Word: mir
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Dates: during 1960-1969
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...inspiration comes from music. "Right now I'm in a Bach mood," he reports. "Tomorrow it could be Stockhausen. I'm very fond of the Beatles, too." Then, after the first spontaneous burst of creation, come the months-and sometimes years-of revision. "A line," says Miró, "has to breathe. If it doesn't, it's dead, and if you see a corpse, you smell...
...never flamboyant, Miró has always been in danger of being dismissed as merely playful. Happily married, reluctant to engage in polemics, disliking grand gestures, he has never been one to charm and bedevil the public as have his fellow Spaniards Dali and Picasso. As one of the earliest and most abstract of all the surrealists, Miró was already a near-legendary figure among his fellow painters by the 1930s. But even in the 1960s, there are still critics who argue that his art is too shallow, too cheerful, too clever and, above all, too personal and too eclectic...
There is increasing awareness that Miró in fact has had a far more enduring impact on the landscape of 20th century art than many critics had once suspected. The recognition comes, in part, as a result of a series of recent retrospectives in Zurich, Tokyo, London, New York, and now Los Angeles, which have brought out into the open many of his little-known works. They reveal Miró to be a remarkably diversified artist (see color pages). In the light of his full range, he stands forth today as astonishingly youthful, relevant and contemporary...
...seen as the spiritual forefather of postcubist movements, ranging from the gesture paintings of the abstract expressionists to the gaily erotic whimsies of such pop artists as Warhol, Lichtenstein and Oldenburg. Miró is not only the most influential painter of the generation that came to maturity between two world wars; he is also the finest living painter after Picasso...
Symbol in a Snail. Curator William S. Rubin, in his "Dada, Surrealism and Their Heritage" exhibition at the Museum of Modern Art this spring, went all out to pry little-known but major Mirós from private collectors. Rubin now feels that Miró's 1925 The Birth of the World-is in many ways as significant a painting as Picasso's first major cubist painting, the 1907 Demoiselles d'Avignon. A subtly seething, 8-ft.-high panorama, The Birth of the World, says Rubin, is "in retrospect the point of departure in modern painting," making...