Joan Miro Essays - Military Dictatorship Of Chile,

Joan Miro Working Thesis: The Catalan struggle and Spanish Civil War greatly influenced Joan Mir? 's art; Miro's techniques of forceful strokes with paint and ceramics enable Mir? to express his feelings and depict the Catalan people's struggle through art. I. Surrealism in the 1920s A.) Born into a Catalan culture B.) Intense nationalist activity C.) Masia D.) Clement Greenburg II. Lack of interest in political matters A.) Spanish Civil War B.) Being Catalan C.) Catalan struggle for freedom III. Career in art A.) 1911 enrolled at design school B.) Frances Gal? C.) 1914 Mir?'s earliest painting 1.) Paris-1920/changes 2.) The Hunter IV. Anger in Mir?s art A.) Spaces of his art are occupied B.) New tensions V. Constellations A.) Taboos B.) Death Working Thesis: The Catalan struggle and Spanish Civil War greatly influenced Joan Mir?'s art; Mir?'s techniques of forceful strokes with paint and ceramics enable Mir? to express his feelings and depict the Catalan people's struggle through art. Surrealism in the 1920s was defined as a fantastic arrangement of materials that influenced Mir?, due to the fact that he was one of the most original and sympathetic artists during the Surrealism periods. Mir? was born into the Catalan culture in April 20,1893 in Barcelona, Spain (Munro 288). Having to be born into the Catalan culture gave Mir? an opportunity to have an intense nationalist activity. In which much attention was paid not only to political expressions of the need for autonomy, but also to the re-Catalanizing of every day life (Higdon 1). ?It was necessary to fight so that Catalan, our language might be recognized as a cultural language? (?Mir). In 1910 Mir?'s parents bought a masia which is a sort of traditional farmstead of Catalonia, where the family has its roots on the paternal side. Mir? described the masia in his painting The Farm of 1921-1922 (Figure1). Clement Greenburg a close friend of Mir? who is also a critic, said that Mir?'s art is based on ideas ?of painting as an irrevocable two dimensional medium? (Munro 289). Greenburg also stated ?Mir? is known for his almost total lack of interest in political matters? (Munro 289). The only thing that really kept Mir? interested was his people and their culture. What really shot Mir? down was the Spanish Civil War, he stated that ?I am not in favor of separatism. I am in favor for Spanish unity, European unity, and World unity.? He believed that they should be able to celebrate their myths, and abide by their own laws (Higdon 1). Being Catalan was pretty hard on Mir? as well as his people and their culture. For one, the government tried to shut them out or at least make them in to a Spanish-speaking country. Yet the Catalans had to push on their struggle for freedom. Mir? used his paintings to show his urge for unity, and wanted his people to have the right to practice their customs (Munro 288). He was extremely devoted to his people and their aspirations. He wanted to bring out Catalan traditions as well as their language (Higdon 2). Mir? career in art was sort of brought on by destiny. In 1911 he enrolled at a design art school, taught by a man named Frances Gal?. Gal? was extremely strict and straightforward. His art was basically drawn in the form of a picture. Yet when he saw Mir?'s art he realized true potential and realized that Mir?'s use of paint strokes and use of two-dimensional shapes were unique. In 1914 Mir? painted a man wearing a Catalan ?liberty cap.? (Higdon2) After Mir? had completed small amount of his paintings they were brought to Barcelona for their safe keeping. Such as the Montroig, the Church and the Village (Figure 2), The Farm (Figure 1), Still Life with Old Shoe (Figure 3), and Women in the Night (Figure 4), When Mir? moved to Paris in the 1920s he experienced a wide variety of changes in one year, he had then moved from ?na?ve? of The Farm to the startlingly spare abstraction of the Hunter. After his experience with Paris, which only lasted for a couple of months, he went back to Barcelona until the beginning of the Spanish Civil War in 1932. Mir? began to show his anger in his art by drawing wild paintings. The spaces left between his artwork were occupied with monstrous figures, and