Recently, the famous adult has also been isolated at home for a month because of the epidemic in Shanghai. During this time, I did brush the circle of friends to see the uncertainty of the external environment and bring a lot of negative emotions to everyone.
And then I want to talk to you about what to do in the face of uncertainty? How to control spontaneity? And how to get rid of people's own loneliness.
I remember going to the Pudong Art Museum before to see Juan Miró's exhibition "Birds, Women, Stars".
Stop and stare for a long time, each of his paintings shocked me, why?
Because, the explanation of the exhibition has a few sentences, which makes people instantly immersed:
"Although these effects appear to be distinctly spontaneous, their realization is highly controlled by the artist."
"Year after year, Miró's paintings became bolder and more serated; he laid the canvas on the ground to create, exploring the possibilities of random events and completely exposing unforeseen accidents to the foregone conclusions."
After reading Juan Miró's paintings, we may wonder whether artistic thinking can help us better survive this limited edition of life in such an era of change, instability, and uncertainty that is like a meteor.
Juan Miró (20 April 1893 – 25 December 1983) was a Spanish painter, sculptor, potter, printmaker, and representative of Surrealism. He is one of the masters of 20th-century surrealist painting along with Picasso and Dali.
Miró was born in Barcelona and is a native of Catalonia. His grandfather was a joiner and his father was a goldsmith. His grandfather lived in Cornedera, in the province of Tarragna, 150 km south of Barcelona, and his maternal grandfather lived in Majorca.
Miró often visited these two places and was fascinated by the insects, birds, trees and snakes there, and he spent a long time walking or painting in the countryside.
He also went to La Llotja, the industrial art school where Picasso stayed 12 years ago. After completing three years of art courses, he began working as a small clerk, but left in 1911 due to a serious physical condition.
Miró's studio
Miró's serious illness in 1911 led to the outbreak of the first crisis in his artistic life. After he fell ill, his father took him to his hometown of Monteroy, more than 140 kilometers south of Barcelona, for recuperation.
Here he overlooks golden beaches, rugged rocks, rock-stacked farmhouses, olive groves and vineyards that surround the village. This allows Miro to appreciate the endless charm of the desolate mountains and feel the charming charm of the flowers and trees in nature.
It was this beautiful agriturism that had a profound influence on Miró's artistic creation throughout his life, so much so that when he later lived in Paris, he maintained the habit of returning to Montloy every summer.
After his recovery, he was convinced that he wanted to be an artist, so from 1912 to 1915 he studied at the Francesc Galí Academy of Arts in Barcelona, and then attended painting classes in the San Luke art circle.
U.S. Self-Portrait
The vernacular style and portraits depicted by Miró not only show the pure and bright color characteristics of Fauvism, but also the broken form and precision of Cubism, as well as the two-dimensional nature of Catalan folk art.
In 1918 he had his first solo exhibition at the avant-garde Barcelona Gallery, run by Lluís Dalmau.
Miró, The Snail's Trajectory, 1940
Miró, Still Life and Old Shoes, 1937
Barcelona was still a vibrant cultural center, welcoming and welcoming artists who had fled the First World War, but by the time the war subsided and the world was at peace, Paris became a much larger center of art.
For an ambitious painter, Barcelona's world is too narrow. Paris, which has undergone artistic transformation, has a powerful allure for Miró.
Picasso and Miró
In 1919, Miró finally left his hometown and came to Paris, the art capital of the world for the first time. The Parisian artists of this period are amassed, and the treasures of art galleries and museums are like clouds.
But Miró was a poor and unrecognized young painter whose paintings could not be sold in foreign countries, and who starved almost every day in Paris. But the biggest gain of his first trip to Paris was that he met many friends in the art world, especially Picasso, a painter who also came from Spain.
Picasso bought one of his self-portraits, which have always been treasured. After Picasso's introduction, Miró became acquainted with many of the artists gathered here.
Miró, Horoscope Before Dawn, 1941
Miró, "Carnival of the Clowns", 1925
"Carnival of the Clowns" is Miró's first surrealist work: in a strange sense of spatial reversal, a fanatical gathering is held in the room, only the human being is sad, the man with a rather elegant beard, holding a long pipe, staring sadly at the viewer.
Surrounding him were all kinds of beasts, small animals, and organic matter, all very happy. There is nothing particularly symbolic, and the artist fully depicts a brilliant dream image.
Miró, Blue Ii, 1961
Miró, Catalan Landscapes, 1924
The fantasy in Catalan Landscapes, although mysterious but vivid. In the painting, two planes of yellow and orange-yellow intersect in a curve.
Both hunters and prey are drawn in geometric lines and shapes.
Some of the incredible objects are scattered on the earth, some are recognizable, and some seem to hint at creatures at sea or under microscopes.
"Gorgeous Winged Smile"
After the outbreak of World War II, Miró could not return to his native Spain. He set out for Paris and settled in a poetic and charming place in Varangivli, near Norway.
The scenery there and the free-flying birds infected him, and the painter completed the "Constellation" group painting. Due to the brutal bombardment of the Germans, Miró had to flee to Paris by train with his wife and daughter, which was facing German occupation, and the painter had to flee back to his hometown.
World War II finally ended and Miró ended his isolation and came to New York in 1947. He spent a total of 8 months in the United States, returning to Paris from the United States in 1948.
Shortly after his return to Paris, an exhibition of His work was held for Miró, but his works sold very little. A dealer bought a batch of Miró's works, but his wife cried with remorse, saying, "Who will buy this thing, we are going to go bankrupt." She did not expect that after a few years, the price of Miró's works would skyrocket, increasing exponentially.
In his life's creative themes, the stars in the night sky became eternal symbols of infinite change, so some people called him "the prince of stars".
In 1948, he told a reporter: "Around the time of the outbreak of war, my artistic creation began to turn to music and nature. Because of the war, I wanted to flee, so I deliberately closed myself off. During this period, the night sky, music and stars played an important role in my paintings. ”
Miro first settled in the small village of Ville in Normandy, then moved to Mallorca and MonteRog. In the 1930s, elements of fierce protest in his art were gradually replaced by detachment from conflict.
His late paintings became bolder, with thick black lines and fewer graphic elements, and the colors he employed in large-scale paintings of the 1960s were highly expressive, as in the Blue series created in 1961 and in semi-abstract paintings like The Lark's Wing (1967).
Miró's paintings do not take into account the aesthetic rules, blood-red lines, and the various color blocks that suddenly burst out, scattered on different shades of background intertwined dots, lines, and faces, like exploding cosmic meteors, with strong romance and freedom...
Some people say that he uses a unique posture to fight against the imperfections of the world, and uses his infinite childlike fun and desire to explore to make up for the incompleteness of the world.
Miró, Interior View I of the Netherlands, 1928
Miró, "Azure Gold", 1967, collection of the Miró Foundation in Barcelona
In Miró's work, we see almost all abstract symbols, metaphorical symbols, and thematic performances. For the large number of abstract symbols on the screen, Miró said that he "never consciously created symbols", but instead believed that "it is the radical and mysterious feeling of symbols without clear meaning".
His world is like a dream in which everyone can find what they want.
Miró's excellence lies not in his portraits or pictorial structures, but in the fantasy humor of his work; another excellence is that Miró's utopian world is very vivid.
His organics and beasts, even his inanimate objects, have a passionate vitality that makes people feel more real than what they see on a daily basis. That kind of dream and feeling can always touch everyone's heart.
Some people say that Miró's painting style is no different from that of children, but somehow he is a master, and some people call Miró a "painter among painters", saying that he is a painter among musicians, but also a painter among poets, and is called "a master of children's art, primitive art and folk art" by surrealist critics.
His surrealist paintings have a distinctly personal style: simple shapes, points that emphasize brushstrokes, carefully arranged background environments, whimsical reverie, humorous fun and fresh feelings.
So, what is the magic that makes the audience irresistible? Are they all shapes that are unknown? Or is there nothing in his paintings?
Deliberate shapes, and only some ingredients, some shapes of embryos, some like children, scribbled on the wall of the original shape, similar to the mark carved by primitive people on the cliff.
Is it a color? Miró's colors are so simple that there are only a few basic colors: blue, jumbo, yellow, and green, and he uses them with great precision.
These clumsy shapes pretending to be carelessly scribbled, embryos tangled with umbilical cords, like ghosts, stony corals, active amoebas, and all kinds of needles and threads, together constitute a capricious funny world, a colorful dream world.
Miró was also always seeking new techniques, and together with Josep Royo he created sobretixims and tapestry paintings (1972-1979). He also worked with Charles Mark to make stained glass windows for the Royal Chapel of St. Paul de West.
Breton said: "Miró is probably the most surreal of all of us. "Tired of studio work, aesthetic demonstrations, and flowery rhetoric, we found fresh water in Miró's paintings.
It calmly cleanses us of all stereotypes; he refuses to inherit the past, nor does he want to surpass anyone, let alone inspire future generations of painters.
He only made his first invention in the way of prehistoric humans or children. Instead of using the usual language of our time, he recreated for us the Garden of Eden of the dreams and longings of our time.
He is extremely simple, he is naïve, he occupies a place in modern art that is not the highest, but it is a position that no one competes for; he does not argue with people, he does not compete with people for profit.
He just painted silently. Perhaps, this is the charm of his whole personality and art.
Miró always painted like a child, not paying attention to any technique, but he could win the hearts of the people, because he liked it at first sight, this is art.
On December 25, 1983, Miró died in his studio at the age of 90.
Even a week before his death, he was still like an old boy, full of curiosity about the world, in awe of life, and pure love for the world.
END