[Art Hanging Painting] Joan Miro Miro--The sound of women and birds at night

＊Large sizes can only be delivered at home. *Scene simulation pictures, computer color differences, and ambient lighting may have some color differences from the actual posters received. ＊The mounting method is time-consuming and labor-intensive. Orders need to wait 2-3 weeks, so please be patient. Joan Miro Juan Miro Joan Miró is one of the most famous Spanish artists of the 20th century. Throughout his long and fruitful creative career, he has always been passionate about interpreting everyday objects and exploring their inherent poetic qualities. His lifelong ambition was to connect art and life, and with his unique insight, he found poetic qualities in the most humble objects of daily life. The stars, moon, and sun painted by Miro are abstract symbols that are considered classics of abstract painting and his most famous painting style. However, in fact, Miro was deeply influenced by Cubism, Surrealism, and even Dadaism. The wind is changeable. He was determined to combine poetry and painting into one, and to revolutionize the traditional art medium of painting. He even once said: "I want to assassinate painting!" Miró had a close relationship with the Surrealist School. These Surrealists were open-minded and good at using different media to create. They had been trying to combine poetry and painting. Miró once took apart a poem and turned it into the basis of his painting. title, and tried to express his poetic nature in his paintings. Although Miro's paintings are considered abstract paintings, many times what he painted were symbols, and from the symbols, it can be seen that they are stars and the moon. Or a puppy/animal. Compared with completely abstract paintings, they show that Miró was deeply influenced by Surrealism. "He experienced two world wars and a Spanish Civil War. Those eras again witnessed the rule of the privileged class. He took refuge in the countryside. Living on the beach and looking up at the stars inspired him to paint the Constellations series (1940-1941). Later he began to paint with stars, moon and sun, and the Constellations series became his signature language." Speaking of his inspiration Regarding artistic influence, Director Luo said that Miró arrived in Paris when he was about thirty years old. At that time, Paris was the most avant-garde art center in the world, and various schools of painting contended. In addition to Surrealism, which he was more influenced by, he was also influenced by Dadaism and Cubism. "According to himself, he will learn from each school of painting, but he does not admit that he belongs to any one school of painting." assassination painting Miró once said during his lifetime that he "pays more and more attention to the materials used in his works. In order to let the audience feel the impact before they react, I think a rich and powerful material is necessary. In this way, the poetry comes through The medium of shaping is expressed." The materials he originally used were subversive. He would use wood, polymer fiber boards, brass Bronze, sandpaper, asphalt, etc. to create creations, scratching, drilling, gluing, and collaging them. Each has its own style. Perhaps for those who have a basic understanding of Miro, watching this exhibition, you will be surprised to find out that he was so deeply influenced by Dadaism. For example, the painting he painted in 1933 is displayed at the entrance. Oil painting (this work is simply called "Painting"), the origin of this painting is that he likes to collect magazines, and then cut out different "objects" in the magazines and collage them into works. The exhibition displays both his original collages and the oil paintings that he later evolved into. As we all know, collage and Ready Made are both common techniques of Dadaism, and Miró just picked them up as his practice. Why Miro is great Why is Miró so great that he can rival Picasso and Dali? How is he different from the other two? "Some people call Miro a surrealist painter, and generally say that he created abstract art, because it is difficult for everyone to define him with one doctrine. He is very compatible. This is why he is different from Picasso and Dali. Very different. When mentioning Picasso, he thinks of Cubism, and Dalido thinks of Surrealism. In addition, Miró also emphasized returning to nature. Whether he was in bustling Paris or there, he would spend two months every year, Returning to the countryside of Catalonia, I gained strength from nature." She said, "Miro took different media very seriously and collaborated with artists of different generations. He loved folk art and also collaborated with craft masters to create creations. The scope is very broad, and the creative period spans sixty years, which is quite rare." Title of work: The woman with the voice of the nightingale at night Femme à la voix de rossignol dans la nuit Size of works sold: 60*90 cm https://canvypro.blob.core.windows.net/thumbs/66c87e9097d2437b8dc1da19c77ab36c.jpg Painted in 1971, "Woman and Birds at Night" presents some of Mero's most characteristic themes with dramatic scale and minimalist approach. Birds, women and night have been among the most poetic elements of Mero's universe since the beginning of his career. Here, the artist's imagination creates a new situation in which these three symbols merge into a single evocative image: the woman steals the nightingale's song, and night envelopes her. This poetic idea forms a striking counterpoint on the canvas with flat, bright blocks of color and sparse black symbols. Measuring almost two meters wide, "Women and Birds in the Night" expands Mero's vocabulary on a monumental scale, enhancing the power of his art through a simplification of form. During the 1960s and 1970s, Miró settled in his large studio in Palma de Mallorca, eventually being able to paint several large paintings simultaneously while continuing to express himself through ceramic experiments and Stone. The studio was designed by architect Josep Luis Sert and completed in 1956. The new building, later expanded by the nearby Son Botero studio and used primarily for sculpture, gave Miró the space he had dreamed of since the late 1930s. In Parma, surrounded by his own art, Miró began a journey of experimentation and relentless reinterpretation of his art. Photographs of the studio from the period show a large room in which Miró's multiple paintings formed a dialogue of symbols, colors and moods. "Women and Birds at Night" was created during such a passionate and active moment. In the early 1970s, Miró was preparing for a historic retrospective of his work, which was to be held at the Grand Palais in Paris in 1974. The exhibition traces the artist's entire career, showcasing Miró's early, established work as well as his most recent, most experimental paintings, including "Women and Birds in the Night." Miró himself insisted on including his latest works in the exhibition, sending more than a hundred paintings he had been working on since 1969 to the Grand Palais in Paris directly from his studio. Part of a series of paintings conceived around broad black shapes, Women and Birds at Night feature flat areas of color dominated by reds, yellows and blues. In the exhibition, this series of works is seen as a new formal experiment, in which Mero intended to realize the symbols of his art through the interplay of flat areas of color and black calligraphic strokes. Works like "Women and Birds at Night" were completed over a long period of staged creation, allowing form and color to gradually determine their own evolution. In 1974, Miró explained this particular method of working: "I work in stages - first the black; as other stages come, other parts appear, and these are what the black gives me. ” (Y. Taillandier, “Meró: Now I’m Working on the Floor,” in M. Rowell, Joan Miró, Selected Writings and Interviews, London, 1987, p. 285). In "Woman and Birds in the Night," the black parts give structure and rhythm to the composition: the shapes on the left balance the field of stars on the right, while three vertical lines divide the vast canvas into three areas of color. Miró explained his approach to color in his review of "Woman and Birds in the Night," a work now in the collection of the Museum of Modern Art in New York that was painted the year after "Women and Birds in the Night." After the black, Miro would introduce red; once that part was complete, he would add just a touch of blue to the painting. He explained, “Then I would spend some time looking at the painting, and after all the reds were done, I started to know where to put the blues” (from W. Rubin, Merlot from the Museum of Modern Art, New York, 1973, page 102). The same process goes for other colors, such as green and yellow. Mero often adds each area of color weeks apart, allowing the work to breathe and grow over time. Miró's method of creating successive areas of color allowed him to consolidate and condense the symbolic system created by his art. Apart from solid colors, "Women and Birds in the Night" consists of only a few broad, sweeping brushstrokes. These sparse symbols are mystical in their asceticism, and they condense Mero's internalized vocabulary with renewed emphasis. Jacques Dupin, Mero's friend and biographer, observed: "During this period, Miró did not seek to revolutionize his language so much as to expand it, sometimes stripping it down to its essential elements. Through his dilution and The apparent lack of caution, the pictorial energy of the 'canvas' is in fact amplified, and his paintings receive a remarkable affirmation" (J. Dupin, Merlot, Paris, 2012, p. 338). Furthermore, in its emphasis on areas of color and gestural black brushwork, "Woman and Birds in the Night" resonates with Abstract Expressionism. Miró was a huge influence and source of inspiration for artists such as Jackson Pollock, Willem de Kooning, and Arshile Gorky in the late 1940s, and later in some ways embraced the sensibility of that generation of younger painters. In its poetic intent, "Women and Birds at Night" continues the relationship between poetry and painting that was at the heart of Miró's art. A friend of poets such as Jacques Prévert and Rene Chard, Miró conceived of his paintings as visual poetry: "I make no distinction between poetry and painting," he declared (J. Dupin, Miró, 2012, p. 432). When Miró was not weaving words directly into his paintings—as he did in works from the 1920s and later, such as A Star Caressing the Breast of a Black Woman (1938, Thailand Museum of Modern Art, London) – the characters he poetically titled, suspended above the world of his paintings. Titles therefore play a crucial role in Miro's art: "I find my titles as I work, just as I relate one thing to another on the canvas. When I find my titles I live in its atmosphere. For me, the title becomes a 100% reality, like a model, such as the woman someone else lies down on. For me, the title is an exact reality” (J. Miró, "Meró: I work like a gardener..." in Joan Miró 1893-1993, exhibition catalogue, Barcelona, 1993, p. 425). With its vast and monumental simplicity, Merot's Nightingale Woman captures the bold, experimental richness that Miró conveyed in his paintings of the 1970s. Records of the various exhibitions of this painting by Joan Miró: Exhibited at the Joan Miró exhibition at the Grand Palais in Paris from May to October 1974, it was listed as work No. 110 and included in the catalog on page 132 (with illustrations). Exhibited in Joan Miró: Paintings and Prints, Wichita State University, Edwin A. Ulrich Museum of Art, September-November 1978 . From January to March 1992, it was exhibited at the Yokohama Museum of Art's Joan Miró: Centenary Exhibition, Pierre Matisse Collection Exhibition, and was listed as work No. 105 and included in Table of contents page 143 (with illustrations). Exhibited at the Joan Miró 1956-1983: Emotions, Moods, Gestures exhibition at the Fundació Joan Miró in Barcelona from November 2006 to February 2007. The work is included in the catalogue, page 93 (illustrated). The difference between whether there is Acrylic or not: 》 Acrylic= one more layer of protection = one more layer of reflection 》No Acrylic= less layer of protection = you can directly see the work with better texture I don’t know how to choose: (If there are children in the family, it is recommended to add Acrylic), (If there are adults in the family, you don’t need to use Acrylic) https://image-cdn-flare.qdm.cloud/q665027dd6a3a4/image/data/2022/06/22/37f09f78639e0445223ad276c14b9c6c.jpg Aluminum frame selection: https://image-cdn-flare.qdm.cloud/q665027dd6a3a4/image/data/2023/07/11/4b853563c2267abe4f46e392cf820e6b.jpg Source of work: https://image-cdn-flare.qdm.cloud/q665027dd6a3a4/image/data/2023/10/26/b011dd717f432dd262c032f1f02f4f8f.jpg