![]() He pioneered nontraditional materials, including sand and tar, making thoroughly abstract pictures and producing stunningly original collages and assemblages, initiating a ripple of influence that would extend all the way to Rauschenberg. I have utter contempt for painting… I will break their guitar.” With cultivated “automatist” spontaneity, he worked on raw canvas, copper and the recently invented Masonite. By the end of 1927, most of the cubists and futurists had been experimenting with such forms for almost 15 years.īut Miró decided to shock everyone in his circle by declaring, “I want to assassinate painting! I intend to destroy, destroy everything that exists in painting. Picasso had been vying with Matisse and experimenting with collage since 1912 Juan Gris, another Spanish genius, was in a mad race with Braque, and Dali was challenging de Chirico and Magritte. His compatriots were also searching for new forms of expression-and competing with each other to push the envelope further. He also painted traditional portraits, works that by the mid-1920s led him to search for something completely different.Īt this time, Miró was absorbing all the changes swirling around the art worlds of Barcelona and Paris. His canvases are often busy, full of all types of creatures, or else beautifully spare, perhaps just a bright circle and a few lines. Miró is best known for his colorful oval shapes and amoeba-like forms with their shocks of blues, greens and reds overlaid with stark black lines outlining creatures with enlarged heads and pinched, often angry faces. But the other Catalonian surrealist, Joan Miró, makes a strong case for inclusion in the club-and the evidence is on display at MoMA. Some of the more outrageous among them have been determined to kick it up a notch and bring about their own revolutionary changes, and in this regard Dali and Picasso are usually cited as prime practitioners. What is anti-painting? Generally it connotes a way of creating art without using conventional techniques and materials, though many avant-garde artists have defined it differently. © 2008 Successio Miró / Artists Rights Society (ARS), New York / ADAGP, Paris ![]() Pastel and pencil on flocked paper, 42 x 28" (106.7 x 71.1 cm).
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