Word: miro
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...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...
...Joan Miro, even today, reflects the cultural confusion in which Surrealism had its roots. At the Rolly-Michaux gallery in Boston aquatints and lithographs of Miro's, mainly from the last ten years, are on exhibit. These works, despite their optimistically bright colors, their fantasy and their wit, despite the simplicity of the cut-out shapes that compose many of the pictures, express many of the original ideas that animated the Surrealist movement. There is a delight in the absurd and the childish here but, at the same time, you feel almost as if the artist was playing a rather...
...Miro has written, too, of the artist as a vessel: "Rather than setting out to paint something, I begin to paint, and as I paint, the picture begins to assert itself or suggests itself under my brush." This consciousness of his artistic role is completely at variance with the aesthetics of bourgeois art that Rene Magritte and Jean Scutenaire decried for lending art the characteristics of a superior activity, despite its removal from the real-life concerns and activity of most people. They criticized bourgeois individualism in art because "the middle-class artis claimsto express elevated sentiments relevant only...
...EXHIBITION in the gallery mostly use a combination of different etching techniques--aquatint, monotype, lithography, drypoint--are mostly large (approximately 40" by 28") and all expensive (ranging between $5000 and $7500). The techniques used in the creation of the pictures belie the apparent simplicity of some of the design. Miro adds further texture and richness to the design by using drypoint engraving, embossing and carborundum, a graining stone that makes heavy furry lines...
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...