Foto: Joan Ramon Bonet & David Bonet Successió Miró/ VG Bild-Kunst, Bonn 2016 Peinture, around 1973: © Arxiu Fotogràfic de la Fundació Pilar i Joan Miró a Mallorca. Foto: Joan Ramon Bonet & David Bonet Successió Miró/ VG Bild-Kunst, Bonn 2016. Peinture III, 27 July, 1973: © Archivio Fotografico Museo Nacional Centro de Arte Reina Sofía Successió Miró/ VG Bild-Kunst, Bonn 2016.įemmes et oiseaux, 1945: © Würth Collection Successió Miró/ VG Bild-Kunst, Bonn 2016. Peinture II, 27 July, 1973: © Archiv Successió Miró Successió Miró/ VG Bild-Kunst, Bonn 2016. Peinture I, 27 July, 1973: © Archivio Fotografico Museo Nacional Centro de Arte Reina Sofía Successió Miró/ VG Bild-Kunst, Bonn 2016.
Fotos: Philippe Migeat Successió Miró/ VG Bild-Kunst, Bonn 2016. Guggenheim Museum, New York Successió Miró/ VG Bild-Kunst, Bonn 2016.īleu I–III, 4 March, 1961: © Centre Pompidou, MNAM-CCI, Dist. Foto: Hickey-Robertson Successió Miró/ VG Bild-Kunst, Bonn 2016.īleu, 1925: © Foto: Galerie Maeght, Paris Successió Miró/ VG Bild-Kunst, Bonn 2016. Peinture (La Magie de la couleur), 1930: © The Menil Collection, Houston. Peinture, 1925: © Private collection Successió Miró/ VG Bild-Kunst, Bonn 2016. Tête de Femme, 1939: © Nahmad Collection, Switzerland Successió Miró/ VG Bild-Kunst, Bonn 2016. Foto: Peter Schälchli, Zürich Successió Miró/ VG Bild-Kunst, Bonn 2016. Paysan catalan à la guitare, 1924: © Fundación Colección Thyssen-Bornemisza, Madrid Successió Miró/ VG Bild-Kunst, Bonn 2016.ĭrapeau espagnol, 1925: © Private collection Switzerland. Peinture, summer 1936: © Nahmad Collection, Schweiz Successió Miró/ VG Bild-Kunst, Bonn 2016. Peinture, 1936: © Nahmad Collection, Switzerland Successió Miró/ VG Bild-Kunst, Bonn 2016. Successió Miró/ VG Bild-Kunst, Bonn 2016. La Ferme, 1921/22: © National Gallery of Art, Washington, D.C. Foto: Gabriel Ramon Successió Miró/ VG Bild-Kunst, Bonn 2016. As a result, the paintings had the feel of graffiti on the plaster of a house wall.ĭeux oiseaux de proie, 29 May, 1973: © Fundació Joan Miró, Barcelona Successió Miró/ VG Bild-Kunst, Bonn 2016.Ĭonstellations, 1959: © Private collection. Miró used thinned oil paint for this purpose, applying it to sandpaper steeped in tar. They depict fishes, stars, figures and other forms reduced to black contours.
In 1935-6 he made three pieces entitled “Signs and Figurations”. He considered mistakes to be quite desirable in this regard: He once told a gallerist that it was not a problem if during transportation some of the material should detach itself from the paintings as they then resembled walls even more. He thus mixed paints with sand, plaster, straw or cement to give the surface as textured a quality as possible. He was magnetized by the beauty of decay and tried to imbue his paintings with the haptic properties and texture of wall surfaces. A wall could be something old, weather-beaten, and imperfect. The surface on which time had left its mark, with tears, weeds, flaking plaster and faded paint was to influence his oeuvre greatly. The wall exerted a special fascination on Miró. Here too, Miró’s works reference walls as a source of inspiration. It is almost as if the canvas had had a tear here that someone tried to repair with plaster, as one would do with the wall of a house. If one looks more closely, one can make out a horizontal change in the picture’s surface in the upper third of it. The reduction of colors is later echoed in the works of an Yves Klein or a Mark Rothko. This small detail seems, as it were, to pre-empt the works of Lucio Fontana who in the mid-20th century revolutionized the concept of space in painting by actually carefully destroying the medium of the canvas. A hole would expand the flat medium of the painting into the third dimension.
#MIRO PAINTER PATCH#
On closer inspection, however, it turns out to have a small error: In the upper left corner there is a small dot, an intentional irritation! In the form of this patch Miró is thinking beyond the confines of traditional painting by alluding to the destruction of the grounding as a creative element in the pictorial space. One invariably thinks of the sky when seeing a large blue surface.
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