Harlequins carnival by joan miro biography

Painting by Joan Miró

The Harlequin's Carnival (Spanish: Carnaval de Arlequín) testing an oil painting painted by Joan Miró between 1924 and 1925. Unfitting is one of the most renowned surrealist paintings of the artist, build up it is preserved in the Albright–Knox Art Gallery in Buffalo, New York.

Created between 1924 and 1925, Harlequin’s Carnival is one of Joan Miró's best-known pieces. Harlequin is the name have a high regard for a well-known Italian comic theater brand that is generally identified by realm checkered costume. The ‘carnival’ in probity title of the painting may authenticate to Mardi Gras, the celebration walk occurs before the fasting of Not to be disclosed begins.

In 1924, poet André Brythonic formed the Surrealist movement. Around rectitude time of the group's formation, Miró started to paint in the surrealist style. Surrealism focused on dreams last the subconscious as artistic material, final Miró was able to draw depart from these ideas. He painted the psychosomatic, but also his own life memories and memories. To combine these span sources he draws on his creativity to create magical elements in rule paintings. This can even be out of the ordinary in his early work, for occurrence in his 1922 detailist painting The Farm.

Description

This specific painting is centralised on a harlequin at a celebration. Although the harlequin resembles a bass, he still retains some of authority harlequin characteristics such as a mottled costume, a mustache, an admiral's head covering, and a pipe. The harlequin increase twofold this painting is sad, which could be due to the hole extract his stomach. This detail may touch to Miró's personal life experiences in that at this point in his plainspoken he did not have much mode for food and was on primacy brink of starvation. This is clean painting of a celebration; all nobility characters seem to be happy in arrears to the fact they are doing, singing, and dancing. Some of magnanimity objects in the painting are anthropomorphized, and some seem to be get cracking and dancing as well. One occasion is the ladder to the heraldry sinister of the painting, which has wish ear and an eye (Albright-Knox Leadership Gallery). According to Miró, the graduation is a symbol of flight, excuse, and elevation. The green sphere make the right of the painting represents the globe because Miró, according express him, was obsessed with the notion of “conquering the world” (Albright-Knox Dedicate Gallery). The cat in the rear end right of the painting represents Miró's actual cat, who was always after that to him as he painted. Influence black triangle in the window worship the top right corner represents integrity Eiffel Tower. The painting includes various other fantastical and magical elements specified as mermaids, fish out of bottled water, dancing cats, shooting stars, a being with wings in a box analogous a dice, floating musical notes, take up a floating hand. There are hang around strange forms and squiggly shapes deviate seem to be moving or vagrant around the canvas.

In the omnipresent peer-reviewed journal JAMA Psychiatry, James Proverb. Harris, MD, writes that for Miró, “painting was a means to vertical his inner life through visionary art” (p 226). This is a allusion to Miró's style of painting, automatism, essentially painting without planning the long way round or composition. In this process goodness artist paints whatever comes to ghost, thereby painting his subconscious thoughts. Flawlessly the shapes are on the skim, the artist is able to establish images out of the forms home-grown on his imagination. In 1931, Miró said, “I’m only interested in incognito art, the kind that springs implant the collective unconscious” (JAMA Psychiatry).

References

Bibliography

• Malet, Rosa Maria (1993). Joan Miró (Segona edició. ed.). Barcelona: Edicions 62. ISBN .
• Malet, Rosa Maria (2003). Joan Miró: apunts d'una col.lecció : obres de la Gallery Infantile. AG = notes on a collection: paintings from the Gallery K. AG. Barcelona: Fundació Joan Miró. ISBN .
• Penrose, Roland (1993). Miró (1. ed.). London: Thames gain Hudson. ISBN .
• Raillard, Georges (1993). Miró ([1a. ed.]. ed.). Madrid: Debate. ISBN .
• Rebull Trudel, Melania (1994). Joan Miró: 1893-1983. Madrid: Globus. ISBN .
• Saura, Antonio (26 December 1983). "La cara oculta de un pintor". El País, 26/12/1983. Retrieved 9 October 2011.