 MIRÓJosé Victoriano González Pérez Madrid 1887 – Boulogne-sur-Seine 1927 Self Potrait |
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| Biography. | ||
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| VEGETABLE GARDEN WITH DONKEY
(1918) (Huerto con Asno) Oil on canvas. (65 x 71 cm.) Museum of Modern Art, Estocolmo This picture depicts the rural landcape of Montroig, and combines simplification of the objects with care for detail. Miró, influenced by the artistic vanguards of Barcelona (cubism and fauvism), surprises us with works which could be classified as the first naives when he tries to personalize these trends. |
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| MAN WITH A PIPE
(1925) (Hombre con Pipa) Oil on canvas, 146x 114cm Reina Sofía National Museum This picture reflects Miró´s second period, which encompasses the 20´s, where his treatment of the color blue in the background and the figure, is quite impeccable. The painting also reflects the period when Miró began to study the object on its own. Not in the theme it represented, but in the way he worked on canvas. |
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| ESCARGOT, FEMME, FLEUR, TOILE
(1934) Oil on canvas. 195 x 172cm. Reina Sofía National Museum At this point of study and development of what he learned in Paris, Miró was living in Barcelona where he painted this canvas. Here he took the ideas learnt in France, but used his own style. The most noteworthy of this picture is the vague background color in contrast to the shapes in the foreground, all linked by the words which unite the painting. |
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| PORTRAIT
(1938) (Retrato) Oil on canvas. 162x130cm Reina Sofía National Museum This canvas was painted while the artist ended his period of contact with the surrealist group in Paris and began the consolidation of his own plastic vocabulary, simplifying shapes to the maximum. This made understanding the paintings difficult, because of their strange geometric shapes, but they were unique and original at the same time. |
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| FEMME ET OISEAU DANS LA NUIT
(1903) Indian ink, gouache, watercolour on crem canson Paper. 51 x 65 cm. Reina Sofía National Museum The peculiarity of this picture lies as much in the paper on which it was painted, as in the materials which Miró used to create it. This is one of the testimonies we have of the artist: that he didn´t only work on classic canvas, but he experimented with different shapes, colors and materials. Keeping within his metaphorical outlines, Miró surprises us again with the strenth of his symbolism, giving this an unsurpassable result. |
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| LANDSCAPE
(1976) (Paisaje) Mixed technique: acrylic and wax on canvas.(130 x 194 cm) Reina Sofía National Museum The abstract appearance of Miró´s pictures contrasts with the concrete titles that he chose for them. He considered his works exact reality, which results in the picture´s evolution. This work, made on a background typical of Miró, reflects his theory. Is the asterisk of lines in the upper right part, the sun? If he thought so, what about of the other elements? What did they suggest to him?. |
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