DOCSLIB.ORG

Read Book Joan Miro: the Ladder of Escape Kindle

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Read Book Joan Miro: the Ladder of Escape Kindle JOAN MIRO: THE LADDER OF ESCAPE PDF, EPUB, EBOOK Marko Daniel,Matthew Gale | 235 pages | 01 Dec 2012 | Thames & Hudson Ltd | 9780500093672 | English | London, United Kingdom Joan Miro: The Ladder of Escape PDF Book They can be a means of escape from worldly woes, but they also may lead the visionary prophet back down to earth, where he may try to get people to become better oriented to transcendental realities — by making art, for example. Joan Miro was torn between a passionate loyalty to his native Catalonia and a desire to escape into a world of pure creativity. But the anxieties articulated by Surrealists are intensely personal. Look at the mischievous, misshapen creatures that crowd the wonderful early paintings of his maturity. After all, Surrealism is primarily about the inner visions of individual artists, rather than wider political events. And it heralds so much of what follows. Subhajit Das rated it really liked it Nov 21, It is a beautiful and exciting show. Clear your history. Technical Specs. The Farm is both picture and poem. It is as if we were seeing through the eyes of a saint in a state of spiritual transport. Halloween Movies for the Whole Family. From his early head of a Catalan peasant series to his constant insistence at being called Joan, Miro never left the soil of his homeland. Director: Carroll Moore. Dog Barking at the Moon , painted also in Paris, described as a Surrealist work is painted with a black night and brown earth where a comet shoots past, a moon on which a heart is painted and a red nose applied, is the focus of the strange but endearing multi-coloured creature. No one else has been able to paint those two opposing things. Back to School Picks. Information: The material world recedes, the poetry floats free as air. Details if other :. Click on the pictures below to enlarge. It has in it all that you feel about Spain when you are there and all that you feel when you are away and cannot go there. He was also completing his set of paintings on masonite, some of his strongest works, in my experience:. Language: English. Tate Modern. His pictorial language was singular, instantly recognisable and — quite rightly — no longer perceived as some Catalan dialect of surrealism. Enlarge cover. Joan Miro: The Ladder of Escape Writer Mysterious and romantic, its hallucinatory quality is explained by Hemingway as due to the artist practically starving to death in Paris as he worked over nine months to complete it. Click on the pictures below to enlarge. A Catalan peasant as two stars, a scarlet hat and a beard of bunting. Look at the series known as the Constellations , where the twinkling forms are connected across the canvas as if by tracery, necklace or web, each painting somehow marrying surface diagram with mysterious, spacey depth. Indeed, it reminds one that there are parallel issues in contemporary art today of great urgency the world over, and at times the issues become blurred and at worst scrambled due to the expanded lexicon of visual devices available to artists. Jess rated it liked it May 06, It is quite hard even to spot a mood swing in this show. But it must have something to do with his new way of painting, too, in which objects have a double life as letters — the E of a crate, the A of a ladder, the O of wheel, pail and sun — and everything is simultaneously inside the scene and written on its surface. October Streaming Picks. To see the early works at Tate Modern is to be transported. It is about liberating the imagination. October Streaming Picks. What's this? Later works also reference the wider world. Lines breed, stick figures merge with sunrays, discs fracture into pinpricks, cross-hatched spiders fade into air. The final area of the exhibition examines the final years of the dictatorship of General Franco. Need another excuse to treat yourself to a new book this week? He first visited Paris in and lived there the following year, before embarking upon his breakthrough painting, The Farm. They can be a means of escape from worldly woes, but they also may lead the visionary prophet back down to earth, where he may try to get people to become better oriented to transcendental realities — by making art, for example. Russian artists paid lip service to literature, where farm labourers, the noble peasants with whom Tolstoy so identified, were presented as a symbol of honest purity. Rate This. Ibid: Joan Miro: The Ladder of Escape Reviews Colin marked it as to-read Nov 07, But for those who pay attention to wall texts and catalog essays, it is a different story. London: Penguin Classics, Runtime: 33 min. Subhajit Das rated it really liked it Nov 21, It is quite hard even to spot a mood swing in this show. But ladders go both ways. Alternate Versions. If it is political, that is because it insistently promotes freedom of personal expression, which he believed should never be thwarted. It is often said that one can feel the sensations of his art, its tremulous lines and rustling forms, vibrations and pulses. Are the footprints animal or human? Photos Add Image Add an image Do you have any images for this title? Anna Karenina translated by Rosemary Edmonds. In doing so he was using art to explore and define a better place, where watchful eyes, crescent moons, aspects of life on earth and the heavens could achieve harmony. His response to war all around was to make a journey into an inner world where redemption through form for the artist could act as a metaphor for the wider world. Every entity is given its own autonomous space in the picture, separately praised but connected by rhyming shapes: stream and path, snail and pebble, roof and furrow. Back to School Picks. More filters. Keep track of everything you watch; tell your friends. Language: English. Self archive footage Angelina Rovira One sees the nominal evidence, to be sure — the memorials to the assassinated anarchist, the titles referring to martyrdom and torture. Susan Mayhew rated it it was amazing May 31, Ibid: It shows a chocolate landscape beneath a black night sky against which a ladder stands, as if one could climb up to the stars. John rated it it was amazing Nov 06, Olafur Eliasson: In Real Life. The main exhibition was supported by using QRpedia codes that allowed visitors to access Wikipedia in Catalan , Russian, English and several other languages. Friend Reviews. It sheds new light on the life and achievements of one of the greatest artists of the twentieth century. Click on the pictures below to enlarge. Rating details. To ask other readers questions about Joan Miro , please sign up. Hardcover , pages. Edit Details Official Sites: Official site. Complete with decent sized reproductions, the ladder of escape is a great insight into one of the twentieth centuries greatest artists. Museum of Modern Art, New York. The moving poetry that exists in the humblest things and the radiant spiritual forces that emanate from them. The Telegraph. A retrospective tone thus characterises the later work, hence weakening the visual tension that the work in the — period had possessed. He created a Surrealist language of symbols following his own imagined fantasies and the use of bright colours. External Sites. Joan Miro: The Ladder of Escape Read Online No one else has been able to paint those two opposing things. Plot Keywords. To see the early works at Tate Modern is to be transported. As IMDb celebrates its 30th birthday, we have six shows to get you ready for those pivotal years of your life In his essay about these stunning paintings, the art historian Robert S. But his work in the s and s carried the weight of existential philosophy, which expressed the futility of life and the hopeless predicament of humanity. Most popular. Language: English. It is to this realm of imagination that the ladder recurring in many of his paintings leads: to a place inhabited by metaphysical life-forms and mind-stretching symbols, whose hallucinatory presences may convey truths that elude everyday consciousness. There are no discussion topics on this book yet. The humour of the Catalan peasants becomes much more apparent when all the paintings are brought together. From Coraline to ParaNorman check out some of our favorite family-friendly movie picks to watch this Halloween. Karina marked it as to-read Oct 02, Written by Anonymous. There are late flourishes: several enormous triptychs featuring colourful smudges, dark fuzzy blobs and spindly lines, like enlarged microscope slides of cellular life. Add the first question. Enormous canvases in which a small point is writ too large, tiny sketches that offer no thoughts. Katalina marked it as to-read Dec 04, Marko Daniel. Release Dates. Click on the pictures below to enlarge. Color: Color. The final area of the exhibition examines the final years of the dictatorship of General Franco. Michael Yamada rated it really liked it Mar 14, Quoted by Robert S. Acrylic and oil on canvas, x cm. If it is political, that is because it insistently promotes freedom of personal expression, which he believed should never be thwarted. Color: Color. Joan Miro was torn between a passionate loyalty to his native Catalonia and a desire to Complete with decent sized reproductions, the ladder of escape is a great insight into one of the twentieth centuries greatest artists. https://cdn.starwebserver.se/shops/nourmattssonuu/files/wet-on-painting-feminism-and-art-culture-235.pdf https://files8.webydo.com/9584535/UploadedFiles/3A064439-D308-FC71-39B8-4F6BA99578FB.pdf https://cdn.starwebserver.se/shops/razmusblomqvistao/files/121-tips-for-better-bridge-992.pdf https://files8.webydo.com/9584195/UploadedFiles/19D401C2-5D6E-06B8-D5E1-C51A12DB757C.pdf https://cdn.starwebserver.se/shops/inezaxelssonix/files/in-the-stormy-red-sky-797.pdf https://files8.webydo.com/9583201/UploadedFiles/2AAEF49B-6360-85E8-9084-DFB10D6BD43E.pdf https://files8.webydo.com/9584108/UploadedFiles/89E0CE8B-0B1A-B9D4-6647-B487A25750C0.pdf https://files8.webydo.com/9584177/UploadedFiles/C2F19DEF-2996-122C-8DBE-E86BE680ADD5.pdf.
Load more

Recommended publications
  • THE FIELD of the PASSIONATE IMAGINATION with Powerful Emotional Value
    These are necessary works and hence true, which imbues them objects, among them siurells, whistles from Mallorca in the 4. Margit Rowell, Joan Miró, Selected Writings and Interviews, THE FIELD OF THE PASSIONATE IMAGINATION with powerful emotional value. Possibly the most beautiful shape of white figurines painted in other colours, and all kinds Boston, G. K. Hall, 1986. Colm Tóibín of his last works are the numerous, disturbing black heads of other items, such as toys, gourds, stones and intriguingly- 5. Jaques Dupin, Miró, Paris, Flammarion, 1993. Translated with red or blue luminous eyes, and the paintings featuring shaped tree trunks. Some of his sculptures are juxtapositions into English from the Spanish edition: Barcelona, Polígrafa, women, perhaps goddesses of the night whom he pursues in of assorted objects, from tortoise shells and animal horns Slowly, as the nineteenth century turned and the twentieth 2004, p. 95. his search for creative fertility, as seen in Woman in a Trance to shoe lasts, wicker baskets and rudders; many of them century began, writers and painters became almost brazenly State Caused by the Flight of Shooting Stars (1969), Woman contain something of the Surrealist game par excellence, the 6. Jacques Dupin, op. cit., p. 113. aware that writing is made with language and that painting is and Nightingale Birdsong in the Night and Woman Facing the exquisite cadaver. Later on, when he cast the sculptures in made with paint. Artists also became deeply alert to ideas 7. Margit Rowell, op. cit. Moon (both from 1971), Woman with Three Hairs Surrounded bronze, the objects were unified into wholes, most of which about consciousness, symbols and will, ideas that made their by Birds during the Night (1972), Woman during the Night and have something of the totem or figure about them.
    [Show full text]
  • The Farm ​​By Joan Miró How Did Miró Come to Make This
    Art Story: The Farm by Joan Miró ​ ​ Read by Terence Washington How did Miró come to make this painting? Joan Miró was born, educated, and trained as an artist in Barcelona, Spain. During his youth he spent summers at his family’s farm in Montroig, a nearby village. These summers became an important touchstone for Miró’s artistic identity. ​ In 1920 at the age of twenty-seven, he moved to Paris. There he was inspired by Cubist art, with its fragmented objects and abstract forms. He was also influenced by the Surrealist poets and painters, who aimed to release the creative power of the subconscious mind by making images in which the familiar met the fantastical. While living and learning in Paris, Miró remained deeply attached to his native home in Catalonia. He returned to the family farm and began creating this painting​ ​in the summer of 1921. He continued working on it in Barcelona and then, when he moved back to Paris, he had herbs sent from the farm to remind him of the shapes of the leaves growing there. It took him a full nine months to finish this painting. This early painting is an example of how Miró made the ordinary extraordinary. The scene is both real and unreal -- familiar, yet unfamiliar. Each element in the farmyard is carefully observed and precisely described, yet the overall effect is strangely dreamlike. Miró’s style creates a kind of magical realism. The artist came to regard ​The Farm ​as one of his key works. Describing it, he said, “This picture represents all that was closest to me at home, even the footprints on the path by the house….
    [Show full text]
  • Joan Miró, the Farm (Detail), 1921 – 1922, National Gallery of Art, Washington, Gift of Mary Hemingway National Gallery of Art Public Symposium
    cover: Joan Miró, The Farm (detail), 1921 – 1922, National Gallery of Art, Washington, Gift of Mary Hemingway National Gallery of Art Public Symposium Joan Miró June 1 12:00 – 5:00 / June 2 11:00 – 3:00 East Building Auditorium www.nga.gov June 2 12:00 – 12:45 12:45 – 1:45 break Public Symposium Joan Miró 11:00 – 11:15 Miró’s Studios: Reflecting His Roots, His References, and His Memories 1:45 – 2:30 Introduction June 1 12:00 – 5:00 / June 2 11:00 – 3:00 / East Building Auditorium Maria Luisa Lax, curator and head L’Oeuvre de guerre of Miró: Constel- Felix Monguilot Benzal, graduate of collections, Fundació Pilar i Joan lation Series, Série Barcelona, and curatorial fellow, National Gallery Miró a Mallorca Ceramics, 1940 – 1945 of Art This lecture explores the role of Jaume Reus, art historian and curator June 1 1:00 – 1:45 Ultimately, we will want to know 11:15 – 12:00 Miró’s studios in Palma as an es- The aim of this lecture is to consider Perspective, Position, and Politics: what kind of perspective Miró’s “The Farm”: Primitivism and sential instrument in his artistic 12:00 – 12:10 Miró’s personal escape from the Joan Miró works of the late 1910s through the Transfiguration practice from the time he moved to Opening Remarks Mallorca in 1956. These work spaces context of war and dictatorship Charles Palermo, Alumni Memo- early 1930s afford their beholder, Maria-Josep Balsach, professor Faya Causey, head of academic have a documentary value and, in and the internal exile he felt during rial Term Distinguished Associate and what kind of subject position of contemporary art, University programs, National Gallery of Art conjunction with correspondence, the first half of the 1940s.
    [Show full text]
  • Joan Miró the Farm 2 This Painting Is a “Portrait” of a Cherished Place, an Inventory of Miró’S Life on His Farm in Catalonia
    Joan Miró The Farm 2 This painting is a “portrait” of a cherished place, an inventory of Miró’s life on his farm in Catalonia. Look closely to find: A large eucalyptus tree (its dark leaves are silhouetted against the brilliant blue sky) Footsteps along a path A barking dog A woman washing clothes at a trough, with her baby playing nearby A donkey plodding around a millstone Catalan Painter Mountains Families of rabbits and chickens in a coop 1 Joan Miró (1893 – 1983) was born, educated, and trained A pig peeking through an open door as an artist in Barcelona, Spain. Although the art scene in Barcelona was lively, Miró moved to Paris in 1920, seek- A goat with a pigeon perched on its back ing a more cosmopolitan environment. There he met a A lizard and snail crawling amid grass and twigs fellow Spanish artist, Pablo Picasso. Miró was inspired by the interlocking shapes and facets of Picasso’s cubist art. Buckets, pails, and watering cans littering the yard Another influence on Miró’s style was his contact with the A farmhouse with a horse resting inside and a covered many other avant-garde artists — particularly Dada and wagon propped outside surrealist poets — who lived and worked in Paris. At the same time, Miró remained deeply attached to Catalonia, the northeast corner of Spain where he grew Wonder up. Each summer he returned to his family’s farm in Montroig, a village near Barcelona. Parts of the land- What time of day is it? Is that the sun or a full moon scape of Catalonia — plants, insects, birds, stars, sun- in the sky? shine, the moon, the Mediterranean Sea, architecture, Whose footprints are those? Why do they suddenly end? and the countryside — appear in Miró’s art throughout his long career.
    [Show full text]
  • The Vertical Farm: a Review of Developments and Implications for the Vertical City
    buildings Review The Vertical Farm: A Review of Developments and Implications for the Vertical City Kheir Al-Kodmany Department of Urban Planning and Policy, College of Urban Planning and Public Affairs, University of Illinois at Chicago, Chicago, IL 60607, USA; [email protected] Received: 10 January 2018; Accepted: 1 February 2018; Published: 5 February 2018 Abstract: This paper discusses the emerging need for vertical farms by examining issues related to food security, urban population growth, farmland shortages, “food miles”, and associated greenhouse gas (GHG) emissions. Urban planners and agricultural leaders have argued that cities will need to produce food internally to respond to demand by increasing population and to avoid paralyzing congestion, harmful pollution, and unaffordable food prices. The paper examines urban agriculture as a solution to these problems by merging food production and consumption in one place, with the vertical farm being suitable for urban areas where available land is limited and expensive. Luckily, recent advances in greenhouse technologies such as hydroponics, aeroponics, and aquaponics have provided a promising future to the vertical farm concept. These high-tech systems represent a paradigm shift in farming and food production and offer suitable and efficient methods for city farming by minimizing maintenance and maximizing yield. Upon reviewing these technologies and examining project prototypes, we find that these efforts may plant the seeds for the realization of the vertical farm. The paper, however, closes by speculating about the consequences, advantages, and disadvantages of the vertical farm’s implementation. Economic feasibility, codes, regulations, and a lack of expertise remain major obstacles in the path to implementing the vertical farm.
    [Show full text]
  • Betting the Farm
    simplehuman Compost Pail Indoor Kitchen Composter Red Worms - Compost Worms Composting made simple Free As low as $58.95. Buy today 23.49 Per 1000 - Free Shipping shipping and handling Bokashi Odor Control Wholesale - Guaranteed Live www.simplehuman.com www.innovativeProBiotics.com www.GardenWorms.com ABOUT CONTACT HOUSING GUIDE LINKS STAFF RSS Search & Hit Enter Betting the Farm An ambitious warehouse farm crops up in Bridgeport THE LATEST FROM THE BLOG By Harrison Smith January 19, 2011 Could you have your very own City of Chicago garbage truck? HHW to hold Friends and Family Thank You Celebration TONIGHT: SIGHT SOUND SPACE CATEGORIES Arts and Culture (506) Eats (94) Film (32) Music (114) Stage (72) TV & Radio (7) Visual Arts (140) Words (47) Business (9) Ellis Calvin Events (36) Features (181) Darion Crawford, compost manager, is pointing down the length of Iron Street Farm. Neighborhood (412) I’m standing with him on the roof of a warehouse in industrial Bridgeport, just Archer Heights (2) across the street from PepsiCo Chicago and just across the river from the Ashburn (1) smokestacks of some industrial plant. A gray smear of exhaust is rising up from the Auburn Gresham (4) stacks, settling next to the Willis Tower in the northeast. Avalon Park (1) “At first we thought, ‘Oh, rooftop: rooftop garden.’ It’ll probably end up being wind Back of the Yards (1) systems and solar energy, though,” says Darion. He’s dressed in various shades of Beverly (7) white, black, and gray, and most everything’s pretty pale and gray from the roof Bridgeport (54) —the skyline on the horizon is colorless (save for the blinking red lights at the top of Brighton Park (4) the Willis), and then there’s the Chicago River, half-frozen on the other side of the Bronzeville (20) farm’s eastern wall.
    [Show full text]
  • The Farm Regulatory Certainty Act of 2017 the IMPORTANCE of CITIZEN ENFORCEMENT to PROTECT COMMUNITIES and DRINKING WATER from AGRICULTURAL POLLUTION
    H.R. ____, The Farm Regulatory Certainty Act of 2017 THE IMPORTANCE OF CITIZEN ENFORCEMENT TO PROTECT COMMUNITIES AND DRINKING WATER FROM AGRICULTURAL POLLUTION Testimony of Jessica Culpepper, Food Project Attorney at Public Justice U.S. House Subcommittee on the Environment Hearing on the Discussion Draft November 9, 2017 Summary Without the Resource Conservation and Recovery Act’s (RCRA) citizen enforcement provision, no existing law by itself allows private well owners to stop drinking water contamination by agricultural pollution. The Safe Drinking Water Act (SDWA) excludes private wells from regulation. The Clean Water Act only addresses impacts to surface water. RCRA supplements a number of other federal, state, and local laws that apply to agricultural waste management, but this system fits together like the gears of a clock that will not work unless citizens have the right to enforce them. Like the SDWA, but unlike the Clean Water Act, RCRA imposes no specific regulatory burden on agriculture. Rather, it provides a mechanism for citizen law enforcement where a polluter has endangered public health or the environment. But if this bill is passed, then any proceeding covering waste management would preclude rural Americans from enforcing the only law protecting their access to clean water. While most farmers are dedicated members of their community and stewards of the land, there are some who ignore their own waste management plans and permits. Some irresponsible operators of concentrated animal feeding operations (CAFOs) have long been violating state and federal laws in how they manage their manure. Rural communities living near CAFOs have seen repeated instances where state and federal agencies did not effectively enforce laws designed to protect communities from the risks and pollution stemming from mismanaged waste owned by 1 CAFO operators.
    [Show full text]
  • Nadala at the Fundació Joan Miró Photography in the Foyer
    Nadala at the Fundació Joan Miró Photography in the Foyer Joan Miró and the Nativity Figures Installation and photographic selection by Josep Mañà 23/11/2017 — 07/01/2018 Opening: 22 November 2017, 6 pm Press release The Fundació Joan Miró presents Joan Miró and the Nativity Figures, an installation by Josep Mañà reflecting the admiration that Joan Miró had for this popular art iconography. For the 2017 Christmas installation, Mañà has recreated a traditional Nativity scene reproducing a wide range of landscapes in the Foyer of the Foundation, in homage to Miró’s close relationship with nature and the land. Taking place from 23 November 2017 to 8 January 2018, the installation will be accompanied by a new photographic selection from the Joaquim Gomis Fonds that aims to highlight the great affection Miró felt for the artistic expressions of popular culture. Barcelona, 21 November 2017. ‘Popular art always moves me. It doesn’t cheat or play tricks. It goes straight to the point. It is amazing and so full of possibilities!’ ‘Look at the Nativity figures that are sold at Christmas markets. You can still see the fingerprints in the clay.’ (Joan Miró) The Nativity figures, or pastorets as they are called in Mallorca, were an integral part of Miró’s childhood, when the traditional Christmas market, or Saint Lucia’s Fair, used to occupy the Plaça Sant Jaume, close to his birthplace at Passatge del Crèdit. Years later, in Son Abrines, his studio in Palma de Mallorca, he kept a collection of them in a vitrine that he solemnly called his ‘Pinacotheque’, next to other of his favourite samples of popular craft, such as the Mallorcan clay whistles.
    [Show full text]
  • The Tilled Field Lines in His Artworks
    Magical Realist Joan Miró was a Spanish Catalan artist, born in Barcelona in 1893. From 1920, Miró painted in a magical realist style. He painted carefully, and made things look quite realistic. Some parts of these paintings seem slightly strange or unusual. These paintings feel almost real, but as if something is not quite right. This creates a feeling that the paintings are magical, or like a dream. Magical Realist Miró’s painting, ‘The Farm’. ‘The Farm’ was painted in a magical realist style. It includes lots of carefully painted different elements. Each individual item is painted in detail, and seems realistic whilst some of the things seem too big or too small. The painting seems almost realistic, but also slightly magical. The Farm, 1922 Surrealism • Surrealism was an art movement that began in the 1920s. • Surrealist artists wanted to combine dreams and reality in their artworks. • Surrealist paintings included everyday objects and strange creatures. • Several things which would not normally be seen together were painted in the same piece. • The unusual combinations made for strange and powerful pictures, which made viewers feel like they were in a dream. Surrealism: Miró’s Surrealist Paintings In 1922, Joan Miró began exploring surrealism in his paintings. He began painting in a more abstract style. This meant that the things he painted were less realistic, and might not look exactly like they do in real life. He started using strong colours, such as black, red, yellow, green and blue and painted shapes and The Tilled Field lines in his artworks. Surrealism • Some shapes are geometric, such as triangles and squares.
    [Show full text]
  • Teaching Guide Fundació Joan Miró INDEX
    Teaching guide Fundació Joan Miró INDEX 0. PRESENTATION I. ALPHABET: 1. Lines and circles 2. Magic brush 3. Lines and planes II. TECHNIQUES: 1. Prints and drips 2. Against the canvas 3. Improvisations on the wall III. COLOUR: 1. Coloured water 2. Painted tunes 3. Palette of emotions IV. TEXTURE: 1. Bronze paths 2. Frottage 3. Incisions V. FORM: 1. Cutouts 2. Collage of shapes 3. Abstractions VI. VOLUME: 1. Meeting of objects 2. Project for a monument 3. The invisible object VII. SYMBOLISM: 1. Transformations 2. Bestiary of signs 3. On poster VIII. COMPOSITION: 1. Rhythmic patterns 2. Symmetries 3. Between the lines IX. SOUNDS: 1. Sound paintings 2. Sound workshop 3. Sound agenda X. PRINTABLE RAISED IMAGES - Teaching guide - Fundació Joan Miró PRESENTATION The project consists of 30 activities divided into 10 sections. Each section has three levels of difficulty, and each level has two phases: the first observation, and the second creativity. From the outset the project has taken a variety of users into consideration (individual, family, schools), groups with specific educational concerns, interests and needs, as well as the different psychomotor abilities of early learners and resources accessible to people with visual or auditory disabilities. While it is possible to establish a relationship between levels and ages of users, other potentially relevant factors must first be considered. For the sake of guidance, we would say that the most elementary level is especially suitable for users aged between 3 and 6; the intermediate level for those aged 7 to 12 and the top level for the rest.
    [Show full text]
  • A Fanciful Juxtaposition, a Reimagined Farm
    ABOUT THE COVER A Fanciful Juxtaposition, a Reimagined Farm Byron Breedlove etecting the emergence of novel pathogens before Dthey spread from local sites, where they first ap- pear in animals or humans, is crucial for responding ef- fectively to zoonotic health threats. In The Tilled Field, which appears as this month’s cover art, internationally acclaimed artist Joan Miró Ferra was not, of course, offer- ing a lesson in how zoonoses such as anthrax, brucellosis, cryptosporidiosis, hantavirus pulmonary syndrome, lep- tospirosis, orfs, rabies, or salmonellosis may be spread. Nonetheless, his painting reminds viewers of the interde- pendent relationship among people, animals, plants, and their shared environment. The Fundació Joan Miró notes that Miró “avoided academicism in his constant quest for a pure, global art that could not be classified under any specific movement.” Throughout his long career, Miró’s deliberate approach to, and tenacious experimentation with forms of expres- sion enabled him to complete a vast, diverse collection of works, estimated to include some 2,000 oil paintings, 500 sculptures, 400 ceramic objects, 5,000 drawings and col- lages, and 250 illustrated books. Miró said, “I work like a labourer on a farm or in a vineyard. Things come to me slowly. My vocabulary of forms, for instance, has not been the discovery of a day. It took shape in spite of myself.... That is why I am always working on a hundred different things at the same time.” During the summer of 1923, Miró started painting Joan Miró (1893–1983), The Tilled Field (La Terre Labourée), The Tilled Field, an homage to his family’s farm in Mont- 1923–1924.
    [Show full text]
  • A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
    This page intentionally left blank This page intentionally left blank A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 2 Painters born from 1850 to 1910 This page intentionally left blank A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 2 Painters born from 1850 to 1910 by Dorothy W. Phillips Curator of Collections The Corcoran Gallery of Art, Washington D.G. 1973 Library of Congress Catalogue Card Number N 850. A 617 Designed by Graham Johnson/Lund Humphries Printed in Great Britain by Lund Humphries Contents Foreword by Roy Slade, Director vi Introduction by Hermann Warner Williams, Jr., Director Emeritus vii Acknowledgments ix Notes on the Catalogue x Catalogue i Index of titles and artists 199 This page intentionally left blank Foreword As Director of the Corcoran Gallery of Art, I am pleased that Volume II of the Catalogue of the American Paintings in the Corcoran Gallery of Art, which has been in preparation for some five years, has come to fruition in my tenure. The second volume deals with the paintings of artists born between 1850 and 1910. The documented catalogue of the Corcoran's American paintings carries forward the project, initiated by former Director Hermann Warner Williams, Jr., of providing a series of defini• tive publications of the Gallery's considerable collection of American art. The Gallery intends to continue with other volumes devoted to contemporary American painting, sculpture, drawings, watercolors and prints. In recent years the growing interest in and concern for American paint• ing has become apparent.
    [Show full text]