sexta-feira

Azul e The Farm - por Joan Miró -

Cfr., mais obras do pintor de BcL, aqui

Blue I, 1961 by Joan Miro


Miro's three large-format paintings Blue I - III are part of a series of triptychs which he painted at the beginning of the 1960s in his new studio in Mallorca. 

In 1961, after three trips to the United States and exhibitions at the Galerie Maeght in Paris and Pierre Matisse Gallery in New York, Miro began further purifying the deepening his earlier discoveries. This development had been heralded by Blue I, II, III. It reflects, above all, the supreme confidence the artist had attained in composing and coloring his paintings. The style is unmistakable. Miro was playing with codes that describe the movement of objects in a uniquely simple way. For example, a certain trajectory might be represented by a line, generally a thin one, ending in a dot or in a pair of parentheses. This latter symbol was often used by Miro as a kind o container, to keep energy from escaping. What is more, they look in two different directions, referring back to Miro's last pictures of the 1950s - full of sudden movements and primaeval symbols - while at the same time looking forward to a completely new artistic freedom, a spontaneous attitude towards the material and colours, in a hitherto unprecedented way.


The Farm, 1922 by Joan Miro



One of the threads running through Miro's work is his sense of something almost supernatural in the land, from which he felt he derived his vital energy in the same way that a tree does through its roots. Although he was born in Barcelona, from childhood he often visited Mallorca, his mother's home; Cornudella ( in the province of Tarragona), where his father was born;; and later Montroig, where the family bought a farm. Miro's feelings toward these particular places are strongly present in a series of paintings done between 1918 and 1924. The paintings are often described as "detailist" because of the minute inventory of the rural world that the artist undertook in them. The diverse landscapes and objects always appear under an intense, uniform light, as if illuminated by some mysterious energy of the earth. The Farm, painted on Miro's return from his first trip to Paris, culminated this stage, which immediately preceded the decisive influence exerted on his work by Surrealism, beginning in 1924. 

Should there ever be a history of The Farm - as the poet Rilke once suggested after he had been inspired by landscapes of Paul Cezanne - then Miro's triptychs would undoubtedly form part of it.


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