Word: miro
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Robert Motherwell's Western Air is cubism smashed flat and with a couple of sky-holes poked through it. It demonstrates how abstract expressionism can make violent use of yesterday's art furniture. Arshile Gorky's Garden in Sochi uses Miro-like amoeba shapes to express an infant memory...
...work of Miro is gay and childlike. In a few broad strokes he paints a head that looks like it comes from a 5th grade drawing board. His naivite and simplicity extend even to his use of color, which rarely deviates from the grade school palette of primary tones. Yet both his lyric feeling for color and innocent flow of form take on masterful surety through discipline and technique...
...simple visions take on philosophical dimension because of his typically Spanish ability to combine gaiety and humor with the grotesque. Though this does not mean for him specific social concerns as it does with Goya or Picasso. Miro's world even as it exhibits the primal images of Jungian psychology does not cause pain. It does not probe or disturb the way Klee's calligraphic revelations of the subconscious seem to. Using one of his recurrent forms--the ladder Miro prefers to drift into a sea or sky world. As he said when the war broke out "I felt...
...series of black and white lithographs from 1944 show that Miro was still strongly in the grips of Surrealism. He had accepted the cubists flat picture plans and sacrifice of reality to demands of equilibrium and now worked exploring the possibilities of combining forms, in "jesting grotesque." Never completely satisfied with tightness of silhouettes he sporadically tried his hand at the rough shaky line and nervous application of color. This departure similar to the ramblings of Jackson Pollock show up in some of his etchings done in 1953, which surrender more than usually to spontaneity in design. His oils continue...
...Miro finds a new basis for life and means of continuation in the appreciation of spontaneity and the resources of his own emotion. Perhaps his work is fresh and unarming to the 20th century man because it is aimed at those who take themselves too seriously and who forget to feel the stars, the sun and the land the way Miro does. The fact that his form is organic and never completely abstract--that it is always a sign of something "a man, a bird or something else"--should give his art lasting value both because contemporary art is moving...