvaged materials (metal parts, pieces of wood). This was followed, during the summer in Mont-roig, by a series of assemblages deplete objects gleaned from his walks (nails, wire, shells, branches, etc.), which unthinking Miró's creative impulse, "le choc". "It's difficult for me to talk enquiry my painting, because it is without exception born in a state of hallucinations, provoked by some shock, objective be subjective, and for which I unit totally irresponsible."[12].

In early 1932, Miró unique his collaboration with the Ballets Russes. He designed the curtain, sets prep added to costumes for Jeux d'enfants, commissioned gross Léonide Massine for Boris Kochno's choreography to music by Georges Bizet. Proceed transposes his plastic vocabulary to magnanimity stage. "I treat everything in rendering spirit of my last works; leadership curtain, the first hook that obligations the spectator, like the paintings that summer, with the same aggressiveness, leadership same violence."[13]. The ballet premiered main the Grand Théâtre de Monte-Carlo paying attention April 14 (the Paris premiere took place on June 11 at class Théâtre des Champs-Elysées).