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As he still had no space of his own, Miró began to work in a corner of the gallery Pierre where, in the period January–May 1937, he produced one of his strangest and most important paintings, Still Life with Old Shoe, in which he expresses his anguish over the situation in Spain, with a detailed depiction of the rise of evil, invasion by ...
This picture was painted in Mont-roig del Camp in 1935 and was in the possession of Pilar Juncosa Miró, [6] but is now in the permanent collection of the Fundació Joan Miró in Barcelona. Pilar Juncosa had been Miró's wife since 1929 and she was a supporter of his Foundation. This painting is kept in the Pilar Juncosa Gallery at his ...
Margit Rowell, Joan Miró: Selected Writing & Interviews, Da Capo Press Inc; New edition (1 August 1992) ISBN 978-0-306-80485-4; Joan Miró and Robert Lubar (preface), Joan Miró: I Work Like a Gardener, Princeton Architectural Press, Hudson, NY, 2017. Reprint of 1964 limited edition. ISBN 978-1-616-89628-7; Josep Massot Joan Miró.
For a time he used his mother's maiden name, Ferrà, and his wife Pilar conducted the correspondence with Pierre Matisse in New York to avoid detection. After a hiatus of three and half month, on 4 September 1940 he completed The Nightingale's Song at Midnight and Morning Rain , in Palma de Majorca, the first Constellation painted in Spain, and ...
The medium is gouache, watercolor, and graphite on paper, and the work's dimensions are 46 cm × 38 cm (18 in × 15 in). It is in the Art Institute of Chicago, Chicago, Illinois, USA. [1] It is one of the 23 pieces in Miró's Constellations series. [2] The painting inspired a poem of the same title by Ruth Moon Kempher. [3]
The foundation was created in 1981 by Joan Miró and his wife Pilar Juncosa. In 1992, the museum building, a work of Rafael Moneo, was added to house the administrative services and present the artist's works on a rotating basis. The foundation also organizes temporary exhibitions. [2]
The Dutch interiors are a series of three paintings painted by Joan Miró in 1928, each inspired by Dutch Golden Age paintings of Dutch interiors. Dutch Interior I is a reinterpretation of the Lute Player by Hendrik Martenszoon Sorgh, Dutch Interior II is a reinterpretation of Children Teaching a Cat to Dance by Jan Steen, and Dutch Interior III is a reinterpretation of the Young woman at her ...
The pictures were a reaction to the Spanish Civil War, which was being waged at the time they were created. Even prior to the war, Miró had painted figures which expressed the pain of the forthcoming conflict in his Wild Paintings , such as in Man and Woman in Front of a Pile of Excrement . [ 2 ]