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Joan Miró
Artist,，Painter(1893.4.20—1983.12.25) 1893年在戈雅與畢加索的西班牙的巴塞羅那出生，父親是一位金匠和珠寶商,。母親出身于細(xì)木匠家庭,。或許是由于父母兩個(gè)家庭傳統(tǒng)技能,、工藝設(shè)計(jì)的影響,，米羅自小就想成為一個(gè)藝術(shù)家。但他性格內(nèi)向,，靦腆寡言,，他的父母并不以為他會(huì)有很大出息。在1907年,，他們把他送進(jìn)巴塞羅那美術(shù)學(xué)校學(xué)習(xí),。然而，少年米羅給學(xué)校教員的印象是“罕見(jiàn)的愚莽”,。后來(lái)他從美術(shù)學(xué)校退學(xué),。出于對(duì)家庭的責(zé)任，米羅1910年時(shí)當(dāng)上一名商業(yè)職員。 Joan Miró i Ferrà (Catalan: [?u?an mi??o]; 20 April 1893 – 25 December 1983) was a Spanish painter, sculptor, and ceramicist born in Barcelona. A museum dedicated to his work, the Fundació Joan Miró, was established in his native city of Barcelona in 1975, and another, the Fundació Pilar i Joan Miró, was established in his adoptive city of Palma de Mallorca in 1981.
Joan Miro：Art is finding yourself關(guān)于夏季這個(gè)難熬的冗長(zhǎng)的季節(jié),，總是充滿奇遇,，熱情暖調(diào)，某個(gè)雨后的黃昏,，充滿未知的遐想,，有米羅的作品，給與了我長(zhǎng)期的期待,，木訥呆板的憨憨米羅早年接觸過(guò)梵高,、馬蒂斯、畢加索,、盧梭等人的作品，也嘗試過(guò)野獸派,、立體派,、達(dá)達(dá)派的表現(xiàn)手法，在探索試水中逐步形成了自己的超現(xiàn)實(shí)主義藝術(shù)風(fēng)格,。他的畫(huà)中往往沒(méi)有什么明確具體的形,，而只有一些線條、一些形的胚胎,、一些類似于兒童涂鴉期的偶得形狀,。顏色非常簡(jiǎn)單，紅,、黃,、綠、藍(lán),、黑,、白，在畫(huà)面上被平涂成一個(gè)個(gè)的色塊,，卻充滿了隱喻,、幽默、輕快,，并且富有詩(shī)意,。Location: Folkwang Museum, Essen, GermanyEarning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supporting bourgeois society, and famously declared an "assassination of painting" in favour of upsetting the visual elements of established painting.Installation view of Calder | Miró Constellations at Acquavella Galleries in collaboration with the Pace GalleryHead of a Catalan Peasant
米羅的藝術(shù)是自由而抒情的。他的畫(huà)中往往沒(méi)有什么明確具體的形,，而只有一些線條,、一些形的胚胎、一些類似于兒童涂鴉期的偶得形狀,。顏色非常簡(jiǎn)單,，紅、黃、綠,、藍(lán),、黑、白,，在畫(huà)面上被平涂成一個(gè)個(gè)的色塊,。看起來(lái),，這些畫(huà)自由,、輕快、無(wú)拘無(wú)束,。但是,，如果你認(rèn)為它們是漫不經(jīng)心一蹴而就的，那你就錯(cuò)了,。它們其實(shí)是藝術(shù)家自由幻想和深思熟慮相結(jié)合的結(jié)果,。正如米羅自己所述，“當(dāng)我畫(huà)時(shí),，畫(huà)在我的筆下會(huì)開(kāi)始自述,，或者暗示自己，在我工作時(shí),，形式變成了一個(gè)女人或一只鳥(niǎo)兒的符號(hào)……第一個(gè)階段是自由的,，潛意識(shí)的?！钡?，“第二階段則是小心盤(pán)算?！币虼?，盡管米羅的畫(huà)天真單純，仿佛出自兒童之手,，但它們絕沒(méi)有兒童畫(huà)的稚拙感,，它們是縝密思考后的流暢活潑。Ciphers and Constellations in Love with a WomanGouache and watercolor with traces of graphite on ivory wove paper The Art Institute of Chicago; Gift of Mrs. Gilbert W. Chapman (1953.338)Photo: The Art Institute of Chicago /Art Resource, NYAlexander Calder, Constellation, 1943Courtesy Calder Foundation, New YorkPhotograph by Tom Powel ImagingChiffres et constellations amoureux d’une femme (Ciphers and Constellations in Love with a Woman), 1941The Art Institute of Chicago; Gift of Mrs. Gilbert W. Chapman (1953.338)Le Bel oiseau de?chiffrant l'inconnu au couple d'amoureux The Museum of Modern Art, New York;Figure at Night Guided by the Phosphorescent Tracks of SnailsLocation: Solomon R. Guggenheim Museum, New York City, NY, US米羅的藝術(shù),，并不在于他的肖像畫(huà)或繪畫(huà)結(jié)構(gòu),，而是他的作品有幻想的幽默——這是其中一個(gè)要素。另一個(gè)就是,，米羅的空想世界非常生動(dòng),。他的有機(jī)物和野獸，甚至他那無(wú)生命的物體,，都有一種熱情的活力,，使我們覺(jué)得比我們?nèi)粘Ｋ?jiàn)更為真實(shí)。他的畫(huà)以華麗的色彩和簡(jiǎn)單大膽的圖案構(gòu)成而聞名。在他的版畫(huà)作品中,，常常出現(xiàn)太陽(yáng),、月亮、星星,、人物,、風(fēng)景、鳥(niǎo)獸以及奇妙的記號(hào),，畫(huà)面鮮艷,、輕快而活潑。Blue I, II, III is a triptych created in 1961. It is a set of three-part display abstract oil paintings by the Spanish modern artist Joan Miró. The paintings are named Blue I, Blue II, Blue III and are similar. All are large paintings of 355 cm x 270 cm each, and are currently owned by the Musée National d'Art Moderne in the Centre Pompidou in Paris. The three blue paintings have to be regarded as one. Seen separately, nothing much seems to be happening on them. Set against subdue surfaces in different shades of blue, Miro distributed a very small number of precise symbols - black dots with either sharp or blurred contours, thin lines drifting diagonally through the picture, and finally some sharp red contrasts, partly as blurred spots and partly as sturdy beams. These few symbols, however, are sufficient to make the blue space pulsate and vibrate, turning it into an unfathomable depth so that the viewer's glance wanders about and eventually becomes totally absorbed by the forcefulness of the blue surface.,。The quality of the Blue is unique. It is reminiscent of Miro's Dream Paintings of the 1920s, though those are even more complex and intricate. Should there ever be a history of the colour blue - as the poet Rilke once suggested after he had been inspired by landscapes of Paul Cezanne - then Miro's triptychs would undoubtedly form part of it. The large modulations of this colour have been applied with an amazing degree of sensitivity so that the pigment is no longer noticeable at all. This makes it a spiritual colour, in keeping with Romantic colour symbolism - a symbol of the inner and cosmic night, of artistic creation and of spiritual purity, a blue which is also the colour of dreams. It is one of Miro's masterly achievements that he enlivened this colour with only a small number of symbols and opened up the vast infinity of imagination.
03 超現(xiàn)實(shí)主義時(shí)期他的藝術(shù)代表了超現(xiàn)實(shí)主義的另一種風(fēng)格,，其超現(xiàn)實(shí)主義作品主題來(lái)源于記憶和夢(mèng)境，即有機(jī)的超現(xiàn)實(shí)主義,。帶有怪異和幽默的特征,，包括扭曲的形體和古怪的幾何結(jié)構(gòu)。他企圖要?dú)缋硇院瓦壿嫷闹髟?，把無(wú)意識(shí)和非邏輯心靈的沖力從中解放出來(lái)，且探測(cè)不可見(jiàn)領(lǐng)域和視覺(jué)世界的奧秘,。米羅后來(lái)把形體和結(jié)構(gòu)抽象為點(diǎn),、線和爆發(fā)的色彩。米羅的作品是令人愉快的,，其畫(huà)面洋溢著自由天真的氣息,，往往人見(jiàn)人愛(ài)。"The Ear of Grain" is an early work in which Miró demonstrates his close study of everyday objects, in some ways a by-product of study in a traditional academic setting. As a young artist, Miró was influenced by the painstaking, detailed realism of the Dutch Masters. The attention he gives to objects is reflected later in the care Miró takes with constructing the clean-edged, biomorphic forms of his trademark style.《谷穗》是他早期的作品,，其中Miró展示了他對(duì)日常物品的細(xì)致研究,，在某種程度上，這是在傳統(tǒng)學(xué)術(shù)環(huán)境下研究的副產(chǎn)品,。作為一名年輕的藝術(shù)家,，Miró受到了荷蘭大師們苦心創(chuàng)作、細(xì)致入微的現(xiàn)實(shí)主義的影響,。他對(duì)物體的關(guān)注后來(lái)反映在Miró在構(gòu)建其標(biāo)志性風(fēng)格的邊緣清晰的生物形態(tài)時(shí)所采取的關(guān)注,。Man and Woman in Front of a Pile of Excrement
Location: Joan Miró Foundation, Barcelona, Spain米羅是非常多產(chǎn)的,，畫(huà)風(fēng)始終如一而又多樣變化,。以至想要一般性地追述一下都十分困難。早期作品受塞尚,、梵高和畢加索及野獸派畫(huà)家的影響,，作品或帶有極為精雅的色彩和線條的運(yùn)動(dòng)，或具有立體主義的作風(fēng)。1928年他訪問(wèn)了荷蘭,，受到荷蘭少有的幾個(gè)大師的影響,。他制作了一系列的繪畫(huà)，題名為荷蘭的室內(nèi),，那是從真實(shí)到幻想變形的實(shí)例,。
除繪畫(huà)外，米羅也涉足其他領(lǐng)域,，如蝕刻,、平版畫(huà)、水彩,、蠟筆,、拼貼畫(huà)等。他的陶瓷雕刻作品尤其著名,，例如巴黎聯(lián)合國(guó)教科文組織大樓的兩件巨大的陶瓷壁畫(huà),，即1957年到1959年間創(chuàng)作的兩項(xiàng)陶壁作品——太陽(yáng)和月亮之壁。
Woman and Bird Joan Miro Original Title: Dona i Ocell Date: 1983 Style: Surrealism Genre: sculpture Location: Barcelona Museum of Contemporary Art (MACBA), Barcelona, Spain Hope of a Condemned Man II Joan Miro Date: 1974 Style: Abstract ism Genre: abstract Hope of a Condemned Man III Joan Miro Date: 1974 Style: Abstract ism Genre: abstract Hope of a Condemned Man I Joan Miro Date: 1974 Style: Abstract ism Genre: abstract Woman and Bird in the NightMedia: gouache, indian ink, paperLocation: Joan Miró Foundation, Barcelona, SpainDonna (Wall) Joan Miro Original Title: Dona (Mural) Date: 1977 Style: Abstract ism, Surrealism Genre: abstract Carota Joan Miro Date: c.1978 Style: Abstract ism, Surrealism Genre: abstract Les adieux Joan Miro Date: 1981 Style: Surrealism Genre: abstract Sol de Miró Joan Miro Original Title: logo for Spain’s tourist industry Date: 1983 Style: Surrealism, Abstract ism Miro once said: In my opinion, mastering freedom means mastering simplicity. Then, at most, a line, a color, is enough to make the picture.The Singing Fish is instantly recognizable as the work of Miro, combining highly abstract shapes to represent the artist's imagination. The key focal point in this painting is the head of the fish which looks out to the top left of the canvas, with its eye represented by two abstract circles.The Singing Fish is characterized by the use of a few pure tones (namely black and red), big simple forms and exceptional laconism in combination with the energy of poetic expression. This painting has a childlike simplicity and playfulness to it. Miro sought essential pictorial vocabulary in primitive sources, particularly prehistoric cave paintings of his native Spain. He used signs and symbols, composed of basic linear ingredients.《加泰隆風(fēng)景》中的幻想,，雖然神秘但很生動(dòng),。在畫(huà)中，黃色和橙黃的兩塊平面,，相交于一條曲線,。獵人和獵物都畫(huà)成幾何的線條和形狀。一些不可思議的物體散置在大地上,，有些可以辨認(rèn),，有些好象暗示海上的生物或顯微鏡下的生物。1920年代末至1930年代初,，米羅開(kāi)始探討拼貼和裝配,，并創(chuàng)作了一些怪人物。這些探索一直又繼續(xù)搞了十年,。這個(gè)時(shí)期給人印象最深刻的作品,，就是1933年的大型組畫(huà)，到此時(shí)為止,，這也是最抽象的作品,。有一些是以拼貼的要素為基礎(chǔ)的，把從報(bào)紙上撕下來(lái)的真實(shí)細(xì)部,，貼到紙板上,。母題有工具、家具,、碟子和玻璃器皿,，暗示他的抽象有機(jī)形狀,，有時(shí)是指面部或人體。這些繪畫(huà)的意圖是以抽象為主體,，并用中性的標(biāo)題表現(xiàn)出來(lái),。
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