Calder, Miro Hardcover – October 21, 2004
by Elizabeth Hutton Turner (Editor), Oliver Wick (Editor)
Sculptor Alexander Calder (1898-1976) and painter Joan Miró (1893-1983) became lifelong friends after their first meeting in Paris in 1928. This book and the exhibition it accompanies are about their extraordinary friendship and the early years of their careers.
Calder and Miró shared many artistic interests, and the book is organized around common themes such as the circus, bestiary, universe, and constellations. The artists shared an ambition to create monumental works for public spaces and, while waiting for those opportunities, achieved monumentality on a reduced scale. Miró's small Constellations evoke the tradition of Romanesque frescoes, while Calder's earliest stabiles and mobiles occupy space in a way that transcends their size, paving the way for later monumental works. The editors, in their two essays and in their organization of the colour plates, focus on the first two decades of the artists' careers, culminating in the monumental public commissions that Calder and Miró received for the decoration of the Terrace Plaza Hotel, Cincinnati, in 1947.
Both artists combined colour, shape and line in new ways, relying primarily on these limited elements to explore compositional space. While they worked independently, their resulting creations have long been recognized as reinforcing each other's vision. When their works are shown together, as John Canaday observed in his 1961 New York Times review, '- the element of fantasy is heightened in Calder's impeccably balanced structures and the element of calculation becomes more apparent than usual in Miró's looser inventions.'
Extensive illustrations provide fresh insights into the visual dialogue between them and show the ways in which they expanded and erased the traditional boundaries in art. Their charming correspondence is published here for the first time and rare photographs of the two men together, and of the gifts of artwork they exchanged, document the friendship. A detailed chronology opens a window into their personal and professional lives. The book accompanies the exhibition Calder/Miró at Fondation Beyeler, Riehen/Basel (2 May - 5 September 2004), and at The Phillips Collection, Washington, D.C. (9 October - 23 January 2005).
National Gallery of Art
Joan Miró moved from Barcelona to Paris in 1920. He remained deeply attached to his native Catalonia. Miró returned each summer to his family's farm in the village of Montroig. In 1921, he determined to make a painting of this farm, a painting that he came to regard as one of the key works in his career.
"The Farm" represents an amalgamation of intense realism with the formal vocabulary of cubism. Let your eye wander over this painting, corner to corner. We see a collection of separate details, each carefully observed and precisely described. Yet the artist chooses to render some objects as abstract, geometric shapes. Why do you think this is? What does he depict realistically, and what does he abstract?
Joan Miró, "The Farm," 1921-1922, oil on canvas, National Gallery of Art, Washington, Gift of Mary Hemingway
Mary Welsh Hemingway - Wikipedia
https://en.wikipedia.org/wiki/Mary_Welsh_Hemingway
Mary Welsh Hemingway (April 5, 1908 – November 26, 1986) was an American journalist and author, who was the fourth wife and widow of Ernest Hemingway.
Wiki
The Farm is an oil painting made by Joan Miró between the summer of 1921 in Mont-roig del Camp and winter 1922 in Paris.[1] It is a kind of inventory of the masia (traditional Catalan farmhouse) owned by his family since 1911 in the town of Mont-roig del Camp. Miró himself regarded this work as a key in his career, describing it as "a summary of my entire life in the countryside" and "the summary of one period of my work, but also the point of departure for what was to follow."[2] It is preserved in the National Gallery of Art in Washington DC, where it was given in 1987 by Mary Hemingway, coming from the private collection of American writer Ernest Hemingway, who had described it by saying, “It has in it all that you feel about Spain when you are there and all that you feel when you are away and cannot go there. No one else has been able to paint these two very opposing things.”
Ernest Hemingway and The Farm
The American writer Ernest Hemingway bought Miró's painting as a birthday present for his wife, Hadley; after paying off the last installment of the 5,000 francs it cost, he brought The Farm home: "In the open taxi the wind caught the big canvas as though it were a sail, and we made the taxi driver crawl along." Hemingway later said, "No one could look at it and not know it had been painted by a great painter." [23]
In 1992, the definitive biography of Hadley Richardson, Hadley by Gioia Diliberto, was published. The book, which is based on extensive research, including the author's exclusive access to a series of taped conversations with Richardson, was reissued in 2011 as Paris Without End: The True Story of Hemingway's First Wife.
In 2011, a book titled The Paris Wife: A Novel was published, telling the entire story of Hadley Richardson's relationship with Hemingway in "her voice."[43] Although a work of fiction, its narrative is faithful to the known facts.
The Metropolitan Museum of Art, New York
Born on this day in the Spanish province of Catalonia, Joan Miró was deeply influenced by his country's native landscape and artistic heritage. "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.
Joan Miró (Spanish, 1893–1983) | Potato | 1928
Drawing on the possibilities of free invention encouraged by Surrealism, Miró developed a style that drew from highly personalized and psychological references.
METMUSEUM.ORG
Kimbell Art Museum
Did you know the yellow background of the Kimbell’s "Portrait of Heriberto Casany" is meant to evoke the gilt backgrounds of medieval Spanish frescoes? #MirósBirthday #onview
BBC Culture
"When I saw his art, I saw freedom."
Inside the secretive world of Joan Miró's studio
As a reproduction of Joan Miró’s studio goes on show in London, his grandson gives Alastair Sooke a tour of the real thing.
BBC.COM|由 ALASTAIR SOOKE 上傳
MIRÓ'S STUDIO (London)
Mayoral presents "MIRÓ'S STUDIO", curated by Elvira Cámara, former director of the Fundacio Pilar i Joan Miró, in collaboration…
VIMEO · 228 次分享
visitor looks at 'Painting' (1953) by Spanish artist Joan Miro (1893 –1983) one of the exhibits in the exhibition 'Miro, Mauer, Fries, Wandbild' ('Miro, Wall, Frieze, Mural') at the Kunsthaus in Zurich, Switzerland. The exhibition runs until January 24th 2016.
沒有留言:
張貼留言