Joan Miró: the Ladder of Escape May 6, 2012 - August 12, 2012

Total Page:16

File Type:pdf, Size:1020Kb

Joan Miró: the Ladder of Escape May 6, 2012 - August 12, 2012 Updated Monday, April 16, 2012 | 11:18:45 AM Last updated Monday, April 16, 2012 Updated Monday, April 16, 2012 | 11:18:45 AM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Joan Miró: The Ladder of Escape May 6, 2012 - August 12, 2012 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required (*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Joan Miró The Flight of the Dragonfly before the Sun, 26 January 1968 oil on canvas Overall: 173.9 x 243.8 cm (68 7/16 x 96 in.) framed: 175.9 x 245.8 cm (69 1/4 x 96 3/4 in.) National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon Joan Miró Verve no. 5-6, July - October 1939 magazine overall: 36.7 x 24.8 cm (14 7/16 x 9 3/4 in.) National Gallery of Art, Washington David K. E. Bruce Fund Joan Miró Barcelona Series (1), 1944 lithograph sheet: 70 x 52.3 cm (27 9/16 x 20 9/16 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (2), 1944 lithograph sheet: 70 x 52.8 cm (27 9/16 x 20 13/16 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Order images online at www.nga.gov/press Page 1 National Gallery of Art Press Office | Joan Miró: The Ladder of Escape : Joan Miró Barcelona Series (3), 1944 lithograph sheet: 70 x 52.8 cm (27 9/16 x 20 13/16 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (4), 1944 lithograph sheet: 70.1 x 52.3 cm (27 5/8 x 20 9/16 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (5), 1944 lithograph sheet: 70 x 53.3 cm (27 9/16 x 21 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (6), 1944 lithograph sheet: 70 x 52.4 cm (27 9/16 x 20 5/8 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (7), 1944 lithograph sheet: 70.1 x 52.4 cm (27 5/8 x 20 5/8 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (8), 1944 lithograph sheet: 70 x 53 cm (27 9/16 x 20 7/8 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (9), 1944 lithograph sheet: 70 x 53 cm (27 9/16 x 20 7/8 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Order images online at www.nga.gov/press Page 2 National Gallery of Art Press Office | Joan Miró: The Ladder of Escape : Joan Miró Barcelona Series (10), 1944 lithograph sheet: 70 x 52 cm (27 9/16 x 20 1/2 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (11), 1944 lithograph sheet: 70 x 53.3 cm (27 9/16 x 21 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (12), 1944 lithograph sheet: 70 x 53 cm (27 9/16 x 20 7/8 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (13), 1944 lithograph sheet: 70.2 x 53 cm (27 5/8 x 20 7/8 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (14), 1944 lithograph sheet: 70.2 x 53.2 cm (27 5/8 x 20 15/16 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (15), 1944 lithograph sheet: 70 x 52.9 cm (27 9/16 x 20 13/16 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (16), 1944 lithograph sheet: 70 x 53.3 cm (27 9/16 x 21 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Order images online at www.nga.gov/press Page 3 National Gallery of Art Press Office | Joan Miró: The Ladder of Escape : Joan Miró Barcelona Series (17), 1944 lithograph sheet: 70 x 53.2 cm (27 9/16 x 20 15/16 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (18), 1944 lithograph sheet: 70.1 x 53.3 cm (27 5/8 x 21 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (19), 1944 lithograph sheet: 70 x 52.4 cm (27 9/16 x 20 5/8 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (20), 1944 lithograph sheet: 70.1 x 53 cm (27 5/8 x 20 7/8 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (21), 1944 lithograph sheet: 70.1 x 53 cm (27 5/8 x 20 7/8 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (22), 1944 lithograph sheet: 70 x 53 cm (27 9/16 x 20 7/8 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (23), 1944 lithograph sheet: 70 x 52.4 cm (27 9/16 x 20 5/8 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Order images online at www.nga.gov/press Page 4 National Gallery of Art Press Office | Joan Miró: The Ladder of Escape : Joan Miró Barcelona Series (24), 1944 lithograph sheet: 70.1 x 52.8 cm (27 5/8 x 20 13/16 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (25), 1944 lithograph sheet: 70 x 52.9 cm (27 9/16 x 20 13/16 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (26), 1944 lithograph sheet: 70.2 x 52.4 cm (27 5/8 x 20 5/8 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (27), 1944 lithograph sheet: 70.2 x 53.1 cm (27 5/8 x 20 7/8 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (28), 1944 lithograph sheet: 70.1 x 52.3 cm (27 5/8 x 20 9/16 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (29), 1944 lithograph sheet: 70 x 52.8 cm (27 9/16 x 20 13/16 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (30), 1944 lithograph sheet: 70.1 x 53.2 cm (27 5/8 x 20 15/16 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Order images online at www.nga.gov/press Page 5 National Gallery of Art Press Office | Joan Miró: The Ladder of Escape : Joan Miró Barcelona Series (31), 1944 lithograph sheet: 70 x 52 cm (27 9/16 x 20 1/2 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (32), 1944 lithograph sheet: 70.1 x 53 cm (27 5/8 x 20 7/8 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (33), 1944 lithograph sheet: 70 x 53 cm (27 9/16 x 20 7/8 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (34), 1944 lithograph sheet: 70 x 52.5 cm (27 9/16 x 20 11/16 in.) framed: 54 x 71 x 3 cm (21 1/4 x 27 15/16 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (35), 1944 lithograph sheet: 70.1 x 52.5 cm (27 5/8 x 20 11/16 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (36), 1944 lithograph sheet: 70 x 53.2 cm (27 9/16 x 20 15/16 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (37), 1944 lithograph sheet: 70.1 x 53 cm (27 5/8 x 20 7/8 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Order images online at www.nga.gov/press Page 6 National Gallery of Art Press Office | Joan Miró: The Ladder of Escape : Joan Miró Barcelona Series (38), 1944 lithograph sheet: 70.2 x 53.3 cm (27 5/8 x 21 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (39), 1944 lithograph sheet: 70 x 52.4 cm (27 9/16 x 20 5/8 in.) framed: 71 x 54 x 3 cm (27 15/16 x 21 1/4 x 1 3/16 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (40), 1944 lithograph sheet: 73.98 x 60.33 cm (29 1/8 x 23 3/4 in.) Fundació Joan Miró, Barcelona Joan Miró Barcelona Series (41), 1944 lithograph sheet: 73.98 x 60.33 cm (29 1/8 x 23 3/4 in.) Fundació Joan Miró, Barcelona Cat.
Recommended publications
  • Joan Miró: Universality, Collectivity, and Anonymity
    JOAN MIRÓ: UNIVERSALITY, COLLECTIVITY, AND ANONYMITY By RONI D. ROSS A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2014 ©2014 Roni D. Ross To Alexander D. Franklin ACKNOWLEDGMENTS I would like to extend my sincerest gratitude to the chair of my committee Dr. Joyce Tsai for her many critical suggestions, thoughtful conversation, and general guidance on my project. For her helpful comments and stimulating questions, I would like to thank my committee member, Dr. Melissa Hyde. I would also like to thank my peers for their many helpful suggestions and nonstop motivation, both in and outside of the classroom. My gratitude extends to my wonderful family for their constant encouragement and willing ears. Finally, my most heartfelt acknowledgments go to my husband, Alex Franklin, for his support at every stage of this project and through all of graduate school, his continuous inspiration, and most importantly, his unwavering patience. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 ABSTRACT .....................................................................................................................................6 CHAPTER 1 INTRODUCTION ....................................................................................................................8 2 SEARCHING FOR A UNIVERSAL PICTORIAL LANGUAGE ........................................19
    [Show full text]
  • Sculptural Process in Joan Miró (1928–1982)
    Freedom / Poetry Sculptural process in Joan Miró (1928–1982) MARÍA JOSÉ SALAZAR If there is one thing that defines the work and the personality of Joan Miró, it is the words POETRY and FREEDOM . In troubled times, Jean-Paul Sartre, in his play The Flies (1943), presents freedom as something inherent to the individual, but also as a quality that may be conditioned by circumstances. When it is adopted as a way of life, transcending the mere events of living, influences, fashions, customs and adjustments fade into the background and give way to a more meaningful existence that pervades all one’s creative work, as it does with Joan Miró. “Obviously, freedom of the spirit opens up new horizons”, 1 he admitted, and this undoubtedly enabled him to break with traditional art, in a clear rejection of existing artistic and social rules, always based on the conviction that art is a moral activity. And if we combine this aspect of his personality with his passion for poetry, we enter a unique, exceptional and enriching world, in every field of creativity he turns his hand to: painting, drawing, printmaking, stage design, illustration, ceramics, artists’ books, textile works, and of course the sculpture we are presenting in this show at Centro Botín in Santander. All these works are closely related to avant-garde movements, but above all they are personal and free, so much so that they form a world of their own, sometimes called “Mironian”. Joan Miró (1893–1983), born and trained in Barcelona, held his first exhibition at Galeries Dalmau in that city in 1918.
    [Show full text]
  • Joan Miró. the Poetry of Everyday Life
    Joan Miró. The Poetry of Everyday Life Table of Contents Introduction 3 The Fundació Joan Miró The Poetry of Everyday Life 4 Summary of the Exhibition Content of the Exhibition 6 List of Works 42 Supporting Materials for the Exhibition 68 Exhibition Requirements 69 Useful Information 69 Loan Fee 70 Introduction Aerial view of the Fundació Joan Miró, Barcelona. Photo: Pere Pratdesaba The Fundació Joan Miró The Fundació Joan Miró was created by Miró himself, at first principally with works from his own private collection, with a desire to set up an internationally recognised centre in Barcelona for Miró scholarship and contemporary art research as well as to disseminate the collection. The Fundació opened to the public on 10 June 1975 and has since become a dynamic centre in which Joan Miró’s work coexists with cutting-edge contemporary art. With an interdisciplinary approach, the Fundació organises temporary exhibitions of 20th and 21st century artists as well as academic activities and projects in collaboration with other institutions and organisations. Through its exhibition and educational programmes, the Fundació Joan Miró explores lines of research linked to the work of Miró and to contemporary art. The Fundació is located in a building designed by Josep Lluís Sert, making it one of the few museums anywhere in the world in which the complicity between artist and architect underpins the dialogue between the works and the space that houses them. The Fundació offers an overview of the landscapes of Joan Miró’s art and life, creating an enriching dialogue with other artists from the 20th and 21st centuries.
    [Show full text]
  • Grand Palais 3 October 2018 – 4 February 2019
    Grand Palais 3 OctOber 2018 – 4 February 2019 His homeland, Catalonia, offered him inspiration, Paris his first springboard, and Palma de Mallorca the great studio he had always dreamed of. Between these places, Joan Miró created an oeuvre that is devoid of anecdotes, mannerisms, or any complacency towards modes of expression. To achieve this, he constantly questioned his pictorial language, even if it broke his momentum. Although he was interested in the twentieth century avant-garde, he did not adhere to any school or any group, being wary of artistic chimeras. From the 1920s onwards, Miró expressed his desire to "murder painting" and developed innovative practices. His work presents itself as a tool of protest and bears witness to his struggles. He never ceased to grapple with materials in order to affirm the power of the creative gesture. Characterised by this "primitive" energy, he is one of the few artists, with Pablo Picasso, to have launched a challenge to surrealism and abstraction (which he always considered a dead end). An inventor of forms, Miró translates into poetic and powerful terms the freedom of which he was so fiercely jealous and uses the full force of painting. #ExpoMiro DOWNLOAD THE NEW GRAND PALAIS APPLICATION https://tinyurl.com/appgrandpalais 1. “CATALAN FAUVE” 3. DETAILIST PAINTINGS 1915-1917 1918-1922 From 1912 to 1915, Miró studied at the Escola Fervently seeking “absolute nature,” Miró sought d’Art de Francesc Galí, a private institution in to deliver his “ecstatic vision” of the microcosm of Barcelona, open to the ideas of the European the Mont-roig family farm.
    [Show full text]
  • 1509-110-Miro Slides.Pdf
    Last of this group to die – 1983 He worked extensively in lithography and produced many murals, tapestries, and sculptures for public spaces. In spite of his fame, Miró, an introvert, continued to devote himself exclusively to looking and creating. Joan Miró was born in Barcelona, Spain in 1893. He came from a craft oriented family so his family supported his art study although his father hoped he would become a businessman. Joan Miró is considered to be one of the most versatile masters of 20th century art; he is often described as a Spanish SURREALIST, but he is actually many different artists in one. Miró used painting, sculpture, textiles, pottery, printing, theatre, and enormous public monuments to express his ideas His style evolved over time, tried different styles until he found his own. 1 From exhibit of same name organized by Tate Tate Modern – 4/14/11 ‐ 9/11/11 Foundation Joan Miro, Barcelona – 10/13/11 – 3/25/12 NGA 5/6/12 – 8/12/12 Born in Gothic quarter of Barcelona, near where Picasso museum is now Went to same art school as Picasso 12 years later Dada or Dadaism was a form of artistic anarchy born out of disgustr fo the social, political and cultural values of the time. It embraced elements of art, music, poetry, theatre, dance and politics. Marcel Duchamp, Man Ray Developed into surrealism ‐ a 20th‐century avant‐garde movement in art and literature that sought to release the creative potential of the unconscious mind, for example by the irrational juxtaposition of images. 2 Portrait of E.
    [Show full text]
  • Joan Miró. Women, Birds, Stars Exhibition Organised by the Fundació Joan Miró, Barcelona, in Collaboration with the Museum of Art Pudong, Shanghai
    Joan Miró. Women, Birds, Stars Exhibition organised by the Fundació Joan Miró, Barcelona, in collaboration with the Museum of Art Pudong, Shanghai. Curated by Jordi Joan Clavero, Fundació Joan Miró, Barcelona. 8 July 2021 – 7 November 2021 Museum of Art Pudong, Shanghai Press Release The Fundació Joan Miró presents Joan Miró. Women, Birds, Stars, a major exhibition of Miró’s work at the Museum of Art Pudong in Shanghai. The Museum of Art Pudong, in Shanghai, a showcase for modern and contemporary art in China in the new building designed by Jean Nouvel Architects, will focus its inaugural exhibition on Joan Miró, one of the leading artists of the twentieth century. The exhibition, organised by the Fundació Joan Miró in collaboration with the Museum of Art Pudong, is the first show conceived and organised by the Fundació Joan Miró for China and the most important to be held on the artist’s work in Asia since 2014. It will be open to the public from 8 July to 7 November 2021. Curated by Jordi Joan Clavero, Head of Public Programming and Education at the Fundació Joan Miró, the exhibition Joan Miró. Women, Birds, Stars includes sixty-nine paintings, sculptures, drawings and prints by the artist belonging to the foundation’s permanent collection and two private collections, plus a series of photographs by Joaquim Gomis, video material, and a public and educational program specially designed for this project. In the works on display, visitors will discover Miró’s imagination and his unique language of signs, as well as the way the artist experimented with a variety of techniques and materials and the new life he gave to everyday objects.
    [Show full text]
  • Chronology of a Lifetime
    CHRONOLOGY OF A LIFETIME < Joaquim Gomis Joan Miró’s painting utensils — © Hereus de Joaquim Gomis. Fundació Joan Miró, Barcelona Joan Miró Untitled, 1972 India ink and pencil on paper 18,9 x 964 cm — Fundació Pilar i Joan Miró a Mallorca FPJM-573 1893 Birth of Joan Miró Ferrà on 20 April at Passage del Crèdit 4, Barcelona. His father, Miquel Miró Adzerias, son of a blacksmith in Cornudella, was a watchmaker and silversmith. His mother, Dolors Ferrà Oromí, was the daughter of a cabinet-maker in Palma de Mallorca. 1900 Begins primary school at Carrer del Regomir 13, where he attends drawing classes given by Sr. Civil. 1901 The earliest extant drawings date from this year. 1907 Enrolls at the School of Commerce in Barcelona, and at the same time attends classes at the School of Arts & Crafts and Fine Arts (the Llotja) until 1910. His teachers there are Modest Urgell and Josep Pascó. 1908 Earliest extant oil painting. 1910 Works as an accounts clerk for the Dalmau i Oliveres hardware and chemicals firm in Barcelona. 1911 Is unable to settle in his job. Catches typhoid fever and spends time convalescing in Mont-roig (Tarragona), at the farm recently purchased by his parents. 1912 Decides to devote himself entirely to painting and enrolls in the art school run by Francesc Galí, which he attends until 1915. Among his fellow students are Joan Prats, Josep Francesc Ràfols, Enric Cristòfol Ricart and possibly Josep Llorens Artigas. 1913 Joins the Cercle Artístic de Sant Lluc, where he attends life classes. 1915 Shares a studio with E.C.
    [Show full text]
  • The Artforum Index: Volume I, Number 1, Through Volume VII, Number 4 June 1962 Through December 1968
    The Artforum Index 1962-1968. New version. © by Laurence McGilvery 1970, 2002, 2009 1 The Artforum Index: Volume I, number 1, through volume VII, number 4 June 1962 through December 1968 The original edition of 1000 copies appeared 1 July 1970 as Artforum, 1962-1968: a cumulative index to the first six years, by Laurence McGilvery, La Jolla, California. This revised, free, on-line version is published 1 November 2009. CONTENTS INTRODUCTION ACKNOWLEDGMENTS NOTES to the first sixty-five issues INDEX A, B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S, T, U, V, W, Y, Z © by Laurence McGilvery 1970, 2002, 2009 All rights reserved for printed, electronic, digital, or any other media The Artforum Index 1962-1968. New version. © by Laurence McGilvery 1970, 2002, 2009 2 INTRODUCTION BACKGROUND. The first, expanded, on-line version of The Artforum Index was prepared during the spring of 2002 and appeared almost exactly thirty-two years after its initial publication as Artforum, 1962-1968: a cumulative index to the first six volumes. It includes volume VII, numbers 1-4, September-December 1968. Coverage of Artforum by Art Index began with volume VII, number 5, January 1969. This further-revised, digital version, prepared during the fall of 2009, also is free. Nearly all abbreviations have been spelled out, and the speed of today’s computers allows a much simpler, faster interface for the reader. For the first on-line version, the TextBridge Pro 9.0 character-recognition program was used to scan the original printing master.
    [Show full text]
  • For Joan Miro, Poetry and Painting Were the Same
    FOR JOAN MIRO, POETRY AND PAINTING WERE THE SAME And although the works of the noted Catalan artist appear spontaneous and free, they were really the product of disciplined intensity On a sun-seared April afternoon 15 years ago, another foreign correspondent and I called on Joan Miro at his home on a hill just outside Palma on the craggy, medieval island of Majorca. A few days short of his 85th birthday, the impish yet seemingly shy painter, wearing a suit and tie, received us in his living room, a typical Spanish bourgeois salon with stuffed furniture, houseplants and shelves of knickknacks. The decor, in fact, included several pieces of the white-painted, clay-molded, folk-crafted whistle figures that tourists always buy in Majorca. The paintings, tapestry and fan on the walls, however, did not blend in. All were original Miros. Polite, pleased to meet journalists from the country that first Self-portrait from 1919, painted at age 26 before hailed his genius, Miro, during more than two hours of conversation Miro went to France, shows early influence of in Spanish, acknowledged that outsiders might be surprised at how Cubism. (Musee Picasso, Paris) ordinary he seemed, how different from the images of his more bohemian, more histrionic, more eccentric compatriots Pablo Picasso and Salvador Dali. "I live like a normal citizen," he said. "But there is a Catalan saying that the procession marches inside you. What happens is inside. "Inside?" he then asked, chuckling and waving an open hand near his chest. "Whew! Miro, by then, was a tiny, stooped man with delicate, thinning white hair and the palest of gray eves.
    [Show full text]
  • Developing English Communicative Competence Through Art Decca Project Erasmus +
    Escuela Oficial de Idiomas de Telde I begin with an idea and then it becomes something else PABLO PICASSO The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. 2 DECCA Project Participants Introduction Theoretical background of our work Perspectives Acknowledgements Activites DECCA Resource Book Authors 3 Developing English Communicative Competence through Art Decca Project Erasmus + Norberto Ojeda Zamora DECCA Project Coordinator Escuela Oficial de Idiomas Las Palmas de Gran Canaria Canary Islands, Spain Norberto Ojeda Zamora Coordinator Participants Carolina Castellano Ortega Eugenia González Betancor Mª Rosario González Martín Jon Iñaki Iriondo Sáez Luis García García Norberto Ojeda Zamora Mª Rosario Rosales Acosta Escuela Oficial de Idiomas Telde Canary Islands, Spain Mª Mercedes Hernández Rey Coordinator Participant Mª Mercedes Hernández Rey 4 Mullsjö Folkhögskola Sweden Asa Holmqvist Coordinator Participants Mats Eriksson Åsa Holmqvist Jaana Plate Jenny Söderlund Westfalen-Kolleg Bielefeld Germany Karsten Bremke Coordinator Participants Karsten Bremke Michael Witte DECCA logo designer Jaana Plate 5 Introduction This book, designed for adult students of English as a foreign language, emphasises our research and innovation of language learning activities, ranging from “A2” to “C” CEFR levels, which can be easily adapted to other levels of education and students’ characteristics. Basically, the content of this book centers around the development of English communicative competence language skills through art. Learners are engaged in a variety of activities which will make them aware of understanding differences in art, culture as well as developing their cultural awareness in today’s world.
    [Show full text]
  • Joan Miro by James Johnson Sweeney
    Joan Miro By James Johnson Sweeney Author Sweeney, James Johnson, 1900-1986 Date 1941 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2915 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art JOAN MIRO 88 pages; 70 plates (4 in color ) $2.00 JOAN MIRO BY JAMES JOHNSON SWEENEY Joan Miro is one of the most gifted artists of our period. Of the younger men in Europe none can boast a more original contribution or a sounder redirection of interests than this young leader of the inter-war generation of painters in Paris. He has won the acclaim alike of serious critics and the general public. This important survey of his art, the first mono graph on the subject, illustrates and analyzes all of the painter's more important works and through this analysis brilliantly clarifies his de velopment. The book also evaluates Miro's con tribution to the European pictorial tradition and especially his relation to his immediate predeces sors. A brief but comprehensive sketch of the artist's career is followed by a general considera tion of twentieth century painting and his place in it. Emphasis is laid on Miro's intimate links with his Catalan heritage. A comprehensive bib liography is accompanied by lists of all of the painter's exhibitions, books illustrated by him, ballets which he has designed, and other work in related pictorial fields.
    [Show full text]
  • Joan Miró a La Viquipèdia Estat De La Qüestió El Juny De 2016 Índex
    Joan Miró a la Viquipèdia Estat de la qüestió el juny de 2016 Índex 1 Biografia 1 1.1 Joan Miró i Ferrà ........................................... 1 1.1.1 Biografia ........................................... 1 1.1.2 Obra ............................................. 8 1.1.3 Exposicions destacades .................................... 13 1.1.4 Premis i reconeixements ................................... 14 1.1.5 Fundacions .......................................... 14 1.1.6 Tallers ............................................ 15 1.1.7 Cultura popular ........................................ 16 1.1.8 Notes ............................................. 16 1.1.9 Referències .......................................... 16 1.1.10 Bibliografia .......................................... 19 1.1.11 Enllaços externs ....................................... 20 2 Obra 21 2.1 Aidez l'Espagne ............................................ 21 2.1.1 Descripció .......................................... 21 2.1.2 Referències .......................................... 21 2.2 Autoretrat (Joan Miró, 1937-38/1960) ................................ 21 2.2.1 Descripció .......................................... 21 2.2.2 Referències .......................................... 22 2.2.3 Bibliografia .......................................... 22 2.3 Autoretrat (Miró) ........................................... 22 2.3.1 Història ............................................ 22 2.3.2 Descripció .......................................... 22 2.3.3 Crítica ...........................................
    [Show full text]