May 17, 2014

MIRO: THE EXPERIENCE OF SEEING AT SEATTLE ART MUSEUM




JOHN MIRO: THE EXPERIENCE OF SEEING
SEATTLE ART MUSEUM
February 13, 2014 - May 26, 2014




SEATTLE ART MUSEUM PRESENTS LATE CAREER
PAINTINGS AND SCULPTURES BY JOAN MIRÓ
MIRO: THE EXPERIENCE OF SEEING
February 13, 2014 – May 26, 2014
The first in-depth exhibition of Miró’s late work in the United States, with special attention paid to the artist’s captivating sculptures. The exhibition opens on February 13, 2014 and draws from the rich collection of the Museo Nacional Centro de Arte Reina Sofía, Madrid, the leading museum of modern and contemporary art in Spain.
One of the great innovators of 20th-century art in Europe, Miró was briefly aligned with the Surrealists in the late 1920s in Paris and went on to create a striking pictorial and sculptural universe throughout his six-decade career.
This unique exhibition brings together some 50 paintings and sculptures made in the period between 1963 and 1981 that testify to the artist’s playful ingenuity and inventiveness, adding entirely new chapters to his artistic legacy. Although Miró had experimented with assemblage in earlier periods, it is only in this later period that he builds sculptures from found objects that are then cast in bronze. On view at SAM through May 26, 2014, visitors will experience a rare glimpse of the artist’s later work.
Following its presentation in Seattle, Miró: The Experience of Seeing, will travel to the Nasher Museum of Art at Duke University in North Carolina from September 11, 2014 through February 22, 2015 and the Denver Art Museum March 22 through June 28, 2015.
“Our collaboration with the Museo Reina Sofía, one of Europe’s greatest museums of modern art, allows us to share the work of one of the world’s most important artists with Northwest audiences for the very first time,” said Kimerly Rorschach, Illsley Ball Nordstrom Director of SAM.
Born in Barcelona in 1893, Miró was from Catalonia, the region in the northeast corner of Spain. In his political views as well as his artistic endeavors, Miró  was drawn to his contemporary and fellow Spaniard Pablo Picasso. From 1920 when he makes his first visit to Paris Miró spent time in the capital where he connected with the literary and artistic avant-garde and was drawn into the orbit of the Surrealists.
During this time, Miró began to develop an abstract and expressive visual vocabulary that set the stage for his subsequent artistic career. “For me, the essential things are the artistic and poetic occurrences, the associations of forms and ideas.”
Miró considered painting a dynamic spark: “It must dazzle like the beauty of a woman or a poem and fertilize the imagination.” After years of political turnoil, Miró’s move to a new studio on the island of Mallorca, Spain, allowed him to bring together and reassess many paintings previously in storage. It triggered a fruitful new phase in the artist’s career.
He began to explore new painterly territory, often working in distinctly different styles, and he began to make sculpture. Already in 1941, in the midst of war, the artist developed ideas for working in sculpture: “It is in sculpture that I will create a truly phantasmagoric world of living monsters.” He drew inspiration from found objects, building structures from salvaged wood, discarded hardware or household implements and then casting them in bronze. The dialogue between painting and sculpture is crucial at this time with resonances across media and across decades. It is this push and pull between sculptural and painterly form and articulations of space that this exhibition will explore.
Miró: The Experience of Seeing is organized by the Seattle Art Museum and the Museo Nacional Centro de Arte Reina Sofía. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. The Seattle presentation of this exhibition is made possible with critical funding provided by SAM’s Fund for Special Exhibitions. Corporate Sponsor is Christie’s.
http://www.seattleartmuseum.org/exhibitions/miro
You may visit Joan Miro: Life & Art news which consist of more paintings, textile, ceramics, sculptures and different information from my blog archive to click below link.
http://mymagicalattic.blogspot.com.tr/2014/10/john-miro-life-art.html




HEAD, BIRD, 1977 ( DETAIL )




HEAD, BIRD, 1977
Indian Ink, Lithographic Ink Tempera
And Wax on Paper - 39 3/8 X 27 3/8 in.​​​
Museo Nacional Centro de Arte Reina Sofia, © Successio Miró /
Artists Rights Society (ARS), New York, ADAGP, Paris, 2014




HEAD, BIRD, 1977 ( DETAIL )




A DIALOG BETWEEN PAINTING AND SCULPTURE
Miro’s paintings and sculptures have a shared repertoire of signs and subjects; ample female figures are a link to prehistoric representations of women as symbols of fertility and of earthly existence; the bird, perched or in flight, is a sign of imagination and poetic capability, while cosmic landscapes and constellations introduce ideas of universal fluidity and beauty.
Miro had created a number of assemblage objects that expanded on painterly ideas in the context of Surrealism, but it was only during and after World War II that he rigorously explored new ideas and processes. In the early 1940’s, he made notes for future sculptures and envisioned a ‘’ phantasmagoric World of living monsters. ‘’ He outlined a process that would take found objects as a starting point – integrating and expanding on them just as he had used stains on paper and imperfections in canvases. Casting the finished assemblage in bronze would maket the individual objects disappear and emphasize the whole. Miro began to realize these ideas after moving into his new studio in 1956.

http://www.seattleartmuseum.org/exhibitions/miro




‘’ I try to apply colors like words that shape poems, like notes that shape music. ‘’
MIRÓ​​​​






WOMAN VI 1969 ( DETAIL )




WOMAN VI 1969
Oil on Canvas 28 ¾ * 36 ¼
Museo Nacional Centro de Arte Reina Sofia, © Successio Miró /
Artists Rights Society (ARS), New York, ADAGP, Paris, 2014




WOMAN VI 1969 ( DETAIL )




FIGURE & BIRD 1968 ( DETAIL )




FIGURE & BIRD 1968 ( DETAIL )




FIGURE & BIRD 1968
Joan Miró, Spanish, 1893-1983,
 Lost-wax Casting, Patinated Bronze, 40 9/16 x 23 5/8 x 8 7/16 in.,
Nacional Centro de Arte Reina Sofía. © Successió Miró /
Artists Rights Society (ARS), New York / ADAGP, Paris 2014




FIGURE & BIRD 1968 ( DETAIL )




FIGURES, BIRDS, CONSTELLATIONS 1976,
Joan Miró, Spanish, 1893-1983,
Oil on Canvas, 51 x 76 9/16 in.,
Museo Nacional Centro de Arte Reina Sofía. © Successió Miró
Artists Rights Society (ARS), New York / ADAGP, Paris 2014




SPATIAL CONCEPTS
The paintings with white backrounds achieve maximum intensity with a minimum of means. They are animated by light touches of color or minimal fluid brushstrokes that become signs in expansive spaces. Miro thought of his paintings in terms of immobility, defining not only an infinite movement of space but a landscape in which the human being is implied.
Immobility makes me think of vast spaces that contain movements that do not stop, movements that have no end. As ( The philosopher Immanuel )  Kant said, ‘ It is a sudden irruption ( eruption ) of the infinite into the finite. ‘ A pebble, which is a finite and immobile object, suggests not only movement to me but movement that has no end.
What I look for, in fact, is an immobile movement, something that would be the equivalent of what we call the eloquence of silence or what Saint John of the Cross called, I believe, soundless music.
MIRO 1959

http://www.seattleartmuseum.org/exhibitions/miro








SEATTLE ART MUSEUM USA










SEATTLE ART MUSEUM USA








FIGURE, 1969,
Lost –Wax Casting, Patinated Bronze, 55 7/8 X 16 3/4 X 16 5/16  in.
Base: 16 9/16 X 12 13/16 X 12 3/16 IN.​
Museo Nacional Centro de Arte Reina Sofia, © Successio Miró /
Artists Rights Society (ARS), New York, ADAGP, Paris, 2014




BIRD & WOMAN ( DETAIL )




BIRD & WOMAN 
Museo Nacional Centro de Arte Reina Sofia, © Successio Miró /
Artists Rights Society (ARS), New York, ADAGP, Paris, 2014




BIRD & WOMAN ( DETAIL )




YOUNG WOMAN DREAMING OF EVASION, 1969
Lost - Wax Casting, Patinated Bronze - 39 X 8 7/8 X 6 7/8 in.​
Museo Nacional Centro de Arte Reina Sofia, © Successio Miró /
Artists Rights Society (ARS), New York, ADAGP, Paris, 2014




FIGURE, BIRDS 1974
Joan Miró, Spanish, 1893-1983,
Oil on Canvas, 45 11/16 x 34 5/8 in.,
Museo Nacional Centro de Arte Reina Sofía. © Successió Miró
Artists Rights Society (ARS), New York / ADAGP, Paris 2014






HEAD & BIRD 1981 - 83 ( DETAIL )




HEAD & BIRD 1981 - 83
Joan Miró, Spanish, 1893-1983,
Lost-wax Casting, Patinated Bronze, 25 9/16 x 16 9/16 x 7 5/16 in.,
 Base: 2 3/4 x 9 13/16 x 7 5/16 in.,
Nacional Centro de Arte Reina Sofía. © Successió Miró /
 Artists Rights Society (ARS), New York / ADAGP, Paris 2014




HEAD & BIRD 1981 - 83 ( DETAIL )




WOMEN & BIRD IN THE NIGHT 1974 ( DETAIL )




WOMEN & BIRD IN THE NIGHT 1974
Joan Miró, Spanish, 1893-1983,
Oil, Acrylic, and Charcoal Pencil on Canvas, 102 3/8 x 72 13/16 in.,
Museo Nacional Centro de Arte Reina Sofía. © Successió Miró /
 Artists Rights Society (ARS), New York / ADAGP, Paris 2014




YOUNG WOMAN 1967 ( DETAIL )




YOUNG WOMAN 1967
Joan Miró, Spanish, 1893- 1983,
Lost-wax Casting, Patinated Bronze, 13 x 14 3/16 x 2 3/4 in.,
Museo Nacional Centro de Arte Reina Sofía. © Successió Miró /
Artists Rights Society (ARS), New York / ADAGP, Paris 2014




YOUNG WOMAN 1967 ( DETAIL )






HEAD IN THE NIGHT 1968
Joan Miró, Spanish, 1893-1983,
 Lost-wax Casting, Patinated Bronze, 28 1/8 x 14 3/16 x 12 3/16 in.,
 base: 1 9/16 x 14 3/16 x 12 3/16 in.,
Nacional Centro de Arte Reina Sofía. © Successió Miró /
Artists Rights Society (ARS), New York / ADAGP, Paris 2014




WOMAN AT THE SQUARE IN A CEMETERY, 1981
Lost - Wax Casting, Patinated Bronze - 23 13/16 X 23 1/16 X 20 1/16 in.
Museo Nacional Centro de Arte Reina Sofia, © Successio Miró /
Artists Rights Society (ARS), New York, ADAGP, Paris, 2014




THE WARRIOR KING 1981
Lost – Wax Casting Patinated Bronze 48 5/8 * 24 3/16*15 9/16
Museo Nacional Centro de Arte Reina Sofia, © Successio Miró /
Artists Rights Society (ARS), New York, ADAGP, Paris, 2014




WOMAN ENTRANCED BY THE ESCAPE OF SHOOTING STARS, 1969,
Acrylic on Canvas - 76 3/4 X 51 3/16 IN.​
Museo Nacional Centro de Arte Reina Sofia, © Successio Miró /
Artists Rights Society (ARS), New York, ADAGP, Paris, 2014





WOMAN WITH BEAUTIFUL BREASTS 1969
Joan Miró, Spanish, 1893-1983,
 Lost-wax Casting, Patinated Bronze, 18 1/2 x 5 1/8 x 3 15/16 in.,
Base: 2 3/8 x 3 15/16 x 3 1/8 in.,
Nacional Centro de Arte Reina Sofía. © Successió Miró /
Artists Rights Society (ARS), New York / ADAGP, Paris 2014






MIRO’S ‘’ LIVING MONSTERS ‘’
The painting in ochre tones, like Bird Woman II, which were painted during the summer of 1977, are full of gestural energy despite the artist’s advanced age. In these paintings, Miro created potent hybrid figures that range from the phantasmagoric to the grotecque. The ochre, black and reddish tones capture a dramatic intensity and the figurative paintings have a tactile quality similar to his sculptures from this period.
Miro remarked that his painting ‘’ can be considered humorous ‘’ but that he thought of his inclination as ‘’ tragic, rather than lighthearted. ‘’

http://www.seattleartmuseum.org/exhibitions/miro






LATE SCULPTURES
The sculptures in this gallery were made in 1981, just two years before Miro’s death. Two intriguing landscapes and a cluster of quietly insistent figures are contrasted here with several drawings from the late 1970’s, which are full of expressive energy.
Within this group of works, there is a compelling interplay between the individual figures – male and female – which conveys both fragility and strength. Their silent gestures resonate in the surrounding space. For the sculptures with an allusion to lanscape, Miro created an actual framework, establishing a scale and stage for the figures and objects that populate these spaces.
Miro drew comparisons between silence and noise as interdependent – in the midst of silence, he noted, ‘’ the smallest sound is magnified. ‘’ His work process was similary dialectic as he described searching for the noise hidden in silence, the movement in immobility, life in inanimate things, and the infinite in the finite.

http://www.seattleartmuseum.org/exhibitions/miro










JOHN MIRO: THE EXPERIENCE OF SEEING
SEATTLE ART MUSEUM
February 13, 2014 - May 26, 2014




JOHN MIRO AT HOME IN HIS STUDIO IN PALMA DE MALLORCA C. 1977
Photo © Christian Simonpietri / Sygma / Corbis
Museo Nacional Centro de Arte Reina Sofia, © Successio Miró /
Artists Rights Society (ARS), New York, ADAGP, Paris, 2014




WOMAN, BIRD & STAR ( HOMAGE TO PICASSO ) 1966 - 1973
Joan Miró, Spanish, 1893-1983,
Oil on Canvas, 96 7/16 x 66 15/16 in.,
Museo Nacional Centro de Arte Reina Sofía. © Successió Miró /
Artists Rights Society (ARS), New York / ADAGP, Paris 2014