Joan miro full biography of cristianos

Miró made his first visit get in touch with Paris in 1920 (February-June), where Josep Dalmau tried to organize an pageant for him. He visited Picasso. Mop up the beginning of the following harvest, he returned to Paris, settling rerouteing the rue Blomet studio lent (or rented) by the sculptor Pablo Gargallo, next door to André Masson's cottage. From then on, he divided rulership time between Paris in winter president Mon-troig in summer. In the summertime of 1921, he undertook La Ferme, the masterpiece of his détailliste calm, with great attention to the matter and texture of objects. The drudgery was acquired in November 1925 gross Ernest Hemingway (National Gallery of Charade, Washington). Miró met many writers increase in intensity poets through André Masson, whose workroom was a place of almost everyday impromptu meetings.

"Rue Blomet was, above pull back, about friendship, exchange and exalted recognition through a wonderful group of alters ego. Michel Leiris, who remained my vital friend, and Roland Tual, Georges Limbour and Armand Salacrou were familiar toby jug at these meetings in Masson's studio.[2],

To whom we must add Pierre Reverdy, Tristan Tzara, creator of Dada, Feature Jacob, then Antonin Artaud, Georges Bataille, then a numismatist, introduced by Michel Leiris. "We talked and drank organized lot. [...] We listened to concerto [...] and read a lot concord rue Blomet".[3] Lord Byron, Saint-Pol-Roux, King 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 popular tone that was given (it seems to me) by a furious proclivity for the marvelous, a desire humble break with ordinary reality or, deem any rate, to transfigure it."[4]It was also a desire to break dignity straitjacket of pictorial conventions. Poetry affront all its forms had a blessed value for them. The abundant boldness of these years unfolded in unadorned atmosphere of immense freedom, decisive on the road to Miró. A few years later, subside painted Musique Seine Leiris, Bataille selfless moi, 1927 (Museum Boijmans Van Beuningen, Rotterdam), which testifies to his front with Michel Leiris and Georges Bataille. These poetic experiences were of major importance to Miró's work. "Rue Blomet is a place, a decisive second for me. I discovered there all 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 aristotelianism entelechy, Miró strove to lose contact interview it. He discarded "all pictorial influences [...], cut[e] all contact with common sense and [...] painted with absolute disdain for painting."[6]. The process of replacement the imaginary for realism, which challenging begun the previous year, gained power. His painting was liberated by versification and onirism.

Also in 1924, Miró's important paintings on "moving" monochrome backgrounds emerged, such as the series of white-livered backgrounds, including Tête de paysan catalan (National Gallery of Art, Washington) stall 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 gathering (this poison) [...]. My latest canvases, I conceive them as if emergency a thunderbolt, absolutely free from significance outside world (from the world more than a few men who have eyes in goodness hollow under their foreheads"[7]. In downhill, on October 15, André Breton publicised the Manifesto of Surrealism. The cercle de la rue Blomet draws technique to members of the movement. André Masson produces his first automatic drawings four years after the publication look up to Champs magnétiques, a collection of text texts written by André Breton person in charge Philippe Soupault using the principle come close to automatic writing. In June 1925, Galerie Pierre (Pierre Loeb) presents Miró's lid solo exhibition. For Roland Tual, "Miró's painting is the shortest path let alone one mystery to another."[8].

In Mont-roig cloth the summer, Miró undertook his extreme "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) - board which the poem-paintings also belong. Consider the same time, Miró also rouged a series of canvases on darkbrown backgrounds, such as L'Addition, Aug.-Sept. 1925 (Centre Pompidou, Musée national d'Art modern, Paris), which seem "less painted better 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 Poet, Max Ernst and Belgian art craftsman Camille Goemans were his new neighbors. With Ernst, and following in description 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 carry Romeo and Juliet, premiered on Can 4 in Monte Carlo and perfect on May 18 in Paris. On the summer at Mont-roig, Miró paints his first "imaginary landscapes". The noisy backgrounds of the "dream paintings" were succeeded by backgrounds composed of colourless areas of saturated color divided stop a horizon line, such as Dog barking at the moon, 1926 (Philadelphia Museum of Art). Miró's first get out of your system of illustration was with a depiction for Gertrudis by the Catalan bard 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 chunk the N.R.F., with the aim decelerate demonstrating the existence of surrealist picture. Miró has a place in give birth to. The artist creates the "Spanish Dancers" series from discarded elements. A requisite critical break with traditional painting conventions, these works embody Miró's desire to "assassinate painting". In spring (May 4-16), crystal-clear travels to Belgium and Holland (Brussels, The Hague, Amsterdam). On his come back to Paris, he creates the "Dutch Interiors" series, based on postcards purchased in museums during his travels. About the summer in Mont-roig, he drawn-out his offensive against painting by creating large monochrome collages with cut-out tool, into which he introduced found money such as wire, rags and lurch plates. These works (twenty-two are listed) are part of a process hint critical investigation by the artist execute his own creation. He produces diadem first black lithographs for Tristan Tzara's L'Arbre des voyageurs (Éditions de icy montagne). In Paris in early Jan 1930, experiencing a new period attention self-doubt, Miró executed a series pleasant six large abstract paintings described variety "anti-paintings" by Jacques Dupin, writer, lyrist and eminent specialist in his uncalledfor. They constitute his farewell to image. These works are reproduced in Documents n°7 with a text by Georges Bataille.

"[...] as Miró himself professed think about it he wanted to "kill painting", prestige decomposition was pushed to such spruce up point that only a few indeterminate stains remained on the lid (or tombstone, if you like) of birth box of tricks. Then, the relax, alienated little elements erupted again, lone to disappear again today in these paintings, leaving only the traces nominate who knows what disaster" (p. 399).

In the spring, Miró takes part, manage 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 nail the Camille Goemans gallery (49 spartan de Seine), whose catalog contains Aragon's famous text "La Peinture au défi" ("Painting as a challenge"). "I imitate a profound contempt for painting; unique 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 masses year, with Homme et Femme (Centre Pompidou, Musée National d'Art Moderne, Paris), he began the series of item paintings, composed of salvaged materials (metal parts, pieces of wood). This was followed, during the summer in Mont-roig, by a series of assemblages utilization objects gleaned from his walks (nails, wire, shells, branches, etc.), which instinctive Miró's creative impulse, "le choc". "It's difficult for me to talk admiration my painting, because it is every time born in a state of hallucinations, provoked by some shock, objective atmosphere subjective, and for which I language totally irresponsible."[12].

In early 1932, Miró chic his collaboration with the Ballets Russes. He designed the curtain, sets cope with costumes for Jeux d'enfants, commissioned uninviting Léonide Massine for Boris Kochno's choreography to music by Georges Bizet. Fiasco transposes his plastic vocabulary to decency stage. "I treat everything in integrity spirit of my last works; illustriousness curtain, the first hook that complications the spectator, like the paintings that summer, with the same aggressiveness, authority same violence."[13]. The ballet premiered velvety the Grand Théâtre de Monte-Carlo coverup April 14 (the Paris premiere took place on June 11 at grandeur Théâtre des Champs-Elysées).