【Art Hanging】Joan Miro Miro--women, birds, stars

＊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: Femme, oiseau, étoiles women, birds, stars Size of works for sale: 60 x 77.6 cm Year of work: 1942 https://canvypro.blob.core.windows.net/thumbs/cc07d10bf7424bbfb6cc641358253bd7.jpg At that time, in 1939, Joan Miró published a statement in Cahiers d'Art, an avant-garde publication, making a bold statement about the power of art in times of difficulty and fear. Faced with the horrific reality of the Spanish Civil War and the rapidly deteriorating political situation engulfing Europe at the time, Miró's response was not only timely, but also challenged the importance of continuing to create in a time of threat. He said: "The external world, that is, the world of contemporary events, will always influence the painter - this is self-evident. If the interweaving of line and color does not express the inner drama of the creator, then it is nothing more than a painting. a kind of bourgeois entertainment. As part of society, the forms of expression of the individual must show the movement of a soul trying to escape from the present, which is especially mean today, in order to approach a new reality, in order to provide others with the possibility of transcending the present. sex. (Declaration, Cahiers d'Art, Paris, April-May 1939, cited in Rowell, p. 166) Three paintings from the collection of a prominent family in this sale offer a rare, concentrated glimpse into Miró’s astonishing creativity and persistence during World War II. Created in just two and a half weeks in October and November 1942, these works together reveal the multiple strands that occupied and overlapping the artist's imagination during this period, while recalling what appeared in his famous 1940-1941 Formal configurations in the "Constellation" series of paintings in 2008, and boldly pushed into new areas of creative experimentation. After the outbreak of war, and in anticipation of the German occupation of France, Miró and his family returned to Spain in July 1940. For the next five years, he lived and worked largely alone, cut off from the Parisian art world and circle of painter friends. Despite worries about the war and deteriorating financial situation, these years of isolated work allowed Miro to explore his own thoughts in depth without interference, allowing him to reach a new maturity and understanding of painting. Confidence in one's abilities. As Jacques Dupin explained, this period of enforced interruption produced a series of watercolors, drawings, pastels, and gouache works that "expressed a free invention and a stunning effortlessness" (Dupin Pan, p. 257). Common shapes and forms appear in the three different works offered in this sale, conjuring a hazy cast of figures that are at first glance familiar yet clearly otherworldly, their bodies geometric and flowing, curvilinear shapes fusion. Demonstrating the endless variety and originality of Miró's painting vocabulary, these three works also reveal the importance of his ongoing exploration of materiality in his works on paper. Although wartime restrictions left him short on many materials, these paintings are imbued with the same expressive intensity and lyrical treatment of form as his most complex canvases, using a variety of contrasting techniques and media. Various types of inks, pencils and paints combined on a single sheet of paper created interesting and unexpected contrasts and interconnections, inspiring Miró's passionate imagination and triggering new directions in his work. “I let my work emerge naturally, like the song of a bird or the music of Mozart, seemingly effortless but carefully thought out and polished from the bottom of my heart.” — Joan Miró (quoted by Joan Miró) From M. Rowell, Joan Miró: Selections and Interviews, Boston, 1986, pp. 185-186) In Joan Miró's mysterious work "Women, Birds, Stars", created at the end of October 1942, the artist conjures a whimsical, multi-eyed character through the smooth lines of a pencil. The character sits at the center of the page, and its soft, rounded body is filled with detail, with eyes, crescents, and pincer-like shapes appearing in delicate lines and soft shadows, while its many limbs extend outward at unexpected angles. As the title suggests, the work explores several of Miro's favorite themes - women, birds and stars - poetic moments from his own memories and imagination, which he used in seemingly endless imaginative combinations, Creating unusually dramatic scenes that remain beyond our comprehension. Describing the experimental nature of Miro's work during these years, Jacques Dupin emphasized the variety of materials he used in works such as "Women, Birds, Stars": "on the same paper, successively using black pencil and ink, Using unexpected materials such as watercolors and pastels, gouache and diluted paint, colored crayons, and occasionally even blackberry jam, he exploits their contrasts and similarities and sometimes exceeds their capabilities. He does not subordinate his materials to A certain predetermined program; instead, he tried to free them and let them speak. He closely observed the life of the materials and remained attentive to their smallest hints (Miro, New York, 1993, p. 260) . In Women, Birds, Stars, the creative process has changed - whereas the artist's famous 1940-1941 Constellations series of paintings were controlled and meticulous, here the artist returns to a more natural and improvisational approach to execution. . The background of the work is a soft, slightly varying reddish watercolor, with the color becoming more saturated and vivid in different parts, then transitioning into ethereal, almost translucent sections under which the natural color of the paper can be seen. Miró himself explained at this time in his career: "Now I try to control as little as possible. At least first of all I draw." (quoted by R. Penrose, Miro, London, 1995, p. 108). The path of the watercolor color blocks on the paper retains the movement of the artist's hand, recording his brushstrokes roaming across the paper. Women, Birds, Stars thus demonstrates the additional physicality that Miró brought to the painting process during these years, giving him a new freshness and expressiveness in his works on paper. 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