La masia de miro

The beginnings of Joan Miró’s work y his artistic universe have the right to be traced espalda to Mont-roig and, in particular, to Mas Miró y its bordering landscape. It to be here, in 1911 after uno depression, the he chose to devote himself totally to painting.The land, ns farmworkers’ labours, nature y the landscape room recurrent themes in every his early paintings. 

Tu lees esto: La masia de miro

Miró invariably spent every summer with to 1976 at the farm the his parents had actually bought in 1911. His deep-rooted feeling of attachments to los landscape of Mont-roig y later to that of Mallorca, his finalmente home as representar the 1950s, would play a decisive role in his work y in his artistic language. Barcelona, Mont-roig, Mallorca and also parís (in ns 1920s), nuevo York (in the 1940s) and Japan (in los 1960s) were all his emotional landscapes–although Mont-roig would constantly act as un counterpoint, los source of that initial impact which that revisited time y time again.


los “Miró’s emotional landscapes” route: Mont-roig —apoyándose Mas Miró

Several locations in Mont-roig del camp served as a model for paintings by Joan Miró. La masia (The Farm), Mont-roig, los pont (Mont-roig, ns bridge), Platja después Mont-roig (Mont-roig, the beach) and Poble i església después Mont-roig (Village y church of Mont-roig) room some examples of paintings motivated by los municipality’s landscapes. 

Today, these sites have the right to be saw on a route referred to as “Miró’s emotional landscapes”. This features ns number that signed figured out spots wherein visitors have the right to see for themselves the landscapes that visto transformed into mundo famous functions of art. Mas miró complements the tour by adding another fundamental ingredient: ns scene shown in the héctor La masia (The Farm) and, more importantly, the place where the artist as soon as lived and worked. 

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Mont-roig as uno model

Mont-roig and its scenery were uno focus that attraction, model y source of catalyst for numerous of Joan Miró’s early paintings.

The striking image of La Roca influenced a painting clearly influenced by Cézanne entitled Mont-roig, santclause Ramon (1916). Miró said the the secret of this painting was its balance. Santclaus Ramon hermitage’s perching position, the red crag’s cubic shapes y the totality combination’s acrobatic balancing action fascinated the young Miró.

Platja después Mont-roig (Mont-roig, ns beach) (1916), with its Impressionist influences, shows los beach where vio so often used come bathe, after travelling debajo to it from Mas ver along Pixerota gully. Con his gifted eye, visto would comb los beach for stones, trunks y roots i m sorry he later on transformed right into sculptures. Mont-roig, ns poble (Mont-roig, los village) (1916), with a view of los village desde Les Creus where a majestic new church can be seen, dates trasero to ns same period. 

During his beforehand period, visto sought inspiration y a grande variety the themes for his paints in ns landscape and in other attributes close to los farm, such together trees, bridges y watercourses. Two good examples are Mont-roig, ns riu (Mont-roig, the river) (1917) y Mont-roig, los pont (Mont-roig, los bridge) (1917).

After his first acabó exhibition in 1918, whereby his early on work to be seen together for ns first time, ver decided to take a new approach to his work. He started to repaint in a very meticulous way, in a style similar to calligraphy, paying attention to every soltero detail. Los outcome that this painstaking stage are paintings like La patria de la palmera (House con palm tree) (1918), Hort amb ase (Vegetable garden con donkey) (1918) y Les roderes (The rut) (1918), three different views of ns same casa next to Mas Miró. 

Poble identificación església ese Mont-roig (Village y church that Mont-roig) (1919) is a new vision of the village, this time desde the very first bridge. This héctor is ns synthesis that his work up till that point and a foretaste the the new phase the he would certainly embark on. The concluded this figurative stage con La masia (The Farm) (1921-1922), taking los façade of Mas vio as his model.