Word: miro
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Dates: during 1970-1979
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Diaghilev was more than a gilded talent scout. Wherever he found genius, he made it fashionable. Parisians flocked to see Parade, which coincided with the flowering of cubism. Romeo and Juliet, designed by Miro and Max Ernst, popularized surrealism. Apollon Musagete, the first successful collaboration of Stravinsky and Balanchine, marked the beginning of neoclassicism in music and dance. Diaghilev's own life was measured out in hotel bills and telegrams. He ranged ceaselessly from Europe to America in search of backers and triumphs. World War I and the Russian Revolution slowed his progress but never stopped...
...celebrate the 86th birthday of Europe's greatest living painter, some 300 examples of Joan Miro's last quarter-century of work were rounded up for a unique display at Saint-Paul-de-Vence on the French Riviera. The ultimate objetamid the sculpture, paintings and stained glass: the artist himself, in a rare public appearance. Physically Miro showed the shadings of age; artistically, however, he sounded positively primal. "I have a whole infinity of projects in mind," he promised the gathering of international well-wishers. "I am simply waiting for an opportunity to realize them...
...hindsight, one can easily see where they got their language: how Gorky's spidery, fluent line emerged from Miro, how the bulging shapes of early de Kooning derive from '30s Picasso, what Rothko got from Max Ernst and Pollock from Kandinsky, and how deeply Adolph Gottlieb's pictographs were influenced by Victor Brauner. But that is perhaps of secondary importance. What counts most in this show is the spectacle of those obscure but desperately committed artists painting as though art had the power to change life, as though culture itself depended on their efforts: which...
...exhibition includes several famous works: "Equinoxe," the 1968 "Le Grand Sorcier," "Le Penseir Puisant," and two comparatively recent pieces, "Maja Negra" and "Le Sarrazin a I'Eoile Bleu," where Miro has added details by scratching into the paper with his fingernail, exposing the paper...
Walking away from these works you may feel that the look of Joan Miro's art has radically changed from his early work. Yet, without becoming stale, the motives behind it are still somewhat the same. As Miro wrote in 1939, describing his early struggles for recognition, he has constantly striven, whatever medium he uses, "To try and go further than easel painting... to try to go as far as possible and through painting to get closer to the people who are never out of my mind...