Joan Miro: Snail Woman Flower Star

Overview


Tracing Miro' s career, this book begins in the 1920s with the artist's introduction to surrealism, cubism, and dadaism, and the flowering of his friendships with Picasso, Braque and other influential artists and poets. It moves on to his creation of an iconographic pictorial style, which reached maturity in the 1940s and forever distinguished Miro from his contemporaries.
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Overview


Tracing Miro' s career, this book begins in the 1920s with the artist's introduction to surrealism, cubism, and dadaism, and the flowering of his friendships with Picasso, Braque and other influential artists and poets. It moves on to his creation of an iconographic pictorial style, which reached maturity in the 1940s and forever distinguished Miro from his contemporaries.
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Editorial Reviews

Publishers Weekly
Andre Breton, the leading literary force of Surrealism, accused Miro of giving "himself up utterly to painting," and not (to the French writer's dismay) to theory. In connection with an exhibition of the Catalan painter's whimsical, cartoon-like collages, drawings and paintings, editors von Wiese and Martin have compiled a catalog that quite handily supports Breton's charge. Long considered a principal Surrealist artist, Miro certainly did focus on the playful, erotic and sinister unconscious-so his instantly recognizable, spindly-limbed amoebas attest. As one essay titled "Miro's Strategies" notes, the Barcelona-born artist-no stranger to ideology, having navigated strains of Futurism, Dadaism, and Catalan nationalism-managed to remain a reticent ascetic in the flamboyant Paris of the 1920s. Joaquim Gomis's clean, direct photographs show a man with neatly cuffed pants and a dapper tie working in a dusty foundry. But it is the volume's sumptuous reproductions that best bear out Breton's accusation that the artist simply wasn't a theoretician for the movement. More than an automatic doodler, Miro wielded consummate skill with line, composition and palette, producing richly atmospheric works-whether starkly empty canvases or frenetically cramped tableaus. In all cases, his attention to organic forms on deep background color leaves a profound formal legacy. Before he was a theoretician or even a Surrealist, Miro was a painter-a fortuitous failing. 30 b&w photos, 261 b&w and color reproductions. (June) Copyright 2003 Reed Business Information.
Library Journal
Miro is one of the most recognized artists of the 20th century; his career paralleled and greatly influenced the history of abstraction in painting. Fittingly, a great deal of ink has been spilled over the last 20 years about Miro's life and work. Major retrospective exhibitions organized by the Guggenheim in 1987 and the Museum of Modern Art in 1993, as well as publication of a catalogue raisonn in 1999, form a comprehensive body of recent scholarship. This new catalog, which accompanies an exhibition at the museum kunst palast, D sseldorf, comprises works from collections across Europe and the United States. It includes paintings, drawings, sculpture, and prints, highlighting important aspects of Miro's oeuvre, particularly from the 1920s and 1930s. Accompanying the 100 full-color plates and five essays is a photographic essay by Joaquim Gomis, a close friend of Miro's. Gomis's photographs are quite beautiful, and they wonderfully reveal Miro's life and thought processes. While not a major retrospective catalog, this is nevertheless an attractive work that adds to the ever-growing Miro scholarship. Recommended for academic and other libraries with strong modern art collections.-Kraig A. Binkowski, Delaware Art Museum, Wilmington Copyright 2003 Reed Business Information.
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Product Details

  • ISBN-13: 9783791340487
  • Publisher: Prestel Publishing
  • Publication date: 9/30/2008
  • Pages: 240
  • Sales rank: 1,445,186
  • Product dimensions: 7.90 (w) x 9.50 (h) x 0.90 (d)

Meet the Author

Stephan Von Wiese is Curator of Modern Art at the Museum Kunst Palast in Düsseldorf, Germany. Sylvia Martin is an art historian living in Munich, Germany.

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Table of Contents

Foreword 6
Joaquim Gomis and the 'Atmosfera Miro' 10
Miro's Strategies: Rebellious in Barcelona, Reticent in Paris 38
Painting as Universal Poetry: The Connection Between Picture and World in Miro 50
On the Readability of Signs: Miro's Path from Mysterious to Comic Pictorial Signs in the 1920s and 1930s 64
From the Playful to a Denunciation of Violence: Miro's Deformations of the 1920s and 1930s 78
The 'Barcelona' Series: Fifty Lithographs, 1939-1944 88
A Labyrinth by Joan Miro 106
Plates 120
Biography 228
Bibliography 232
List of Works 234
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