4 reyes conjunto gótico y crecimiento hasta siglo xiii2 inglés
Joan miró2
1. 7. Joan Miró 7.1. Joan Miró: biographic data and his influence on Fauvismo
2. “ What I am looking for... is an immobile movement, something which would be the equivalent of what is called the eloquence of silence, or what San Juan de la Cruz, I think it was, described with the term 'mute music'.”
20. The Table (Still Life with Rabbit). 1920. Oil on canvas. 130 x 110 cm. Private collection.
21. 7.2. Miró - from Paris to New York “ My characters have undergone the same process of simplification as the colors. Now that they have been simplified, they appear more human and alive than if they had been represented in all their details ”
22. Standing Nude. 1921. Oil on canvas. 130 x 96 cm. Perls Galleries. New York, NY, USA.
23. The Farm. 1921/22. Oil on canvas. 132 x 147 cm. The National Gallery of Art, Washington, DC, USA.
24. The Farmer's Wife. 1922/23. Oil on canvas. 81 x 65 cm. Private collection.
25.
26. The Tilled Field. 1923/24. Oil on canvas. 66 x 92.7 cm. The Solomon R. Guggenheim Museum, New York, NY, USA.
29. CIRCLE OF THE MASTER OF PEDRET Apse of Santa Maria d’Aneu End of 11th century – beginning of 12th century
30. Ideogram : (from Greek ἰδέα idea "idea" + γράφω grafo "to write") Graphic symbol that represents an idea or concept 木 ×2 = 林 l í n 木 ×3 = 森 sēn 人 + 木 = 休 xiū two trees -> grove three trees -> forest a man leaning against a tree -> rest
31. Catalan Landscape (The Hunter). 1923/24. Oil on canvas. 64.8 x 100.3 cm. The Museum of Modern Arts, New York, NY
56. Dutch Interior II. 1928. oil on canvas. 92 x 73 cm. The Solomon R. Guggenheim Museum, New York, NY, USA.
57. “ Painting or poetry is made as one makes love - a total embrace, prudence thrown to the winds, nothing held back “
58. 7.3. Miró and his Majorcan Period: Between France and Spain. The murder of painting.
59. THE MURDER OF PAINTING - Cubism sentenced illusionistic art to the Death by the Fourth Dimension. - Dadaism was the first anti-art movement wich main objective was destroying art conventions and values. - Surrealism let the killer instinct run through dreams, libido and fantasy. That aimed Miró. He attacked painting….
71. A Dew Drop Falling from a Bird's Wing Wakes Rosalie, who Has Been Asleep in the Shadow of a Spider's Web. 1939. Oil on canvas. 65.4 x 91.7 cm. The University of Iowa Museum of Art, The Mark Pamney Memorial Fund, Iowa, IA, USA.
73. The Nightingale's Song at Midnight and the Morning Rain. 1940. Gouache and terpentine paint on paper. 38 x 46 cm. Perls Galleries. New York, NY, USA.
74. Constellation: The Morning Star. 1940. Gouache and terpentine paint on paper. 38 x 46 cm. Private collection.
75. The beatiful bird revealing the unknown to a pair of lovers . Gauche, oil wash and charcoal on paper 1941
76.
77. Blue II. 1961. Oil on canvas. 270 x 355 cm. Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France
78. Blue III. 1961. Oil on canvas. 270 x 355 cm. Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France.
79. The Lark's Wing, Encircled with Golden Blue, Rejoins the Heart of the Poppy Sleeping on a Diamond-Studded Meadow. 1967. Oil on canvas. 195 x 130 cm. Private collection.
80. The Gold of the Azure. 1967. oil on canvas. 205 x 173.5 cm. Fundació Joan Miró, Barcelona, Spain
81. May 1968. 1973. Acrylic on canvas. 200 x 200 cm. Fundació Joan Miró, Barcelona, Spain.
82. Joan Miró working in his workshop. As his grand son said during an intreview: « He got very angry If moved anything in his workshop. He remembered the place of every single thing »
83.
84. You never finish a painting, you never strart a painting. A painting is like the wind, someting which is always walking without rest.
85. The Hope of the Man Condemned to Death I . 1974
86. The Hope of the Man Condemned to Death II . 1974
87. The Hope of the Man Condemned to Death III . 1974