The artist used whitewashed canvas, coarse burlap, Masonite (hardboard), sandpaper and tarpaper in order to create unique visual worlds of outstanding materiality. Miró’s paintings hereby gained the haptic qualities and textures of wall surfaces. His particular approach with the wall explains the care with which he selected and prepared the materials and the grounds of his pictures at every stage of his career. ![]() He explored the structure of its surface and aimed to dissolve the boundaries of the image space. Miró distanced himself from the simple reproduction of reality and equated the picture plane with the wall. In his painterly practice, the wall was the starting point-both as an object to be depicted and as an inspiration for the textural quality of his works. From February 26 through JSchirn Kunsthalle Frankfurt presents an until now little discussed aspect of his oeuvre in a focused solo exhibition: Miró’s preference for large-scale formats and his fascination with the wall. Today he is widely regarded as one of the greatest artists of the 20th century. Christie’s purchased the painting at the estate sale of a very private New Yorker in 2004.Joan Miró (1893–1983) once famously declared that he wanted to “assassinate” painting. Interestingly, the painting had been kept from public view since it was completed in Paris in 1938, originally amid fears it would fall into the hands of the German occupiers. In May 2008, Miro’s politically charged “La Caresse des Etoiles” sold at auction in New York for more than $17 million. While his Ulrich Museum project was underway, he created a bold wool-and-hemp tapestry for the World Trade Center, which was destroyed in the 2001 terrorist attack. He began this 28-by-52-foot project, comprising a million pieces of Venetian glass and marble, when he was 79 years old and completed it six years later. Ulrich Museum of Art on the campus of Wichita State University in Kansas. One of his best-kept secrets is a customized glass mosaic installation, “Personnage Oiseaux (Bird Characters)” at the Edwin A. He continually experimented with media and technique, working in lithography, collage, engraving, sculpture and ceramic. Miro claimed he was literally a starving artist when he painted “The Carnival of Harlequin,” after he went to bed hungry and “saw shapes on the ceiling.” Among the most well-known are “The Tilled Field,” 1923, “The Carnival of Harlequin,” 1924, and “Dog Barking at the Moon,”1926. Miro was a prolific painter with about 2,000 paintings to his credit. His first Paris exhibit was in 1921, where Ernest Hemingway was enthralled by - and purchased - his cubist-surreal “The Farm.” ![]() Afterwards, he split his time between Spain and Paris, where he mingled with other painters, poets and writers and shifted his style more towards the surreal. Two years later, he met Picasso during a visit to Paris, a turning point in his artistic life. ![]() In 1918 he put on his first one-man exhibition with works that betrayed elements of Fauvism, Cubism and Catalan folk art. He dabbled in painting from the age of 14, and studied art formally for more than six years. Miro was born in Barcelona in 1893 and died at the age of 90 in Mallorca (Majorca), Spain’s largest island. However, Miro resisted “Surrealist,” “Dadaist” and any other label. His works were surreal in that he painted playful and lively, yet simplistic - almost childlike - images in brilliant colors and geometric shapes. In fact, the founder of Surrealism, Andre Breton, believed him to be “the most Surrealist of us all.” About midpoint in his career, he publicly defied the use of conventional painting techniques because of their use as propaganda for the bourgeoisie in favor of his own individual modern style, which his contemporaries called Surrealism. The accountant-type in the dark suit at art exhibitions certainly did not appear to be a “painting assassin,” but that is what Spanish painter Joan Miro considered himself.
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