Concept Web- Miro's philosophy

Miro theory

• "I will assasinate painting"
  
  • Miro´s rejection of formal painting traditions
  "immobility affects me-a rock, a deserted beach, a landscape unleash great  movements in my spirit...what I indeed attempt is immobile movement, something equivalent to what is called the eloquence of silence or what Saint John of the Cross called mute music"
  
  • Miro´s facination with immobile and desolate imagery. His respect and facination are apparent in his late works of the 1970s, fpjm106 and 109
  "For me an object is something alive. This cigarette, this box of matches contain a secret life much more intense than that of many human beings."
  
  • Miro collected many ordinary objects to keep in his studio. His work suggests that he expresses these objects in their most abstract form in his work.
    
  Silence is the negation of noise, but the truth is that in silence, the tiniest sound takes on enormous resonance."
  
  • In his Mallorca paintings, Miro used a great deal more black, and simple compositions of line and shape. He seemed to enjoy a quiter more medatative existence in Mallorca.
  "A picture is never finished, nor begun, a picture is like the wind- something in continuous movement, unrelenting...what is important is not to finish a piece, but to leave a glimpse of something that can lead to the start or creation of another artist´s work at some time near or far."
  
  • Later in life, Miro´s focus shifts to the ethereal nature of life, and his philosophies incorporate the future continuation of art as a collected and shared experience.
  "I work in a state of passion and ecstasy. When I begin a canvas, I obey a physical impulse, the need to tire myself out, it´s like a physical discharge."
  
  • Miro´s paintings from the early 1970s display his attitude of passionate exersice. His use of thick black lines, powerful curves and splashes of color reveal his concentration and aggression while creating these works.