jeanflop/post_ocr_correction2 huggingface dataset:
untamed — the eye in a state of nature. The integrity of an artist is the zeal with which he guards it. The quality of an artist is his success in preserving it. The pure eye is the dream eye — the eye of child phantasies. And it is the dream eye, or the eye subordinated to the workings of the subconscious, that alone in our physical maturity is closely enough linked to our basic organic rhythms to re-awaken through them the vividness we knew in our child phantasies or the associational complexities of race-memory. Whether it be the painting of Seurat, Greco, or Cimabue, we find there a quality that escapes the schools — that had nothing to do with naturalism or academicism, with technical virtuosity or conventionalization, and would not allow itself to be stifled by them — an immediacy and intensity of vision undulled by the intrusion of any intellectualization and which we recognize at once by a heightened intensity in our own response. "Un jour, que je peignais un sujet fantastique" Rousseau le Douanier once confessed "j'ai du ouvrir la fenêtre car la peur me prenait". Among recognized contemporary painters it is unquestionably Joan Miro who has most conscientiously and happily preserved his personal freshness of eye. And possibly this in the last ten years has been a more exacting feat than it was in either the first or second decade of the century. In the first, the severance of the younger generation from their elders was a clear-cut, hotly posed ideal. The fermentation seemed general : a dissatisfaction with familiar paths could be noted on all sides. Between 1910 and 1920 came "Dada" with its belligerent rejection of reason and logic, as arbitrary products of the intellect, as well as education and "literature". "We must smash the toys of these gentlemen" said the dadaists "in order that the lousy materialists can recognize on the ruins what is essential. Dada wanted to destroy the rationalist swindle for man and incorporate him again humbly in nature" (1). But since then, the achievements of these pioneers have taken
has most conscientiously and happily preserved his personal freshness of eye. And possibly this in the last ten years has been a more exacting feat than it was in either the first or second decade of the century. In the first, the severance of the younger generation from their elders was a clear-cut, hotly posed ideal. The fermentation seemed general : a dissatisfaction with familiar paths could be noted on all sides. Between 1910 and 1920 came "Dada" with its belligerent rejection of reason and logic, as arbitrary products of the intellect, as well as education and "literature". "We must smash the toys of these gentlemen" said the dadaists "in order that the lousy materialists can recognize on the ruins what is essential. Dada wanted to destroy the rationalist swindle for man and incorporate him again humbly in nature" (1). But since then, the achievements of these pioneers have taken on a certain glamour. The temptation for the young men of the twenties has been to follow down the paths — still fresh enough to offer some promise of adventure — which their predecessors had, and, in some cases, were still pointing out. As a result, few of the newer signatures of the period escaped an overpowering coloration from the larger names of their seniors. And perhaps the intoxicating genius of Miro's own countryman, Picasso, has done more toward a devitalization of personalized expression among the younger men of the last ten years than did any openly hostile set of conditions in the two former decades. Yet for all the sympathy he must feel for the work of this man who is not only a fellow Spaniard but also a fellow Catalan, Miro has succeeded in keeping himself freer of Picasso's influence than has any of his contemporaries. But not without difficulty. Nor could it have been without difficulty that he cut himself off from a movement which had basically so much in common with his own ideals as Surrealism when he saw the political character it was taking that was eventually to be its undoing. Miro's work of the
signatures of the period escaped an overpowering coloration from the larger names of their seniors. And perhaps the intoxicating genius of Miro's own countryman, Picasso, has done more toward a devitalization of personalized expression among the younger men of the last ten years than did any openly hostile set of conditions in the two former decades. Yet for all the sympathy he must feel for the work of this man who is not only a fellow Spaniard but also a fellow Catalan, Miro has succeeded in keeping himself freer of Picasso's influence than has any of his contemporaries. But not without difficulty. Nor could it have been without difficulty that he cut himself off from a movement which had basically so much in common with his own ideals as Surrealism when he saw the political character it was taking that was eventually to be its undoing. Miro's work of the last twenty years is a journal of self-discipline. Always with the same objectives in view — a purification of formal realization and a freshening of the eye. In Paris as in Barcelona; and later in Barcelona again. A seeming flux and reflux, tendency and reaction, but always in a single direction. Always a progress. First, academic studies minutely realistic give way to surrealist fantasies — almost Boschian. Then, broad expanses of tempera — pure decoration, — followed by «collages» throwing a defiance at "technique" as such. A new turn to fantasy; a new decomposition. And now the fruit of all these disciplines in the ripe individuality and assured rhythms of his latest canvases as seen at the Galerie Pierre. In Miro's earlier work a lack of ease was frequently evident. Particularly in the rhythms of his compositions. His color was always fresh, clear and confident. But in those periods in which he crowded his canvases with small fantastic quasi-representational motives often a jerky note of uncertainty betrayed itself. It was obvious that he was anxious to protect the freshness of his spontaneity by an unhesitant transcription. However, it would seem that at times his work had suffered from impatience, that
direction. Always a progress. First, academic studies minutely realistic give way to surrealist fantasies — almost Boschian. Then, broad expanses of tempera — pure decoration, — followed by «collages» throwing a defiance at "technique" as such. A new turn to fantasy; a new decomposition. And now the fruit of all these disciplines in the ripe individuality and assured rhythms of his latest canvases as seen at the Galerie Pierre. In Miro's earlier work a lack of ease was frequently evident. Particularly in the rhythms of his compositions. His color was always fresh, clear and confident. But in those periods in which he crowded his canvases with small fantastic quasi-representational motives often a jerky note of uncertainty betrayed itself. It was obvious that he was anxious to protect the freshness of his spontaneity by an unhesitant transcription. However, it would seem that at times his work had suffered from impatience, that the concept had not lain long enough in his "well of the subconscious". It seemed to have come onto the canvas uneasily and that when finally there its elements had not quite fused into an unity. Too, the tiny motives frequently failed to group themselves in such a way as to form a composition of any scale. In other periods in which he was handling larger elements and more generous voids he seemed happier. Even there, at times an uncertainty, an overstress, or a sense of tentativeness would creep in. But in these latest works all trace of uneasiness has disappeared — each canvas, an assured, complete plastic unit with nothing to begrudge its fellow. But what is still more remarkable is that Miro has succeeded at the same time in keeping all his freshness. If anything, he had added to it through his assurance. Fundamentally a traditionalist, Miro is first and last a Catalan. We see this curiously illustrated in his interest in tempera. For even long after the introduction of oil painting from the Netherlands, the Catalans held to this medium through preference. Again in his olives, browns, and deep blues we have a distinct relationship with the
to form a composition of any scale. In other periods in which he was handling larger elements and more generous voids he seemed happier. Even there, at times an uncertainty, an overstress, or a sense of tentativeness would creep in. But in these latest works all trace of uneasiness has disappeared — each canvas, an assured, complete plastic unit with nothing to begrudge its fellow. But what is still more remarkable is that Miro has succeeded at the same time in keeping all his freshness. If anything, he had added to it through his assurance. Fundamentally a traditionalist, Miro is first and last a Catalan. We see this curiously illustrated in his interest in tempera. For even long after the introduction of oil painting from the Netherlands, the Catalans held to this medium through preference. Again in his olives, browns, and deep blues we have a distinct relationship with the color gamut of the early church murals of Catalonia. But it is finally beneath Miro's gayer tones and his rhythms that we find the key to his quality — what grew into his mind in childhood: the rude paintings of the people and those quaint, conventionalized animals, whistles, vases and the like, gay in their raw colors — so popular in that region. It is these impressions, together with the austere rhythms of his native landscape and the slow easy animal movements of the peasants that Miro has kept fresh, translated into new forms and given back to us today in these latest canvases — easily the most mature distillation of sensibility he has yet offered. JAMES THOMSON FIG. 32. 1931. JOAN MIRÒ. (GALERIE PIERRE.) PHOTOGRAPHIE GEORGES ALLIÉ. FIG. 33. 1932. JOAN MIRÓ. OBJETS. (GALERIE PIERRE.) PHOTOGRAPHIE G. THIRIET. "L'art de Joan Miro est très près de la chorégraphie: La trouvaille extraordinaire des formes, leur persuasion, autant par le dessin que par le volume, complètent et aident au mouvement qui se passe sur leur fond. Les couleurs de Miro sont riches et, par la force de leur harmonie, elles donnent une valeur spéciale au plastique et au dynamique de la
the like, gay in their raw colors — so popular in that region. It is these impressions, together with the austere rhythms of his native landscape and the slow easy animal movements of the peasants that Miro has kept fresh, translated into new forms and given back to us today in these latest canvases — easily the most mature distillation of sensibility he has yet offered. JAMES THOMSON FIG. 32. 1931. JOAN MIRÒ. (GALERIE PIERRE.) PHOTOGRAPHIE GEORGES ALLIÉ. FIG. 33. 1932. JOAN MIRÓ. OBJETS. (GALERIE PIERRE.) PHOTOGRAPHIE G. THIRIET. "L'art de Joan Miro est très près de la chorégraphie: La trouvaille extraordinaire des formes, leur persuasion, autant par le dessin que par le volume, complètent et aident au mouvement qui se passe sur leur fond. Les couleurs de Miro sont riches et, par la force de leur harmonie, elles donnent une valeur spéciale au plastique et au dynamique de la chorégraphie. Les éléments les plus réels deviennent chez Miro des dessins synthétiques ou des objets qui frappent l'œil par leur originalité. En voyant la coordination des couleurs et des formes de ses tableaux, tout involontairement, on éprouve une joie et un besoin de danser. LÉONIDE MASSINE FIG. 34. 1932. JOAN MIRÒ. (COLLECTION THÉODORE WERNER, PARIS.) PHOTOGRAPHIE GEORGES THIRIET. by HERBERT READ When I, who am an Englishman, think of the art of Joan Miro, who is a Spaniard, it is the French translation of the title of a German book that comes to my mind — Le gai savoir. The nuance that the French language gives to the phrase is, I think, a nuance present in Miro's work. Compared with the work of some of his surrealiste colleagues, the Spaniard's paintings have a gaiety not only of color but also of conception. I will avoid the too easy assumption that this is a result of Miro's nationality; surrealisme is also international. And Spanish art, in spite of its southern aspect and its eastern origins, is not particularly bright — the art of the early Catalan sculptors, of El Greco, Zurbarán, Montanes and Goya is a sombre art, and it is
MIRÒ. (COLLECTION THÉODORE WERNER, PARIS.) PHOTOGRAPHIE GEORGES THIRIET. by HERBERT READ When I, who am an Englishman, think of the art of Joan Miro, who is a Spaniard, it is the French translation of the title of a German book that comes to my mind — Le gai savoir. The nuance that the French language gives to the phrase is, I think, a nuance present in Miro's work. Compared with the work of some of his surrealiste colleagues, the Spaniard's paintings have a gaiety not only of color but also of conception. I will avoid the too easy assumption that this is a result of Miro's nationality; surrealisme is also international. And Spanish art, in spite of its southern aspect and its eastern origins, is not particularly bright — the art of the early Catalan sculptors, of El Greco, Zurbarán, Montanes and Goya is a sombre art, and it is not too fanciful to find an affinity between this art and the specifically gloomy art of the Gothic north. But Miro is far removed from this atmosphere. His colors are bright like those of Persian miniatures or Chinese porcelain, and if we penetrate no farther into the world he has created, we must admit its superficial charm. The timid must be content with this charm — and naturally, since color must be organized, it is a charm of form as well; but below the surface is the irrational world of free fancy. Everyone must grant Miro the sensibility of a supreme artist; there are paintings of his which leave this sensibility so naked and obvious, that only the aesthetically blind can refuse to respond — pictures in which a single sensitive line explores a field of pure color, tracing, as it were, the graph of the artist's acutest point of sensibility, registering the seismographic disturbances of a mind exposed to the assaults of all the senses. Of the irrational appeal of Miro's art, as of all surrealist art, I do not think it is yet possible to write with any precision. Criticism has not yet invented the necessary vocabulary. It
created, we must admit its superficial charm. The timid must be content with this charm — and naturally, since color must be organized, it is a charm of form as well; but below the surface is the irrational world of free fancy. Everyone must grant Miro the sensibility of a supreme artist; there are paintings of his which leave this sensibility so naked and obvious, that only the aesthetically blind can refuse to respond — pictures in which a single sensitive line explores a field of pure color, tracing, as it were, the graph of the artist's acutest point of sensibility, registering the seismographic disturbances of a mind exposed to the assaults of all the senses. Of the irrational appeal of Miro's art, as of all surrealist art, I do not think it is yet possible to write with any precision. Criticism has not yet invented the necessary vocabulary. It took many centuries of philosophical speculation to provide us with an aesthetics of rational apprehension; it will be longer before we can speak with any security about the aesthetic significance of subconscious modes of apprehension and expression. We know (and we knew it before the surrealists made a necessity of this particular virtue) that the imagination (especially the unspoiled imagination of children) is open to a lyricism inherent in concrete irrationality. Objects and events can be taken out of their rational context, disorganized, deformed; they can then be given a rhythm and a dynamism which has an unaccountable but strong appeal to the innocent mind — I mean the mind innocent of all rational concepts of order, of what art should be, aesthetic propriety, and so on. Taken unawares, the public has in the past accepted such irrational art without realizing the implications of the irrational appeal thus admitted. In England we have the very significant examples of Edward Lear and Lewis Carroll. It is true that their phantasy is, by pretense, relegated to the nursery; nevertheless it has had, and continues to have, a strong appeal to the adult. Naturally it is assumed that it is all innocent "fun",
this particular virtue) that the imagination (especially the unspoiled imagination of children) is open to a lyricism inherent in concrete irrationality. Objects and events can be taken out of their rational context, disorganized, deformed; they can then be given a rhythm and a dynamism which has an unaccountable but strong appeal to the innocent mind — I mean the mind innocent of all rational concepts of order, of what art should be, aesthetic propriety, and so on. Taken unawares, the public has in the past accepted such irrational art without realizing the implications of the irrational appeal thus admitted. In England we have the very significant examples of Edward Lear and Lewis Carroll. It is true that their phantasy is, by pretense, relegated to the nursery; nevertheless it has had, and continues to have, a strong appeal to the adult. Naturally it is assumed that it is all innocent "fun", and the suggestion that psychoanalytical meanings could be read into Alice in Wonderland would probably lead to the public lynching of the critic who made it. Yet even in the comparative security of a French review would I venture to make such a suggestion. In any case, the question of symbolic significance is secondary, in Miro's paintings no less than in Alice in Wonderland. We may discover, when we know more about the pre-conscious and unconscious workings of the mind, that some form of symbolism evoked by the artist is a powerful reinforcement of the aesthetic appeal of the picture. But in our present state of psychological ignorance, I think it would be safer to limit ourselves to the aesthetic question. We can affirm, on the evidence of experience and tradition, the legitimacy of irrational forms of art; we can then, without prepossessions of a rational kind, accept and enjoy the art of someone so endowed with all the necessary virtues and faculties as Joan Miro. En Joan Miró, però, no solament no hi ha cap desviament sinó que els qui l'acusen d'heretge de la pintura tradicional (que són els mateixos que titllen d'herètics de la pintura en general tots
symbolic significance is secondary, in Miro's paintings no less than in Alice in Wonderland. We may discover, when we know more about the pre-conscious and unconscious workings of the mind, that some form of symbolism evoked by the artist is a powerful reinforcement of the aesthetic appeal of the picture. But in our present state of psychological ignorance, I think it would be safer to limit ourselves to the aesthetic question. We can affirm, on the evidence of experience and tradition, the legitimacy of irrational forms of art; we can then, without prepossessions of a rational kind, accept and enjoy the art of someone so endowed with all the necessary virtues and faculties as Joan Miro. En Joan Miró, però, no solament no hi ha cap desviament sinó que els qui l'acusen d'heretge de la pintura tradicional (que són els mateixos que titllen d'herètics de la pintura en general tots els qui gosen expressar-se plásticament d'una manera distinta de l'oficial, escolar i temporal) obliden que la tradició pictòrica, com la literària, no s'ha establert per comunicació d'habilitat manual de pares a fills sinó en la seva accepció filosòfica, per « revelació » original. Totes les peculiaritats plàstiques, essencials, de la pintura catalana, tot allà que hi ha de més autòcton, assenyalat ja per la crítica objectiva i per alguns assagistes, en la pintura medieval catalana, ho retrobareu en la pintura de Joan Miró. Si ha assimilat alguna de les característiques temporals de la pintura internacional, llur concreció plàstica ha estat realitzada amb tanta d'originalitat que us seria difícil de destriar a quin corrent intenta de lligar la seva sort. Mes arriscat però que els pintors de nom, repetidament assenyalats, de les escoles romànica i gòtica que caracteritzen un dels més bells períodes de l'art a Catalunya, ha donat a les seves realitzacions un vigor tan propi que no solament resumeix totes les temptatives de creació independent remarcades en el procés de la història de la pintura catalana ans en supera la intenció per a oferir dins el quadre de la pintura europea hodierna una expressió independent i una personalitat inconfusible.
pintura catalana, tot allà que hi ha de més autòcton, assenyalat ja per la crítica objectiva i per alguns assagistes, en la pintura medieval catalana, ho retrobareu en la pintura de Joan Miró. Si ha assimilat alguna de les característiques temporals de la pintura internacional, llur concreció plàstica ha estat realitzada amb tanta d'originalitat que us seria difícil de destriar a quin corrent intenta de lligar la seva sort. Mes arriscat però que els pintors de nom, repetidament assenyalats, de les escoles romànica i gòtica que caracteritzen un dels més bells períodes de l'art a Catalunya, ha donat a les seves realitzacions un vigor tan propi que no solament resumeix totes les temptatives de creació independent remarcades en el procés de la història de la pintura catalana ans en supera la intenció per a oferir dins el quadre de la pintura europea hodierna una expressió independent i una personalitat inconfusible. Poseu, costat a costat, les realitzacions pictòriques de l'artista europeus entre els quals hi hagi possibilitat d'establir un denominador comú, escola i us adonareu d'aquesta certitud : que només Joan Miró manté una realitat racial i temperamental indiscutable. I si la comparació l'establiu amb les obres cabdals de les èpoques mes vivents de la pintura catalana en descobrireu la causa : una mateixa rel mantinguda i nodrida a través dels segles per unes característiques locals (en l'ordre geogràfic) : Simplicitat, claredat, objectivitat, plasticitat i, no rebutgeu la paradoxa, REALISME. FIG. 35. DESSIN DE MÏHÔ POUR LE DECOR DU BALLET « JEUX D'ENFANTS », PRÉSENTÉ EN 1932, PAR LES BALLETS RUSSES DE MONTE-CARLO. FIG. 36. 1933. JOAN MIRÒ. (COLLECTION PIERRE MATISSE.) PHOTOGRAPHIE ARANIS. EXPOSITIONS MIRO 1918. GALERIE DALMAU, DE BARCELONE du 16 Février au 3 Mars 1918. 1921. GALERIE LA LICORNE, PARIS du 29 Avril au 12 Mai 1921, organisé par M. Dalmau. 1925. GALERIE PIERRE, PARIS du 12 au 27 Juin 1925, organisé par Jacques Viot. 1928. GALERIE GEORGES BERNHEIM et Cie du 1er au 15 Mai 1928, organisé par la Galerie Pierre. 1929. GALERIE LE CENTAURE, BRUXELLES du 11 au 23 Mai 1929. 1930. GALERIE PIERRE, PARIS du 7