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Books : Arts & Photography : Artists, A-Z : ( M-O ) : Miro, Joan
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Fellow painter Erban spent countless hours conversing with his colleague, Joan Mir (1893-1983), at his house in Mallorca for this book--a retrospective which explores through texts and images the work of one of the 20th century's most influential painters.
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Taking Joan Miro's notorious declaration of 1927--"I want to assassinate painting"--as its point of departure, this richly illustrated volume is the first to focus on Miro the "anti-painter," identifying the core practices and strategies the artist used to challenge painting between 1927 and 1937. Joan Miro: Painting and Anti-Painting 1927-1937 surveys the various material, iconographical and rhetorical forms of Miro's attacks on painting by presenting, in chronological sequence, 12 distinct series of works, beginning with a remarkable group of paintings on unprimed canvas and concluding with Miro's return to Realism in "Still Life with Old Shoe" (1937). Acidic color, grotesque disfigurement, stylistic heterogeneity and the use of resistant, ready-made materials are among the key tactics of aggression that are explored in this extraordinary presentation of the interrelated and oppositional series of paintings, collages, objects and drawings Miro produced during this crucial decade of his long career. This volume integrates close scrutiny of Miro's materials and processes with historical and iconographic analysis, leading to an expanded understanding of the underappreciated aggressiveness of an artist long regarded as Surrealism's most lyrical painter-poet.
Joan Miro was born in 1893 in Barcelona. After his first trip to Paris in 1920, and through 1931, Miro generally spent half of each year in the French capitol and half in his native Catalonia, returning to live in France after the outbreak of the Spanish Civil War in 1936. One of the twentieth century's greatest Modern artists, Miro created a pictorial world of intense imaginative power, in which visionary and cosmic elements are inextricably intertwined with the earthly and mundane. He died in 1983 in Palma de Mallorca, Spain.
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One of the most significant Spanish painters of the twentieth century, Joan Miró (1893-1983) was also an imaginative creator of ceramics, sculpture, costumes, tapestries. Miró was also a poet, and his art always expressed a highly personal mix of humor, reverie, and intense emotion. In this rich examination of the man and his art - from his early interpretations of Fauvism and cubism to his later "enchanted realism" and grotesque "savage paintings " French art critic and historian Jacques Dupin, a friend of Miró, gives us a unique look at the artist's sketchbooks, poems, and correspondence to which the Miró family gave him privileged access.
This classic monograph-featuring 450 color images-spans the entire career of this highly prolific artist, and gives detailed descriptions of the various phases of evolution in his style. First published in 1962 and expanded in 1994, Dupin's informed text is complemented by detailed notes, an extensive bibliography and chronology, and an exhibition history, all of which have been updated for this new edition.
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This book showcases the talent and work of one of the great artists of the twentieth century. Born in Spain, Joan Miró was a leading figure in the Surrealist movement. This monograph includes a concise overview of the artist's life and career. This book not only details his pictorial output but also looks at the artist's incursions into areas as diverse as graphic work, ceramics, sculpture, tapestry, and theatre.
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During the years after the September Revolution of 1868, Barcelona experienced tremendous industrial growth and emerged as the most politically and culturally progressive city in Spain. Barcelona and Modernity examines this remarkable seventy-one-year period, when Barcelona also reigned as one of the most dynamic centers of modernist art and architecture in Europe. Focusing on the Catalan Renaixença, Modernisme, Noucentisme, avant-garde movements of the early 20th century, and artistic reactions to the Spanish Civil War, essays by an extraordinary international team of scholars offer new insights into the work of such Catalan artists as Antoni Gaudí, Pablo Picasso, Joan Miró, and Salvador Dalí, among others, by setting them in context with the art of their teachers, colleagues, and rivals.
With approximately 350 works in a variety of media—painting, sculpture, photography, furniture, decorative arts, and architectural design—this intriguing book also explores how Catalan artists derived inspiration from local traditions while contributing their own innovations to international modernism. Broader in scope than any previous treatment of the subject, this book is sure to alter popular perceptions of Catalonia and become a fundamental text for years to come.
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This title in the Modern Masters series focuses on the work of Joan Miro, one of the painters most often associated with surrealism. Miro studied art in his native Barcelona before joining the Paris art scene in the 1920s. Fantasy, dreams, and myths played an important role in Miro's early works, many of which are included in the more than 70 full-color reproductions of paintings, sculptures, and tapestries in this collection. This is a fine introduction to the monumental works of one of the foremost artists of the 20th century.
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Miro's art has been seen as innocent and child-like, but one should dubt the innocence, or see the child in quite brutal Freudian terms. This study of the crucial formative period of Miro's art—from 1917 to 1934, from his first emergence in the avantgarde of Barcelona and Paris to his acclaim by the Surrealists and the generality of critics as a modern master—concentrates on the sometimes painful, sometimes ecstatic processes of his early development, working either in Paris or in seclusion at his farm in Montroig in Catalonia. Almost as ascetic as Mondrian, Miro drew deep on his own inner life in perfecting his imagery, which was both controlled and spontaneous, both calculated and free, both painting and "anti-painting.' this book charts to a greater degree than any others earlier the aggressiona dn determination that Miro brought to his search for genuine expression, avoiding the "poison," as he put it, of "art," which would have turned his works into "rotting corpses."Arriving in Paris in 1920, some years the junior of the likes of Picasso and Matisse, Miro had a great deal to catch up on, and his zigzagcourses between the poles of abstraction and surrealism, his handling of cubism (from which he learned a great deal, though he set out "to smash [the Cubists'] guitar"), his response to dadism and the fermenting movements of the time, required a pugilistic determination as well as skill and artistic integrity. Indeed, his aggression was turned more frequently on his own production than on others', and it is his continuing refusal to be satisfied that marks him out as a true innovator. He was well versed in critical theory, and his correspondence with intellectuals such as Andre Breton, Georges Bataille, and Michel Leiris throws fascinating light both on his work and on the pulse of the period.
This book is the English-language edition of an exhibition only at the Centre Pompidou in Paris, March–June 2004. Memorable exhibitions at the Grand Palais in 1974 and in Barcelona and New York in 1993 sought to embrace the entirety of an oeuvre that developed across more than sixty ears, but the intention here is to scrutinize and document the most important years of Miro's art, his self-questioning formation and his first and finest masterpieces. Essays on Miro and the period by William Jeffett, Rosalind E. Krauss, Remi Labrusse, Robert Lubar, and Isabelle Monod-Fontaine are accompanied by a richly documented and illustrated Chronology and more than 200 color plates.
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Fixed Ecstasy advances a fundamentally new understanding of Mirò's enterprise in the 1920s and of the most important works of his career. Without a doubt, Joan Mirò (1893-1983) is one of the leading artists of the early twentieth century, to be ranked alongside such artists as Picasso, Matisse, Mondrian, and Pollock in his contributions to Modernist painting. Still, Mirò's work has eluded easy classification. He is best known as a Surrealist, but, as Charles Palermo demonstrates, Mirò's early years in Barcelona and Paris require a revisionist account of Mirò's development and his place in modernism.Palermo's arguments are based on new research into Mirò's relations with the rue Blomet group of writers and artists, as well as on close readings of the techniques and formal structures of Mirò's early drawings and paintings. Chapter by chapter, Palermo unfolds a narrative that makes a cogent argument for freeing Mirò from longstanding dependence on Surrealism with its strong emphasis on dreams and the unconscious. Mirò, along with associates such as Georges Bataille, Carl Einstein, and Michel Leiris, pressed representation to its limit at the verge of an ecstatic identification with the world.
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Henri Matisse, Pablo Picasso, Joan Miro and Andy Warhol each significantly shaped the development of art in the twentieth century. These Modern masters are the subjects of four small books, the first volumes in a series featuring important artists in the collection of The Museum of Modern Art. Each book presents a single artist and guides readers through a dozen of his most memorable achievements. Works are reproduced in color and accompanied by informative and accessible short essays that provide background on the artworks and on the artist himself, illuminating technique, style, subject matter and significance. Written by Carolyn Lanchner, former curator of painting and sculpture at the Museum, these books are excellent resources for readers interested in the stories behind masterpieces of the Modern canon and for those who wish to understand the contributions of individual artists to the history of Modern art. This volume focuses on Miro.
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For nearly seven decades the ebullient art of Joan Miro (1893-1983), Spanish painter, sculptor, ceramist and mythmaker, has intrigued and enchanted art lovers worldwide. This collection of his writings presents a portrait of the artist in his own words. Miro's notebooks, letters, and interviews reveal the work and life of a brilliant artist revered for his uncanny expression of the subconscious. "Joan Miro" centres on Paris during the vibrant era between the wars, when Miro became the intimate of almost everyone in that scene - boxing with young Hemingway, working with Max Ernst on the Ballets Russes, drinking, painting and arguing with Picasso, Braque, Dubuffet, Matisse, Breton and many others. Miro engagingly recounts all of this, as well as stories of his exile during World War II. Miro's virtuosity encompassed drawing, painting, sculpture, ceramics, poetry, stage sets, costumes, murals and tapestries; he vividly describes the creation of these artworks in these pages.
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Published to accompany a centennial exhibition at The Museum of Modern Art, New York, from October 1993 through early January 1994, this intensively researched volume contains more than 250 full-color reproductions that explore the entire range of the artist's career.
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In 1956, Miró moved into a splendid new studio which the architect Josep LluÃs Sert had designed for him in Palma (Mallorca). From that time, his art underwent considerable changes. At first, he stopped painting altogether. He worked hard to finish the ceramic murals for the Unesco building in Paris, which were unveiled in 1958. He also had to organize things in his studio. He spent a lot of time reviewing his earlier work, mainly the preparatory drawings accumulated over the years. He tore up quite a number of them, and others he used as the starting point for new projects. With more space at his disposal, he was able to return to the large formats that he had found so satisfying when working on his murals (both ceramic and painted) and his plan now was to embark on large-format canvases.
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This handsome book, published to coincide with a major exhibition at the Royal Academy of Arts, demonstrates the achievement of the famous Galerie Maeght, one of the most influential and creative galleries of the modern era.
Focusing on the four artists at the heart of the collection of the Fondation Marguerite et Aimé Maeght – Miró, Calder, Giacometti, and Braque – the book also examines the remarkable contribution that Aimé Maeght, founder of the collection, made to art in the mid-twentieth century as a collector, dealer, exhibition-maker, and publisher. Capturing the bold spirit of postwar art in France, this book is essential reading for anyone interested in the history of modern art.
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This collection of four prose and four intimately told verse stories was first published in 1977, and the following year Peter Taylor was given the Gold Medal Award for the short story by the American Academy and Institute of Arts and Letters. Set mostly in Nashville and Memphis amid Taylor's fictional genteel Tennessee society, these tales belie serene manners and lovely neighborhoods with undercurrents of irony, violence, disgrace, sexual transgressions, and generational divide. Often shadowing male despair in the modern world, they describe the power of unleashed passion once the restraint of custom has given away.
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