Poll

Care lucrare de Joan Miro va place cel mai mult?

La caresse des étoiles
0 (0%)
Femmes dans la nuit
0 (0%)
The Singer
1 (33.3%)
Green Moon
1 (33.3%)
Blue Star
0 (0%)
Personnages Rythmiques
1 (33.3%)
Garden of Earthly Delights
0 (0%)
Carnival of Harlequin
0 (0%)
Obra
0 (0%)
L'Oro dell' Azzurro
0 (0%)
ALTE LUCRARI care nu sunt postate aici
0 (0%)
NU IMI PLACE NICI O LUCRARE
0 (0%)

Total Members Voted: 1

Author Topic: Joan Miro  (Read 9047 times)

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Offline Rufus

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Joan Miro
« on: Friday 14 October 2011, 18:46:24 »
Un nou artist suprarealist: Joan Miró  (1893-1983)
 
De origine catalana (nascut in Barcelona), a fost descris de catre fondatorul suprarealismului, André Breton ca fiind "cel mai suprarealist dintre toti artistii" la acea vreme. Subiectul predominant al lui Miro este femeia, surpsinsa in diferite ipostaze. Iata si o prezentare mai detaliata a vietii sale artistice:
 

Miró equated the female figure with the universe. Nonetheless, his portrayals tend to avoid idealization or praise. Miró observed women and his multiple visions reveal rigour, humour, tenderness, eroticism, drama, poetry or everyday life. Miró’s work features nudes, dancers, portraits, imaginary portraits, maternities, lovers, women bathed by water, the sun or the moon, women courted by birds or stars, and hybrid creatures that can be confused with men, stars, animals or plants. His fascination with the female image started out with descriptive figurative portrayals that later turned into ideograms, with elliptic poetical images evoking women through one of their identifying features, or into barely legible signs.
[...]
After his first trip to Paris in 1920, his detailed style of painting gradually became more diluted. Even his most realistic of female portraits started to acquire an unusual beauty. Miró’s growing interest in poetry and contact with Dadaist and Surrealist artists and writers introduced him to new creative methods and more conceptual, metaphorical forms of representation. From 1924, the female figure became more stylized and schematic. Subtle and incorporeal, it could only be identified by her breasts, her sex or other characteristic features. She became a sign or an ideogram. A hint of the female figure’s objectification can be observed: setsquares, inspired by Giorgio de Chirico’s metaphysical painting, occupy the pubis. Additionally, under the influence of Duchamp’s irony or the mechanistic aesthetics of Picabia, Miró’s dancers were transformed into “toys” activated by clockwork or by a wheel mechanism, as in Danseuse (1924). This simplification and stripping back to basics led to his dream paintings (1925-1927) whose modulated, ethereal backgrounds also contain women, as in Peinture (1925). Later, his Imaginary Portraits of 1929 allowed him to freely interpret paintings by other artists from other periods, a field that Miró assiduously explored.
 
From 1927, his desire to “assassinate painting” and his questioning of conventional painting and technical virtuosity led him to create collages, painting-objects, poetic objects or other three-dimensional works in which women continued to play an important role. From 1931, he became reconciled once again with painting, creating a series of oils on Ingres paper, like Femme assise, where women are increasingly the protagonists. Contemporary or period women abound in the postcards and other images from popular culture stuck on his drawing-collage of the 1930s. This carefree, often idealized image of women contrasts with the disturbing women of his savage paintings (1934-1938), like Peinture (1935), and with the distorted bodies sketched at the Grande Chaumière in 1937, during his exile in Paris as a consequence of the Spanish Civil War.
 
Transformed now into a sign, the female image continued to feature in his 1940s work, beginning with the Constellations series. The meticulous delicate work of this series, still perceptible in Femmes, oiseau, étoiles (1944), coexisted or competed with a sketchy handling of paint from the middle of the decade, as is the case of Femme dans la nuit (1944). From this point onwards, women were portrayed in paintings in a decreasingly descriptive, more abstract way, although they still tended to be relatively figurative in his sculptures.
 
From the mid 1950s, his more or less elliptical portrayals of women gave way to imprecise, evanescent images, as in the drawing Trois femmes (1960) On occasions, Miró appropriated female images present in the work of other artists, as occurs with the tapestry La Partie de pêche des amoureux (1965). The female image finally ended up by taking on any form, as in the painting Femmes et oiseaux (1968), becoming hard to decipher. Sometimes the title is the only clue in helping to identify the female theme, as is the case of Femme espagnole and Femme, oiseau, both produced in 1972.
 
SURSA: artdaily.org
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Offline Rufus

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Re: Joan Miro
« Reply #1 on: Friday 14 October 2011, 18:47:32 »
Din diverse motive, picturile lui Miro sunt cele mai scumpe dintre toti artistii suprarealisti. In timp ce recordul unei picturi de Salvador Dali este de $3.6 mil, un tablou al lui Miro s-a vandut pt suma de $17 mil.
Iata valoarea unor tablouri tranzactionate la casa de licitatii Christies:

La caresse des étoiles
$17 mil


 

Femmes dans la nuit

$434,500

(spuneti si voi acum ce parere aveti, noh...   :whatever:
 
« Last Edit: Friday 14 October 2011, 19:10:34 by Rufus »
"Aquilla non capit muscas"

Offline Rufus

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Re: Joan Miro
« Reply #2 on: Friday 14 October 2011, 18:56:59 »
iata si o selectie bazata pe preferinte personale:


The Singer





Green Moon

"Aquilla non capit muscas"


Offline Rufus

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Re: Joan Miro
« Reply #3 on: Friday 14 October 2011, 18:57:29 »
Blue Star





Personnages Rythmiques


"Aquilla non capit muscas"

Offline Rufus

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Re: Joan Miro
« Reply #4 on: Friday 14 October 2011, 18:58:30 »
Garden of Earthly Delights


 
Carnival of Harlequin

"Aquilla non capit muscas"


Offline Rufus

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Re: Joan Miro
« Reply #5 on: Friday 14 October 2011, 18:59:29 »
Obra

 
L'Oro dell' Azzurro
"Aquilla non capit muscas"

Offline uNICK

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Re: Joan Miro
« Reply #6 on: Tuesday 07 February 2012, 23:10:17 »
no offense miro! eu nu as da atatia bani pe nici unul din tablouri. dali e mult mai suprarealist, iar lucrarile lui au mai multa consistenta,
2012 c'est mon année!

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