[Art Hanging Painting] Joan Miro Miro--Mural I, Mural II, Mural III

＊Large sizes can only be delivered at home. *Scene simulation pictures, computer color differences, and ambient lighting may have some color differences from the actual posters received. ＊The mounting method is time-consuming and labor-intensive. Orders need to wait 2-3 weeks, so please be patient. Joan Miro Juan Miro Joan Miró is one of the most famous Spanish artists of the 20th century. Throughout his long and fruitful creative career, he has always been passionate about interpreting everyday objects and exploring their inherent poetic qualities. His lifelong ambition was to connect art and life, and with his unique insight, he found poetic qualities in the most humble objects of daily life. The stars, moon, and sun painted by Miro are abstract symbols that are considered classics of abstract painting and his most famous painting style. However, in fact, Miro was deeply influenced by Cubism, Surrealism, and even Dadaism. The wind is changeable. He was determined to combine poetry and painting into one, and to revolutionize the traditional art medium of painting. He even once said: "I want to assassinate painting!" Miró had a close relationship with the Surrealist School. These Surrealists were open-minded and good at using different media to create. They had been trying to combine poetry and painting. Miró once took apart a poem and turned it into the basis of his painting. title, and tried to express his poetic nature in his paintings. Although Miro's paintings are considered abstract paintings, many times what he painted were symbols, and from the symbols, it can be seen that they are stars and the moon. Or a puppy/animal. Compared with completely abstract paintings, they show that Miró was deeply influenced by Surrealism. "He experienced two world wars and a Spanish Civil War. Those eras again witnessed the rule of the privileged class. He took refuge in the countryside. Living on the beach and looking up at the stars inspired him to paint the Constellations series (1940-1941). Later he began to paint with stars, moon and sun, and the Constellations series became his signature language." Speaking of his inspiration Regarding artistic influence, Director Luo said that Miró arrived in Paris when he was about thirty years old. At that time, Paris was the most avant-garde art center in the world, and various schools of painting contended. In addition to Surrealism, which he was more influenced by, he was also influenced by Dadaism and Cubism. "According to himself, he will learn from each school of painting, but he does not admit that he belongs to any one school of painting." assassination painting Miró once said during his lifetime that he "pays more and more attention to the materials used in his works. In order to let the audience feel the impact before they react, I think a rich and powerful material is necessary. In this way, the poetry comes through The medium of shaping is expressed." The materials he originally used were subversive. He would use wood, polymer fiber boards, brass Bronze, sandpaper, asphalt, etc. to create creations, scratching, drilling, gluing, and collaging them. Each has its own style. Perhaps for those who have a basic understanding of Miro, watching this exhibition, you will be surprised to find out that he was so deeply influenced by Dadaism. For example, the painting he painted in 1933 is displayed at the entrance. Oil painting (this work is simply called "Painting"), the origin of this painting is that he likes to collect magazines, and then cut out different "objects" in the magazines and collage them into works. The exhibition displays both his original collages and the oil paintings that he later evolved into. As we all know, collage and Ready Made are both common techniques of Dadaism, and Miró just picked them up as his practice. Why Miro is great Why is Miró so great that he can rival Picasso and Dali? How is he different from the other two? "Some people call Miro a surrealist painter, and generally say that he created abstract art, because it is difficult for everyone to define him with one doctrine. He is very compatible. This is why he is different from Picasso and Dali. Very different. When mentioning Picasso, he thinks of Cubism, and Dalido thinks of Surrealism. In addition, Miró also emphasized returning to nature. Whether he was in bustling Paris or there, he would spend two months every year, Returning to the countryside of Catalonia, I gained strength from nature." She said, "Miro took different media very seriously and collaborated with artists of different generations. He loved folk art and also collaborated with craft masters to create creations. The scope is very broad, and the creative period spans sixty years, which is quite rare." Title of work: Mural I, Mural II, Mural III Mural I, Mural II, Mural III Size of works sold: 60*90 cm Year of work: 1933 https://canvypro.blob.core.windows.net/thumbs/7e2590ea342f439fb8824a54067389ce.jpg Miró painted three canvas sections for Mural I-II-III, one of his specifically designated first works after completing a series of eighteen large-scale works based on collage (Dupin, no. 415 -432) completed after. Together, these paintings mark Miró's return to painting on canvas, following a campaign between 1928 and 1931 aimed at the "assassination of painting." At the time, he considered abandoning all revered conventions of oil painting in favor of creating crude, subversive collages and painterly objects made of basic, inconsequential materials, which Jacques Dupont described as "a fascination with 'painting-painting' and ideal beauty." Poison arrows” (ibid., 2012, p. 152). Despite this provocative nihilistic impulse, Miró did not completely undermine traditional notions of painting, but in fact expanded viable formal potential while further broadening the inclusivity of content within modern art. Mural I-II-III was the direct result of this competition between painting and anti-painting, translated into some of the most direct and concentrated plastic forms Miró had ever conceived. The three-piece set of Mural canvases was painted specifically for the nursery in the home of Miró's Parisian dealer Pierre Loeb. With this milieu in mind, Miro chose images and action narratives that he felt were appropriate for a child's world, reflecting the workings of young imagination. Indeed, the raw, child-like quality already evident in many of Miró's images made him the ideal artist for this project. On these panels he combined ghostly figures, comically bizarre creatures and a large bird. They take part in a chase scene - a scene that often occurs in dreams and is the stuff of children's games and fantasies - unfolding from left to right in each work. Miró placed his subjects against a vague blue dreamscape backdrop, which contained elements of natural forms - rainbows, ocean waves, mountains, obscured sun, stars, a crescent moon with a star exploding from its summit. Miró's nocturnal adventures on these panels seem to proceed in the order of Mural III, II and I, from left to right. The flying birds and running figures in III open the dream; Canvas I depicts the end of the night's journey and the final transition in the sequence of events - a figure running towards a rectangular portal that separates the deep blue of night from the white dazzling daylight , symbolizing the transition from the world of dreams at night to the world of daily reality. Miro's interest in making art for or about children may have stemmed from his recent foray into dance theater, his first foray into the field. In 1932, the artist was commissioned by the Ballets Russes of Monte-Carlo to design costumes, curtains and stage design for a ballet set to the music of Georges Bizet's orchestral suite "Child's Play". Boris Kochno wrote the libretto and Léonide Massine choreographed it. According to Miró, children's play should be rough and chaotic, and have nothing to do with emotional concepts of sweetness and innocence. Writing from Monte Carlo on February 23, 1932, he described the intended effect on the audience of his designed works, like a boxer's punches: "I treat everything the same as in my recent works: the curtain, the first punch The middle audience, like this summer's painting, has the same suggestiveness and violence. What follows is a shower of swings, hooks and ribs left and right, and the whole thing - a round that lasts about twenty minutes - is constantly on stage , moving and disassembled objects” (M. Rowell, ed., Joan Miró Selected Writings and Interviews, Boston, 1986, p. 119). Dupont records a study for the curtain, which the artist gave to Massin (no. 412), along with two other related works (nos. 413-414). The premiere of "Child's Play" took place in Monte Carlo on April 14, 1932. The ballet was a success and subsequently received critical acclaim in Brussels and Paris; the company brought the production to Barcelona the following year. After performing in Paris, Miró returned to Barcelona, where during July he worked on a series of small oil paintings at the family estate in Monteroig, which marked his return to two-dimensional work (Dupin, no. 393- 410). Inspired by the artist's recent experience with the Ballets Russes, the images in these works are conceived to be elastic and dynamic. Absolute clarity is always an important focus; even in multi-figure compositions with overlapping forms, the figures stand out clearly against the dark background, just like the objects in his "anti-painterly" constructions. In late January 1933, Miró created a series of eighteen collages made from photographs and hand-drawn illustrations cut from catalogs, newspaper advertisements, technical magazines, and posters, often depicting tools and mechanical devices, which he These images are arranged and pasted onto a large sheet of paper without further adding my own touch. After completing this body of work on February 11, Miró began creating large-scale paintings based on these collages on March 3, refining and abstracting forms from the images pasted onto the canvas while using the collage as a medium to build upon these elements. A guide to spatial relationships between. Miró completed this series of works on June 12, with each painting corresponding to eighteen collages (Dupin, no. 415-432). The paintings contain a variety of flat, clearly demarcated shapes, organically transforming even the most explicitly mechanical source images into dark, multi-tonal backgrounds of canvas. From August 8 to early October 1933, Miró also made a series of pictorial collages, combining cut-and-paste illustrations and hand drawings (Dupont Drawings, no. 375-398). In a statement from Miró that appeared in the December 1933 issue of the Surrealist art journal Minotaure, he explained that his works "are always born in a state of hallucination, created by a certain triggers - whether objective or subjective - for which I am not at all responsible. As for my means of expression, I strive increasingly for maximum clarity, power and sculpted aggression. —In other words, causing an immediate physical sensation which is then transmitted to the soul” (M. Rowell, ed., ibid., 1986, p. 122). Miró completed Mural I-II-III for Loeb in late 1933, perhaps during his dealer's solo show at the Georges Bernheim Gallery, around October, when the entire collage-based A series of eighteen paintings are exhibited together. On November 5, just as the exhibition was coming to an end, Miró wrote to his New York dealer Pierre Matisse: "I assume you have received the email I sent for the exhibition at the Georges Bernheim Gallery. The announcement. Pierre (Loeb) and I are very happy; from a business point of view not much can be said now (referring to the global depression), but from a morale point of view it is a great success... .Pierre told me that once this exhibition is over, you would like to organize an exhibition in New York, which would make me very happy and a great honor" (quoted in the exhibition catalogue, ibid., 1993, p. 331). Pierre Matisse did give Miró a solo exhibition in late 1933, the dealer's second exhibition for the artist, which ended in mid-January 1934. Some four years later, Miró painted a mural for Pierre and Tiny Matisse's young children, Paul, Jackie and Peter, which was installed in their nursery (Dupont, no. 596). "Picasso loved it and said it was one of the best things I had ever done," Miró wrote to Matisse. "I like it myself, but maybe it's a bit dramatic for your purposes." The artist titled the painting "Woman Haunted by the Passings of Birds and Dragonflies, Bad News of Omen," after his In response to the recent signing of the Munich Agreement, whose détente conditions catered to Hitler's demands, it led to the disintegration of Czechoslovakia. “This mural is anything but traditional nursery fare,” John Russell wrote. "Sweet Dreams plays no role in it... Chase and persecution are its themes. The figures are monsters, the space is claustrophobic, and panic is omnipresent. But as a portrait of Europe in 1938, it is absolutely right" (Matisse: Fathers and Sons, New York, 1999, p. 129). The vertical format of the Loeb Nursery frescoes is reminiscent of wall decorations from classical antiquity, and long before that, the intricate array of images found in prehistoric cave paintings. Furthermore, they evoke late medieval and Renaissance tapestries depicting hunting scenes. Miró's next major paintings were five large canvases created in late 1933 and early 1934 that extended the decorative ideas of Mural I-II-III and were actually designed as tapestries (Dupont, no. 459-463). "Miro's paintings, like prehistoric cave paintings, present isolated existences in a shared field rather than coordinated compositions of unified composition," explains Hidra Stich, professor of art and archeology. "The parts are dispersed in space with no logical ordering of proportion, shape, or position. At some points, meaningful relationships are established between the characters, and the plot begins to emerge. But even in these cases, what is suggested Activity is also ambiguous. Although there may be no real unity in terms of narrative, there is still a powerful, harmonious aura. This is the 'religious essence, the magic of things' that Miró so sought to capture. A feeling that envelopes the whole body A mystical atmosphere exists...similar to the spiritual atmosphere of prehistoric caves, considered sacred places for meditation or ritual observance" ("Joanne Miro: The Development of Symbolic Language," exhibition catalogue, Washington University Art Gallery, St. Louis, 1980 year, p. 32). "When we first saw these paintings by Miro for the Children's Room, they were placed in the bedroom of Mr. and Mrs. G. David Thompson in their new house in Seaport. When we were at the auction We first hung them in the music room at Dessen Pines Estate when we purchased them, and they looked fine, but we didn't see them very often. After building our new house at Ringing Point near Sears Harbor, We found their ideal location in the living room. In the same room is another Miro painting we purchased earlier [Dupin, no. 427]" (M. Potter et al., 1984, p. 286) . The difference between whether there is Acrylic or not: 》 Acrylic= one more layer of protection = one more layer of reflection 》No Acrylic= less layer of protection = you can directly see the work with better texture I don’t know how to choose: (If there are children in the family, it is recommended to add Acrylic), (If there are adults in the family, you don’t need to use Acrylic) https://image-cdn-flare.qdm.cloud/q665027dd6a3a4/image/data/2022/06/22/37f09f78639e0445223ad276c14b9c6c.jpg Aluminum frame selection: https://image-cdn-flare.qdm.cloud/q665027dd6a3a4/image/data/2023/07/11/4b853563c2267abe4f46e392cf820e6b.jpg Source of work: https://image-cdn-flare.qdm.cloud/q665027dd6a3a4/image/data/2023/10/26/b011dd717f432dd262c032f1f02f4f8f.jpg