【Art Hanging】Joan Miro Miro--Man and Woman

＊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." https://canvypro.blob.core.windows.net/thumbs/467a8b94f2da42199f490bdc6c3c95d5.jpg Title of work: Homme et femme men and women Size of works for sale: 85.3 x 60 cm Original size: 104.8 x 74.6 cm Year of work: 1935 The male and female figures in this painting may harken back to an ancient story of a thoughtless young man hastily leaving a gravely offended lady, or, more specifically, of a grieving mother scolding her wayward son. Miró imbues this scene with fluid gestural lines, blended with hasty mottled paint, a style familiar from frescoes, even the oldest ones – Miró personally studied and read about Catalonia Prehistoric images found in cave paintings deep within the terrain, located around the edges of the last Ice Age. However, this scene is more importantly a caricature from contemporary daily life, perhaps a mundane encounter Miró witnessed on the streets of Barcelona. Its ultimate significance, however, is more than just anecdotal; the events of the day that Miró is actually alluding to are much deeper and potentially dangerous. In 1934, Miró's art took a sudden turn; the issues of avant-garde painting and anti-painting that had attracted him since the late 1920s took a backseat to new, more pressing questions that emerged in his work. As Jacques Dupont said, "At this time, his art underwent such a sudden and profound change that it deserves the word 'upheaval'." "Those who devoted themselves to the problem of plastic and the spirit of image and symbol The calm works created during the years of control gave way to a new explosion of subjectivity, an expressionism that unleashed the power of instinct. The volcano that had been dormant for many years suddenly erupted. The clear sky turned gloomy, and a violent A storm began to envelope the calm artistic atmosphere—in fact, shaking the foundations of Miró’s art” (Miro, Paris, 2012, p. 185). The economic impact of the Great Depression forced Miró to spend less time in Paris, requiring him to live longer each year at his home in Monteroig, while creating at Studio 4 in Passatge del Credit, Barcelona. He could neither escape nor ignore the growing political unrest that was beginning to rage around him. The establishment of the Second Spanish Republic in 1931 gave rise to a series of competing factions with irreconcilable extremist agendas - reformists vs. reactionaries, egalitarians vs. monarchists, anti-clericalists vs. the Catholic Church, the Soviet Union Communists vs. Fascist Francoists, as well as numerous other factions, each striving for political advantage and not hesitate to use violent means to achieve their own interests, even at the expense of other factions. Separatist ambitions led to calls for a Catalan republic within the Spanish federation, an idea that was quickly narrowed to Catalan autonomy. However, mass strikes in October 1934 led to the proclamation of new independent regional republics; Miró could hear the sounds of troops bombarding rebel targets in Barcelona at Monteroyg. A life-or-death civil war would not break out until July 1936, when General Franco led his coup against the Popular Front, a left-wing coalition that controlled the central government in Madrid. At the same time, political assassinations and other acts of terror plague the country with increasing frequency, gradually eroding what little faith citizens have in their leaders and offering little hope for the future. Between 1934 and 1935, even though Miró could not foresee exactly where these alarming events would lead, he still felt the need to infuse his work with dire omens and even more dire visions of the future. "It's not so much Miró who seems to have changed, but the transformation of the modern era around him," Dupont explains. "Freed from personal conflict through art, Miró now had to experience and express an inner collective tragedy. Miró's work would represent this in the form of an attack on the human body, disintegrating it completely and drowning it in the released in a flood of elemental forces” (ibid., p. 185). “I lived unconsciously in an atmosphere of anxiety, the kind of atmosphere that is characteristic of something important that is sure to happen,” Miró recalled to Luis Permanier in 1978. "It was like before it rained: my head felt heavy, my bones ached, and the heat was unbearable. It was more of a physical distress than a moral one. I sensed a catastrophe, but didn't know what it would be. … .I tried to describe this tragic atmosphere that tormented me and what I felt inside” (quoted in Joan Miró 1893/1993, exhibition catalogue, Joan Miró Foundation, Barcelona, 1993, p. 313 Page) . The artist's first foray into these dark depths of the imagination was produced in October 1934 with fifteen pastel works (Strange Monsters on Velvet Paper, Dupont No. 466-480). He began painting again in early 1935 - as in the present Homme et femme, creating works on the canvas that "marked the beginning of the cruelty and difficulty the world had passed through," Miró later recalled. "They are full of oppositions, conflicts, contrasts. I call them 'my savage paintings'. Thinking about death leads me to create monsters that both attract and repel me" (Interview with Denys Chevalier, 1962, in M. Rowell ed., Joan Miró: Selected Writings and Interviews, Boston, 1986, p. 267). In "Homme et femme," the smooth outlines of the figure seem to have been drawn with a light hand's pen in near-continuous arabesque curves, as if on a painted outdoor wall, creating a phallic shape for him and a phallic shape for her. Showing the symbol of vulva. The crimson and gold color bands suggest that she represents Spanish motherhood, or even the country itself, while the red and black colors may show that he has yet to decide whether to pledge his allegiance to the communist left or the Francoist right; in either case, She was scolding him with all her strength. We hear Miró shouting at the top of her voice, "Spain, be careful!" "From the beginning of 1935, whatever Miró intended to do, his pen could only conjure monsters," Dupont wrote. "Moreover, these monsters fill all his canvases. He encounters them in the familiar features of a face, finds them in the lines of a woman's body, finds them in the rock forms of Monte Roig, in his spontaneous Their interlockings and swirls are seen in sexual patterns. The monster is omnipresent; it takes over his entire field of vision and senses. It is a prophetic warning of universal disaster and a kind of exorcism of the monster by the artist.... . .The beautiful turned into grotesque horror, the dream into a prophetic nightmare, the lyrical into a savage carol” (op. cit., 2012, p. 189). [A] Joan Miró, "Femme", October 1934. Museum of Modern Art, New York. [B] Joan Miró, "Deux personnages", April 10, 1935. Kriegel Museum of Art, Washington, DC. [C] Joan Miró, "Deux femmes", April 13, 1935. Sprenger Museum Hannover. [D] Joan Miró, "Figures devant un volcan", October 9-14, 1935. Sold, Christie's New York, November 7, 1995, Lot 44. 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