In 1939, during the outbreak of World War II, Miró fled Paris with his family to a small village in Normandy that often experienced blackouts. Art critic Karen Rosenberg once wrote, “presences become floating, Surrealist apparitions-unmoored and ambiguous but still mischievous,” becoming “a giddy fantasia in green and orange, with the lute player as a kind of Pied Piper to various birds and beasts.”Ī post shared by Luca Germenia on at 12:14pm PDT However, the top of the figure features a red circle, representing the face. The man's body is a huge white blob with no recognizable body parts. The painting features a very basic, abstract form of a man playing the guitar. The artist bought a postcard reproduction of Sorgh’s The Lutenist at the Rijksmuseum in Amsterdam a few months prior to beginning his own version. This work is the first in a series of three that Miró painted after visiting the Netherlands for the first time in 1928. He once explained some of the painting's symbolic meaning, stating that the black triangle at the window symbolizes the Eiffel Tower and the ladder to the left-hand side of the painting stands for both elevation and evasion.ĭutch Interior I is based on a 17th-century painting by Hendrick Martensz Sorgh that depicts a lute player. Many art critics believe this painting captures the human subconscious mind and was a way for Miró to visualize some of his own life experiences. There are even music notes that appear to float in the air like living beings. He once reported, “I used to come home in the evening without having eaten anything.”ĭepicted playing and dancing, the other characters throughout the composition seem to be having a wonderful time. The hole in the character’s stomach perhaps references Miró’s own hunger and poverty at the time he created the painting. In this form of theater, the harlequin is a foolish character who is constantly unsuccessful in love. The figure depicted in the central-left portion of the canvas-with a half red, half-blue mask and diamond pattern on their tunic-references Italy’s commedia dell’arte. It depicts a festive, crowded scene where abstract characters seem to be caught up in a celebration. Harlequin's Carnival is an early example of Miró’s surrealist works, and it also features some of the artist’s first biomorphic forms. “It has in it all that you feel about Spain when you are there and all that you feel when you are away and cannot go there.” “I would not trade it for any picture in the world,” Hemingway once wrote. Miró was friends with Ernest Hemingway, and the writer purchased The Farm and kept it throughout his life. Featuring references to both Catalan folk art and Cubism, this hybrid-style painting was made shortly before Miró turned towards Surrealism. Miró considered The Farm among his most important works, as it marked a turning point in his style. I wanted to put everything I loved about the country into that canvas-from a huge tree to a tiny snail.” Miró explains, “ The Farm was a résumé of my entire life in the country. The artist’s paintings during this time were often described as “detailist” due to the sheer amount of motifs and elements he fit onto the canvases. Packed full of animals, farm equipment, and plants, The Farm depicts a view of Miró’s family property in Mallorca. A post shared by Fundació Joan Miró, Barcelona on at 5:33am PST
0 Comments
Leave a Reply. |