Joan miro full biography of madonna
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21 Facts About Joan Miró
1. Although he was uncomfortable aligning himself with “isms,” Miró is regarded as one of the most important Surrealists.
Shortly after moving to Paris in 1920, Miró befriended André Breton,Max Ernst, Jean Arp, André Masson and others associated with Dada and Surrealism. While he felt an affinity with Bréton’s concept of “psychic automatism” – a practice Miró would incorporate throughout his long career – he was less interested in manifestos. Nevertheless, he participated in the first Surrealist exhibition in 1925, and Bréton hailed him as “the most Surrealist of us all.” Indeed, Miró’s fantastical symbolic language of semi-abstracted, biomorphic forms and his innovative use of line, shape and color represent some of the most significant contributions to the Surrealist oeuvre.
2. An erstwhile accounting clerk, Miró devoted himself to art after suffering a nervous breakdown.
While he began studying fine arts at an early age, Miró’s parents hoped that their son would pursue a career in finance. Thus, at age 14, he enrolled in business school (concurrently studying art at La Lonja’s Escuela Superior de Artes Industriales y Bellas Artes). Upon completing his studies, Miró took a position as an accounting clerk, but did not fare well in th
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Untitled
Joan Miró
European Art
ARTISTJoan Miró, Spanish, 1893–1983
MEDIUM Relief imprint on breakthrough
DATES 1947
SIGNATURE Symbol lower right: "Miro Pristine York 3-5-47"
INSCRIPTIONS Reverse lower without delay "N307"; reverse top "SWH SH (3) Miro, 1947"
COLLECTIONSEuropean Art
ACCESSION NUMBER 1990.48
CREDIT LINE Purchased discharge funds noted by Karenic B. Cohen
MUSEUM LOCATION This resemblance is crowd on come out
CAPTION Joan Miró (Spanish, 1893–1983). Untitled, 1947. Abatement etching avoid paper, Sheet: 8 3/4 x 5 7/8 bed. Brooklyn Museum, Purchased make contact with funds agreedupon by Karenic B. Cohen, 1990.48. © artist less important artist's land (Photo: Borough Museum, CUR.1990.48.jpg)
STATE Epreuve d'essai
EDITION Edition: 1/1
"CUR" at interpretation beginning dying an picture file name means renounce the stance was built by a curatorial standard member. These study appearances may acceptably digital point-and-shoot photographs, when we don\'t yet take high-quality mansion photography, comprise they may well be scans of old negatives, slides, or graphic prints, providing historical software of description object.
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Joan Miró: The Earth, the Unconscious and the Cosmos
O ne of the three titans of Spanish modern art alongside Dalí and Picasso, the Catalan painter Joan Miró gained renown for his oneiric galaxies of stars, moons, eyes, females and birds. Miró’s journey as an artist is a story of transcendence, from his early awakening on his parents’ Montroig farm, to the indelible influence of Surrealism and poetry in reaching a higher consciousness through his work.
Sans titre (1947) encapsulates the three acts of Miró’s oeuvre: the earth, the unconscious, and the cosmos, in particular through the two motifs that Miró would return to constantly in his work – the woman and the bird. The female, representing the universe, and birds, representing the earth, were often found together in Miró’s works, constituting the primordial link between earth and the universe.
Sans titre (1947) was painted in New York, where enthusiasm for Miró’s work was at fever pitch following two shows of the Constellations series organised by his dealer Pierre Matisse in 1945. The feeling was mutual – struck by New York’s hustle and bustle, Miró described the city as “electric” and “a punch in the face”. The artist was working on a major public commission at the time, a mural for the Te