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Starting with the walls of his family’s country estate in Montroig, Spanish painter Joan Miró (1893–1983) became fascinated by the materiality and beauty of walls, a fascination that would continue throughout the course of his life. Walls, he would declare, were the point of departure for his paintings, which captured the material beauty of walls while paying intense attention to detail and poetic expressiveness. Exploring this central aspect of Miró’s art, this beautifully illustrated publication presents his important wall paintings in the context of his complete works.
Through a series of essays supplemented by 168 color images, Joan Miró reveals that the wall was not merely the subject of depiction for the Spanish artist; its physical and haptic quality also inspired him to paint on materials such as whitewashed canvas, raw burlap, and sandpaper—materials that served his imagination and played their part in creating his visual universe. The book also illustrates how Miró’s preference for elongated, extremely narrow formats reflects his exploration of the wall while simultaneously pointing to his later ceramic friezes, including the important “Oiseaux qui s’envolent” frieze. In addition, this volume pays extensive tribute to Miró’s monumental triptychs for the first time, demonstrating their role in the development of his work.
Accompanying an exhibition at the Kunsthaus Zürich in the fall of 2015, Joan Miró provides a new perspective on the famous surrealist’s life and oeuvre.
Through a series of essays supplemented by 168 color images, Joan Miró reveals that the wall was not merely the subject of depiction for the Spanish artist; its physical and haptic quality also inspired him to paint on materials such as whitewashed canvas, raw burlap, and sandpaper—materials that served his imagination and played their part in creating his visual universe. The book also illustrates how Miró’s preference for elongated, extremely narrow formats reflects his exploration of the wall while simultaneously pointing to his later ceramic friezes, including the important “Oiseaux qui s’envolent” frieze. In addition, this volume pays extensive tribute to Miró’s monumental triptychs for the first time, demonstrating their role in the development of his work.
Accompanying an exhibition at the Kunsthaus Zürich in the fall of 2015, Joan Miró provides a new perspective on the famous surrealist’s life and oeuvre.
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The Kunsthaus Zürich is home to one of the most important art collections in Switzerland and Europe, assembled by the local art association Zürcher Kunstgesellschaft.
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- PublisherHirmer Publishers
- Publication date2016
- ISBN 10 3777424528
- ISBN 13 9783777424521
- BindingHardcover
- Number of pages168
- EditorKunstgesellschaft Zürcher
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Joan Miró: Wall, Frieze, Mural : Wall, Frieze, Mural. Catalogue of the Exhibition: Kunsthaus Zürich
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Book Description Gebundene Ausgabe. Condition: Neu. Neu Neuware, Restauflage, auf Lager - Auf seiner Suche nach einfachen, essenziellen Formen schuf Joan Miró (1893-1983) Gemälde, in denen er die materielle Schönheit der Wand mit Detailversessenheit und poetischem Ausdruck festhielt. Dabei war die Wand nicht nur Gegenstand der Abbildung, sondern ihre physisch-haptische Beschaffenheit inspirierte den Künstler zu Bildgründen etwa aus weißgewaschener Leinwand, roher Jute oder Schleifpapier. Auch seine Vorliebe für ein gelängtes, extrem schmales Bildformat spiegelt Mirós Auseinandersetzung mit der Wand und verweist zugleich auf seine späten Keramikfriese, darunter den bedeutenden Fries 'Oiseaux qui s'envolent' im Kunsthaus Zürich, und monumentalen Triptychen, die der Katalog erstmals umfassend würdigt. Seller Inventory # INF1000565377
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Joan Miró: Wall, Frieze, Mural : Wall, Frieze, Mural. Catalogue of the Exhibition: Kunsthaus Zürich
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Book Description Gebundene Ausgabe. Condition: Neu. Neu Neuware, Restauflage, auf Lager - Auf seiner Suche nach einfachen, essenziellen Formen schuf Joan Miró (1893-1983) Gemälde, in denen er die materielle Schönheit der Wand mit Detailversessenheit und poetischem Ausdruck festhielt. Dabei war die Wand nicht nur Gegenstand der Abbildung, sondern ihre physisch-haptische Beschaffenheit inspirierte den Künstler zu Bildgründen etwa aus weißgewaschener Leinwand, roher Jute oder Schleifpapier. Auch seine Vorliebe für ein gelängtes, extrem schmales Bildformat spiegelt Mirós Auseinandersetzung mit der Wand und verweist zugleich auf seine späten Keramikfriese, darunter den bedeutenden Fries 'Oiseaux qui s'envolent' im Kunsthaus Zürich, und monumentalen Triptychen, die der Katalog erstmals umfassend würdigt. Seller Inventory # INF1000565377
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