LaurieAnnie's photos with the keyword: Miro

Title: Constellation: Toward the Rainbow Artist: Joan Miró (Spanish, Barcelona 1893–1983 Palma de Mallorca) Date: 1941 Medium: Gouache and oil wash on paper Dimensions: 18 × 15 in. (45.7 × 38.1 cm) Classification: Drawings Credit Line: Jacques and Natasha Gelman Collection, 1998 Accession Number: 1999.363.53 Rights and Reproduction: © 2022 Artists Rights Society (ARS), New York In 1919, Joan Miró left his native country of Spain for France, where, along with fellow Spaniard Salvador Dalí, he became one of the pioneers of Surrealism. Inspired by the movement's engagement with psychology and poetic play with form, Miró developed a dreamlike style based on whimsical allusions to reality and lyrical, fancifully colored compositions. In May 1940, after the invading German troops disturbed Miró's quiet life in Varengeville, a village on the northern coast of France, he returned to Spain. In June he settled in the town of Palma de Mallorca, where he was to remain until the summer of 1941. In Palma, Miró resumed work on his Constellations series, which he had abandoned when he left Varengeville. Toward the Rainbow is the fifteenth in a series of twenty-three gouaches on paper that were produced over twenty-one months from January 1940 to September 1941. Characteristic of the works begun at the end of his stay in France and those painted in Spain, the entire sheet of paper is covered with hourglass shapes and a multitude of forms suggesting stars, eyes, circles, triangles, and crescents that are linked by thin black lines to evoke a fantastical wrought-iron screen or perhaps a magical constellation in the cosmos. Each picture took about a month to complete. Much has been written about these Constellations, and Miró often referred to them himself. Their consistent strength, vivid colors, gaiety, and poetry provide a striking contrast with the dark period in which they were created. In fact, these gouaches seem to represent the artist's escape from the terrors of World War II. Looking back on the period in 1948, Miró told an interviewer that in France in 1939 "a new stage in my work began which had its source in music and nature. It was about the time that the war broke out. I felt a deep desire to escape. I closed myself within myself purposely. The night, music, and the stars began to play a major role in suggesting my paintings." Text from: www.metmuseum.org/art/collection/search/490007

Title: Constellation: Toward the Rainbow Artist: Joan Miró (Spanish, Barcelona 1893–1983 Palma de Mallorca) Date: 1941 Medium: Gouache and oil wash on paper Dimensions: 18 × 15 in. (45.7 × 38.1 cm) Classification: Drawings Credit Line: Jacques and Natasha Gelman Collection, 1998 Accession Number: 1999.363.53 Rights and Reproduction: © 2022 Artists Rights Society (ARS), New York In 1919, Joan Miró left his native country of Spain for France, where, along with fellow Spaniard Salvador Dalí, he became one of the pioneers of Surrealism. Inspired by the movement's engagement with psychology and poetic play with form, Miró developed a dreamlike style based on whimsical allusions to reality and lyrical, fancifully colored compositions. In May 1940, after the invading German troops disturbed Miró's quiet life in Varengeville, a village on the northern coast of France, he returned to Spain. In June he settled in the town of Palma de Mallorca, where he was to remain until the summer of 1941. In Palma, Miró resumed work on his Constellations series, which he had abandoned when he left Varengeville. Toward the Rainbow is the fifteenth in a series of twenty-three gouaches on paper that were produced over twenty-one months from January 1940 to September 1941. Characteristic of the works begun at the end of his stay in France and those painted in Spain, the entire sheet of paper is covered with hourglass shapes and a multitude of forms suggesting stars, eyes, circles, triangles, and crescents that are linked by thin black lines to evoke a fantastical wrought-iron screen or perhaps a magical constellation in the cosmos. Each picture took about a month to complete. Much has been written about these Constellations, and Miró often referred to them himself. Their consistent strength, vivid colors, gaiety, and poetry provide a striking contrast with the dark period in which they were created. In fact, these gouaches seem to represent the artist's escape from the terrors of World War II. Looking back on the period in 1948, Miró told an interviewer that in France in 1939 "a new stage in my work began which had its source in music and nature. It was about the time that the war broke out. I felt a deep desire to escape. I closed myself within myself purposely. The night, music, and the stars began to play a major role in suggesting my paintings." Text from: www.metmuseum.org/art/collection/search/490007

Title: Constellation: Toward the Rainbow Artist: Joan Miró (Spanish, Barcelona 1893–1983 Palma de Mallorca) Date: 1941 Medium: Gouache and oil wash on paper Dimensions: 18 × 15 in. (45.7 × 38.1 cm) Classification: Drawings Credit Line: Jacques and Natasha Gelman Collection, 1998 Accession Number: 1999.363.53 Rights and Reproduction: © 2022 Artists Rights Society (ARS), New York In 1919, Joan Miró left his native country of Spain for France, where, along with fellow Spaniard Salvador Dalí, he became one of the pioneers of Surrealism. Inspired by the movement's engagement with psychology and poetic play with form, Miró developed a dreamlike style based on whimsical allusions to reality and lyrical, fancifully colored compositions. In May 1940, after the invading German troops disturbed Miró's quiet life in Varengeville, a village on the northern coast of France, he returned to Spain. In June he settled in the town of Palma de Mallorca, where he was to remain until the summer of 1941. In Palma, Miró resumed work on his Constellations series, which he had abandoned when he left Varengeville. Toward the Rainbow is the fifteenth in a series of twenty-three gouaches on paper that were produced over twenty-one months from January 1940 to September 1941. Characteristic of the works begun at the end of his stay in France and those painted in Spain, the entire sheet of paper is covered with hourglass shapes and a multitude of forms suggesting stars, eyes, circles, triangles, and crescents that are linked by thin black lines to evoke a fantastical wrought-iron screen or perhaps a magical constellation in the cosmos. Each picture took about a month to complete. Much has been written about these Constellations, and Miró often referred to them himself. Their consistent strength, vivid colors, gaiety, and poetry provide a striking contrast with the dark period in which they were created. In fact, these gouaches seem to represent the artist's escape from the terrors of World War II. Looking back on the period in 1948, Miró told an interviewer that in France in 1939 "a new stage in my work began which had its source in music and nature. It was about the time that the war broke out. I felt a deep desire to escape. I closed myself within myself purposely. The night, music, and the stars began to play a major role in suggesting my paintings." Text from: www.metmuseum.org/art/collection/search/490007

Potato 1928 Object Details Title: Potato Artist: Joan Miró (Spanish, Barcelona 1893–1983 Palma de Mallorca) Date: 1928 Medium: Oil on canvas Dimensions: 39 3/4 x 32 1/8 in. (101 x 81.6 cm) Classification: Paintings Credit Line: Jacques and Natasha Gelman Collection, 1998 Accession Number: 1999.363.50 Born in the Spanish province of Catalonia, Joan Miró was deeply influenced by his country's native landscape and artistic heritage. Although he was associated with French Surrealism and its practitioners and lived in Paris during the early part of his career, he returned to settle in Spain after World War II. This deliberate remove from the center of the art world is symptomatic of Miró's independence, a temperament that would mark his art as well as his life. Drawing on the possiblilities of free invention encouraged by Surrealism, Miró developed a style that drew from highly personalized and psychological references. Often beginning with a recognizable starting point, Miró transformed his subjects through whimsical color and free play with form. "The Potato" is emblematic of Miró's poetic riffs on reality. It takes as its subject a gigantic female figure who stretches her arms wide. She is set against a blue sky and above a patch of earth—perhaps a potato field. The billowing white shape of the figure is attached to a red post in the center of the composition like a scarecrow on a pole. Miró surrounded his merry "potato-earth-woman" with fanciful decorative objects, some of which are "earthy" and some not. The figure has one brown-and-black breast that "squirts" a long, black, winding thread, as elfin creatures flutter in the sky around her. At the left, a red and yellow "butterfly-woman" takes flight from her brown banana-like nose as other creatures climb a ladder—one of Miró's favorite motifs. Beyond the earthiness of the subject, the painting's title appears to be derived from the representation of an actual, recognizable potato: lodged in the woman's forehead is a small, brown, oval object with three tendrils growing out of its upper edge. Text from: www.metmuseum.org/art/collection/search/490004

Potato 1928 Object Details Title: Potato Artist: Joan Miró (Spanish, Barcelona 1893–1983 Palma de Mallorca) Date: 1928 Medium: Oil on canvas Dimensions: 39 3/4 x 32 1/8 in. (101 x 81.6 cm) Classification: Paintings Credit Line: Jacques and Natasha Gelman Collection, 1998 Accession Number: 1999.363.50 Born in the Spanish province of Catalonia, Joan Miró was deeply influenced by his country's native landscape and artistic heritage. Although he was associated with French Surrealism and its practitioners and lived in Paris during the early part of his career, he returned to settle in Spain after World War II. This deliberate remove from the center of the art world is symptomatic of Miró's independence, a temperament that would mark his art as well as his life. Drawing on the possiblilities of free invention encouraged by Surrealism, Miró developed a style that drew from highly personalized and psychological references. Often beginning with a recognizable starting point, Miró transformed his subjects through whimsical color and free play with form. "The Potato" is emblematic of Miró's poetic riffs on reality. It takes as its subject a gigantic female figure who stretches her arms wide. She is set against a blue sky and above a patch of earth—perhaps a potato field. The billowing white shape of the figure is attached to a red post in the center of the composition like a scarecrow on a pole. Miró surrounded his merry "potato-earth-woman" with fanciful decorative objects, some of which are "earthy" and some not. The figure has one brown-and-black breast that "squirts" a long, black, winding thread, as elfin creatures flutter in the sky around her. At the left, a red and yellow "butterfly-woman" takes flight from her brown banana-like nose as other creatures climb a ladder—one of Miró's favorite motifs. Beyond the earthiness of the subject, the painting's title appears to be derived from the representation of an actual, recognizable potato: lodged in the woman's forehead is a small, brown, oval object with three tendrils growing out of its upper edge. Text from: www.metmuseum.org/art/collection/search/490004

Horse, Pipe, and Red Flower Joan Miró, Spanish, 1893 - 1983 Geography: Made in Montroig, Tarragona, Spain, Europe Date: 1920 Medium: Oil on canvas Dimensions: 32 1/2 x 29 1/2 inches (82.6 x 74.9 cm) Copyright: © Artists Rights Society (ARS), New York / ADAGP, Paris Curatorial Department: Modern Art Object Location: Gallery 167, Modern and Contemporary Art, first floor Accession Number: 1986-97-1 Credit Line: Gift of Mr. and Mrs. C. Earle Miller, 1986 Label: Miró painted this work at his home in the Spanish village of Montroig shortly after his first visit to Paris. The complex configuration of forms adopts a Cubist collage technique inspired by the work of Pablo Picasso, whom he had met on this trip. The book on the table, Le Coq et l'arlequin (The Rooster and the Harlequin) by Jean Cocteau, featuring illustrations by Picasso, advertises this new friendship. Additional information: Publication- Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art Horse, Pipe, and Red Flower belongs to a small number of still lifes that the Catalan artist Joan Miró painted while at home in the village of Montroig during the summer of 1920. That spring Miró had made his first trip to Paris, a four-month stay inspiring him with a confidence that bore fruit in his next paintings, the first true masterpieces of his long career. This joyful work captures a moment of profound transition for the twenty-seven-year-old artist. The exuberant color, clamorous patterning, and crowded composition are characteristic of his earlier paintings, while the toy horse and long clay pipe lend a Catalan flavor to the scene. But the complex configuration of the forms, the unconventional vantage point, and the background's resemblance to Cubist collage prove Miró's close attention to the avant-garde painting he had seen in Paris. He focused especially on Picasso, whom he had met during the spring of 1920. The book on the table advertises this association: it faithfully represents the small volume Le coq et l'arlequin by Jean Cocteau, illustrated with line drawings by Picasso. By audaciously incorporating Picasso's drawing in his own painting, Miró proudly announced his membership in the international avant-garde. Melissa Kerr, from Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art (2007), p. 178. Provenance: With Galeries Dalmau, Barcelona, from the artist, by October 1920; with Pierre Matisse Gallery, New York, by January 1939; exchanged for another Miró with Peter and C. Earle Miller (Mr. and Mrs. C. Earle Miller), Downington, PA, 1944 [1]; gift to PMA, 1986. 1. For the dates see the exhibition catalogs "Pierre Matisse and His Artists," Pierpont Morgan Library, 2002, no. 3, p. 32, and "Joan Miró", Museum of Modern Art, 1993, no. 18, p. 369-370. Text from: www.philamuseum.org/collections/permanent/83144.html?mulR=53578124|8

Horse, Pipe, and Red Flower Joan Miró, Spanish, 1893 - 1983 Geography: Made in Montroig, Tarragona, Spain, Europe Date: 1920 Medium: Oil on canvas Dimensions: 32 1/2 x 29 1/2 inches (82.6 x 74.9 cm) Copyright: © Artists Rights Society (ARS), New York / ADAGP, Paris Curatorial Department: Modern Art Object Location: Gallery 167, Modern and Contemporary Art, first floor Accession Number: 1986-97-1 Credit Line: Gift of Mr. and Mrs. C. Earle Miller, 1986 Label: Miró painted this work at his home in the Spanish village of Montroig shortly after his first visit to Paris. The complex configuration of forms adopts a Cubist collage technique inspired by the work of Pablo Picasso, whom he had met on this trip. The book on the table, Le Coq et l'arlequin (The Rooster and the Harlequin) by Jean Cocteau, featuring illustrations by Picasso, advertises this new friendship. Additional information: Publication- Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art Horse, Pipe, and Red Flower belongs to a small number of still lifes that the Catalan artist Joan Miró painted while at home in the village of Montroig during the summer of 1920. That spring Miró had made his first trip to Paris, a four-month stay inspiring him with a confidence that bore fruit in his next paintings, the first true masterpieces of his long career. This joyful work captures a moment of profound transition for the twenty-seven-year-old artist. The exuberant color, clamorous patterning, and crowded composition are characteristic of his earlier paintings, while the toy horse and long clay pipe lend a Catalan flavor to the scene. But the complex configuration of the forms, the unconventional vantage point, and the background's resemblance to Cubist collage prove Miró's close attention to the avant-garde painting he had seen in Paris. He focused especially on Picasso, whom he had met during the spring of 1920. The book on the table advertises this association: it faithfully represents the small volume Le coq et l'arlequin by Jean Cocteau, illustrated with line drawings by Picasso. By audaciously incorporating Picasso's drawing in his own painting, Miró proudly announced his membership in the international avant-garde. Melissa Kerr, from Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art (2007), p. 178. Provenance: With Galeries Dalmau, Barcelona, from the artist, by October 1920; with Pierre Matisse Gallery, New York, by January 1939; exchanged for another Miró with Peter and C. Earle Miller (Mr. and Mrs. C. Earle Miller), Downington, PA, 1944 [1]; gift to PMA, 1986. 1. For the dates see the exhibition catalogs "Pierre Matisse and His Artists," Pierpont Morgan Library, 2002, no. 3, p. 32, and "Joan Miró", Museum of Modern Art, 1993, no. 18, p. 369-370. Text from: www.philamuseum.org/collections/permanent/83144.html?mulR=53578124|8

Horse, Pipe, and Red Flower Joan Miró, Spanish, 1893 - 1983 Geography: Made in Montroig, Tarragona, Spain, Europe Date: 1920 Medium: Oil on canvas Dimensions: 32 1/2 x 29 1/2 inches (82.6 x 74.9 cm) Copyright: © Artists Rights Society (ARS), New York / ADAGP, Paris Curatorial Department: Modern Art Object Location: Gallery 167, Modern and Contemporary Art, first floor Accession Number: 1986-97-1 Credit Line: Gift of Mr. and Mrs. C. Earle Miller, 1986 Label: Miró painted this work at his home in the Spanish village of Montroig shortly after his first visit to Paris. The complex configuration of forms adopts a Cubist collage technique inspired by the work of Pablo Picasso, whom he had met on this trip. The book on the table, Le Coq et l'arlequin (The Rooster and the Harlequin) by Jean Cocteau, featuring illustrations by Picasso, advertises this new friendship. Additional information: Publication- Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art Horse, Pipe, and Red Flower belongs to a small number of still lifes that the Catalan artist Joan Miró painted while at home in the village of Montroig during the summer of 1920. That spring Miró had made his first trip to Paris, a four-month stay inspiring him with a confidence that bore fruit in his next paintings, the first true masterpieces of his long career. This joyful work captures a moment of profound transition for the twenty-seven-year-old artist. The exuberant color, clamorous patterning, and crowded composition are characteristic of his earlier paintings, while the toy horse and long clay pipe lend a Catalan flavor to the scene. But the complex configuration of the forms, the unconventional vantage point, and the background's resemblance to Cubist collage prove Miró's close attention to the avant-garde painting he had seen in Paris. He focused especially on Picasso, whom he had met during the spring of 1920. The book on the table advertises this association: it faithfully represents the small volume Le coq et l'arlequin by Jean Cocteau, illustrated with line drawings by Picasso. By audaciously incorporating Picasso's drawing in his own painting, Miró proudly announced his membership in the international avant-garde. Melissa Kerr, from Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art (2007), p. 178. Provenance: With Galeries Dalmau, Barcelona, from the artist, by October 1920; with Pierre Matisse Gallery, New York, by January 1939; exchanged for another Miró with Peter and C. Earle Miller (Mr. and Mrs. C. Earle Miller), Downington, PA, 1944 [1]; gift to PMA, 1986. 1. For the dates see the exhibition catalogs "Pierre Matisse and His Artists," Pierpont Morgan Library, 2002, no. 3, p. 32, and "Joan Miró", Museum of Modern Art, 1993, no. 18, p. 369-370. Text from: www.philamuseum.org/collections/permanent/83144.html?mulR=53578124|8

Joan Miro. Spanish, 1893-1983. Dutch Interior 1928 Oil on canvas Accession # 1996.403.8 Text from the Metropolitan Museum of Art label.

The Potato, 1928 Joan Miró (Spanish, 1893–1983) Oil on canvas; 39 3/4 x 32 1/8 in. (101 x 81.6 cm) Jacques and Natasha Gelman Collection, 1998 (1999.363.50) Born in the Spanish province of Catalonia in 1893, Joan Miró was deeply influenced by his country's native landscape and artistic heritage. During the early part of his career, he lived in Paris, where he was associated with the French Surrealists and its practitioners, but he returned to settle in Spain after World War II. This deliberate remove from the center of the art world is symptomatic of Miró's independence, a temperament that would mark his art as well as his life. Mining the possibilities of free invention encouraged by Surrealism, Miró developed a style that drew from highly personalized and psychological references. Often beginning with a recognizable starting point, Miró transformed his subjects through whimsical color and free play with form. The Potato is emblematic of Miró's poetic riffs on reality. It takes as its subject a gigantic female figure who stretches her arms wide, against a blue sky and above a patch of earth—perhaps a potato field. The billowing white shape of the figure is attached to a red post in the center of the composition like a scarecrow on a pole. Miró surrounded his merry "potato-earth-woman" with fanciful decorative objects, some of which are "earthy" and some not. The figure has one brown-and-black breast that "squirts" a long, black, winding thread, as elfin creatures flutter in the sky around her. At the left, a red and yellow "butterfly-woman" takes flight from her brown banana-like nose as other creatures climb a ladder—one of Miró's favorite motifs. Beyond the earthiness of the subject, the painting's title appears to be derived from the representation of an actual, recognizable potato—the small, brown, oval object with three tendrils growing out of its upper edge, which is lodged in the woman's forehead. Text from: www.metmuseum.org/toah/ho/11/eusi/ho_1999.363.50.htm

Joan Miro. Spanish, 1893-1983. Women, Birds, and a Star 1949 Oil on canvas Accession # 1999.363.55 In August 1939, one month before the outbreak of World War II, Miro moved with his wife to Varengeville in Normandy, France. During the Nazi occupation, Miro created a series of gouaches, the Constellations, on which this painting is based. Andre Breton described Miro's faces, stars, wings, lines, and crescents as "outside the world and outside time, too." Text from the Metropolitan Museum of Art label.

Joan Miro. Spanish, 1893-1983. Vines and Olive Trees, Tarragonia 1919 Oil on canvas Accession # 1999.363.48 With great attention to detail and poetic imagination Miro painted every tiny leaf, twig, and root of the plants in the foreground, while the mountains in the distance appear wrapped in a transparent gold and mauve light. The artist spent his summers working at his family's farm near Montroig, where he recorded his love for the village and its surroundings in nearly forty landscapes between 1914 and 1922. Text from the Metropolitan Museum of Art label.

Joan Miro. Spanish, 1893-1983. Nude Holding a Flower 1917 Oil on canvas Accession # 1999.363.47 The brilliant colors in Miro's early work owe much to Fauve examples, but the details of the bird and flower already show his interest in playful depictions of nature. Painted when he was only twenty-four and still going to art school, the picture was shown at Miro's first one-person exhibition, at Galeria Dalmau in Barcelona. Text from the Metropolitan Museum of Art label.

Joan Miró (sculptor) Spanish, 1893 - 1983 Personnage Gothique, Oiseau-Eclair (Gothic Personage, Bird-Flash), model 1974, cast 1977 bronze overall: 450.22 x 200.03 x 160.02 cm (177 1/4 x 78 3/4 x 63 in.) gross weight: 7535.000 lb bottom section: 262.9 x 200.7 x 137.2 cm (103 1/2 x 79 x 54 in.) center section: 160 x 124.5 x 62.2 cm (63 x 49 x 24 1/2 in.) top section: 48.9 x 55.9 x 15.9 cm (19 1/4 x 22 x 6 1/4 in.) gross weight (bottom section): 4300.000 lb gross weight (center section): 2400.000 lb gross weight (top section): 35 lb. (15.876 kg) Gift of The Morris and Gwendolyn Cafritz Foundation Copyright © 1998 Board of Trustees, National Gallery of Art, Washington 1992.53.1 Text from: www.nga.gov/fcgi-bin/tinfo_f?object=76205

Joan Miró (sculptor) Spanish, 1893 - 1983 Personnage Gothique, Oiseau-Eclair (Gothic Personage, Bird-Flash), model 1974, cast 1977 bronze overall: 450.22 x 200.03 x 160.02 cm (177 1/4 x 78 3/4 x 63 in.) gross weight: 7535.000 lb bottom section: 262.9 x 200.7 x 137.2 cm (103 1/2 x 79 x 54 in.) center section: 160 x 124.5 x 62.2 cm (63 x 49 x 24 1/2 in.) top section: 48.9 x 55.9 x 15.9 cm (19 1/4 x 22 x 6 1/4 in.) gross weight (bottom section): 4300.000 lb gross weight (center section): 2400.000 lb gross weight (top section): 35 lb. (15.876 kg) Gift of The Morris and Gwendolyn Cafritz Foundation Copyright © 1998 Board of Trustees, National Gallery of Art, Washington 1992.53.1 Text from: www.nga.gov/fcgi-bin/tinfo_f?object=76205

Joan Miró. (Spanish, 1893-1983). "Hirondelle Amour". Barcelona, late fall 1933-winter 1934. Oil on canvas, 6' 6 1/2" x 8' 1 1/2" (199.3 x 247.6 cm). Gift of Nelson A. Rockefeller. Text from: www.moma.org/collection/browse_results.php?object_id=80315