For him it was “no coincidence that this drawing appears in particular on three sheets of cardboard entitled 'Solitude', because the sensations they stir correspond to the meaning of this word. These symbols or - better yet, signals - elude all bonds and structures and form a kind of negative script, perhaps similar to the twelve-tone music the painter has listened to often in recent years”, writes Jacques Dupin. Radically cleared of motifs, these works represent highlights in Miró's oeuvre.Īn entirely new graphic element characterises Miró's works from around 1960: “The very simplified, sensitive symbols appear to respond to one another across all the voids that divide them and the stains and clouds that encircle and suffocate them. At that time, at his advanced age, he concentrated his strength on metaphysical landscapes, a minimalism in which the cosmos reveals itself to the viewer. Large formats had always interested Miró: after all, they provide the painter with the opportunity to move freely, to engage in broadly sweeping gestures. There the architect Josep Lluís Sert, a friend of Miró, designed him the studio he had always dreamed of and which would provide him with space for his important monumental works of the 1960s and 1970s. In 1956 Joan Miró shifted the focal point of his life to Mallorca. by Carl Haenlein, Kestner-Gesellschaft Hanover 1989/1990, p. Joan Miró: Arbeiten auf Papier 1901-1977, ed. Should I seek solitude, dark language, in order to better grasp this quivering, inconstant life? My mouth has words that I'd wish to be out there, in the heart of this innocent world, which speaks to me and sees me and listens to me and whose luminously clear metamorphoses Miró has always mirrored.” (From: Paul Eluard, Mirós Epiphanien (Naissance de Miró), 1937, cited in: exhib. “The first morning, the last morning, the world awakes.
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