Being in London we are fortunate enough, where, at our own discretion we have offered on our doorstep, a serious amount of choices - either exposed or hidden. I could list them all, however, time is precious, so I'll dive in.
Londoners can easily be submersed into an Art sublime. Victorious amounts of global artists can be exhibited and I thank thee for offering the opportunity for us to pick & choose who and what to exhibit. I will be selective on this site - though you may find I am subject to explore artists/forms from a diverse range. I am keen. And will use as much of what inspires me for inspiration. And that's an awful lot.
Miró
With that said above, after many successive trips, I revisited the Tate Modern to unveil myself to the important artist; Joan Miro - Wondrous. Exceptional. Emotional. Surreal.
Catalan-born Joan was 'the most surreal of them all' and oh-me-golly, I do not beg to differ. Art can tell so many stories or imageries, but only He; the artist, will really know what He wishes to present however disguised or hidden His message may be. Joan had a real knack for doing this. His early work to his last moments were very obviously different, as you can see from the images.
Miró's ability to display his emotions is very clear-cut. Slowly walking from room to room, you are able to capture his emotions. They were changeable. From a soft pastelled high of love and affection - see right; 'The Rut (1918)', and gradually flowing to a depressive dark surrealist mode. Not only does this portray his emotions, but tells a story of his surroundings at that point in time related to life, love and political atrocities; such as the Spanish civil war and the early era of WW2; The Phoney War. The use of his 'Ladder of Escape (1940)' - displayed below, and also the main painting at intro section - illustrates his withdrawal from his awareness of these events, although, Miró did acknowledge that there was no ivory tower to look forward to.
I appreciate the fact that he loved his life in Catalanya (Barcelona), one can capture his thoughts and he definitely remained strongly tied to Catalunya - as shown through his 'Head of Catalan Peasant' range. This is so appealing. To have such a strong identity. The use of a blue hue and the red mark representing the Catalan cap - a symbol of independence.
The titles of a selection of his paintings were deep - 'Young Girl with Half Brown, Half Red Hair Slipping on the Blood of Frozen Hyacinths of a Burning Football Field (1939)'. Firstly outrageously long, and secondly, peculiar. (Note: I am unable to find an image of this painting)
His triptychs were hung on a large wall in an ever-so calming room allowing viewers to sit and ponder at his work of block colours, scribbled line(s) and meanings.
This exhibition opens the viewers eyes not only to his infamous paintings as pictured above, but his early work and how it transcended to become of the Joan Miro we picture today - one of the leading surrealists of modern art. There's so much more I could write - what an obtuse inspiration. I can't help but feel slightly fragmented by his displays - perhaps that's the effect of surrealism?
Londoners can easily be submersed into an Art sublime. Victorious amounts of global artists can be exhibited and I thank thee for offering the opportunity for us to pick & choose who and what to exhibit. I will be selective on this site - though you may find I am subject to explore artists/forms from a diverse range. I am keen. And will use as much of what inspires me for inspiration. And that's an awful lot.
Miró
With that said above, after many successive trips, I revisited the Tate Modern to unveil myself to the important artist; Joan Miro - Wondrous. Exceptional. Emotional. Surreal.
Catalan-born Joan was 'the most surreal of them all' and oh-me-golly, I do not beg to differ. Art can tell so many stories or imageries, but only He; the artist, will really know what He wishes to present however disguised or hidden His message may be. Joan had a real knack for doing this. His early work to his last moments were very obviously different, as you can see from the images.
Miró's ability to display his emotions is very clear-cut. Slowly walking from room to room, you are able to capture his emotions. They were changeable. From a soft pastelled high of love and affection - see right; 'The Rut (1918)', and gradually flowing to a depressive dark surrealist mode. Not only does this portray his emotions, but tells a story of his surroundings at that point in time related to life, love and political atrocities; such as the Spanish civil war and the early era of WW2; The Phoney War. The use of his 'Ladder of Escape (1940)' - displayed below, and also the main painting at intro section - illustrates his withdrawal from his awareness of these events, although, Miró did acknowledge that there was no ivory tower to look forward to.
I appreciate the fact that he loved his life in Catalanya (Barcelona), one can capture his thoughts and he definitely remained strongly tied to Catalunya - as shown through his 'Head of Catalan Peasant' range. This is so appealing. To have such a strong identity. The use of a blue hue and the red mark representing the Catalan cap - a symbol of independence.
The titles of a selection of his paintings were deep - 'Young Girl with Half Brown, Half Red Hair Slipping on the Blood of Frozen Hyacinths of a Burning Football Field (1939)'. Firstly outrageously long, and secondly, peculiar. (Note: I am unable to find an image of this painting)
His triptychs were hung on a large wall in an ever-so calming room allowing viewers to sit and ponder at his work of block colours, scribbled line(s) and meanings.
This exhibition opens the viewers eyes not only to his infamous paintings as pictured above, but his early work and how it transcended to become of the Joan Miro we picture today - one of the leading surrealists of modern art. There's so much more I could write - what an obtuse inspiration. I can't help but feel slightly fragmented by his displays - perhaps that's the effect of surrealism?
