Analysis of Joan Miro
Art Analysis of Joan Miro On April 6th, my husband, little boy, and myself all attended the Salvador Dali Museum. ... It took a little time for my husband to walk into the section where Miro’s sculptures were, because of what caught his eye. ... Meanwhile, I grabbed my husband’s arm, and grabbed my little boy’s hand then proceeded to another part of the museum searching for Miro’s section. ... The moment we walked into Miro’s exhibition, my son’s first reaction was wow! ... He insisted he wanted to sit on one of Miro’s sculptures titled, “Seated Woman and Child“. ... Later I learned that a Joan Miro museum was located in the hill of Montjuic, and on the grounds there were sculptures children could touch. ... I then moved around the room, viewing Miro’s work, not really understanding his concept. I noticed that each sculpture was positioned so that the lighting cast a shadow on the wall, and the shadow of each art work was near the title and description of Miro’s sculpture. ... What I saw was a creation of Miro’s work, but not his motives. ... All of Miro’s drawings were childlike, and some of them did not correlate with his actual finished work. ... I thought, to understand Miro’s work is to first understand how he entered in the world of art and surrealism. What I discovered is as a young child, Miro wanted to be an artist, however his parents wanted him to venture into the business world. Therefore, Miro attended two schools, art and business. ... Miro knew what he felt inside, however, his parents were practical people and they wanted him to live a practical life. Even though Miro chose to become an artist, he still portrayed his honor for his parents. Throughout the years, Miro always appeared not like most artist, but as a business man, always wearing a suit and tie. ... It was Francese Gali who discovered Miro’s lack of ability to create a form of art from models, and life studies. Gali then taught Miro how to work with objects by blindfolding him, while giving him objects to touch, so he could feel the shape of each object. He then asked him to draw from touch not from vision, (Monsters in America by, Patti Verbanas) and after viewing Miro’s exhibition of “The Shape of Colors”, I was able to see Miro’s visions appear from his subconscious, as though he still created his work still blindfolded.