A toute epreuve joan miro biography
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Joan Miro: A Toute Epreuve
বইটা মূলত মিরোর ইন্টারভিউ থেকে কম্পাইল করে লেখা৷ ইন্টারভিউ আর কম্পাইল দু'টোই করেছেন Yvon Taillandier। প্যারাগ্রাফ আকারে শুধু মিরোর কথাগুলো স্থান পেয়েছে বইতে। ৩-৪ পৃষ্ঠা লেখা অতপর একটিকরে মিরোর চিত্রকর্ম – এভাবেই বইটা সাজানো। বলা প্রয়োজন, লেখার মূল ভাষা ফরাসি। সেখান থেকে ইংরেজিতে অনুবাদ করা হয়েছে৷ Appendix অংশে ফরাসিতে মূল লেখাটিও দেওয়া আছে।
৮০ পৃষ্ঠার ছোট এই বইতে মূলত মিরোর দর্শন ও ক্রিয়েটিভ প্রোসেস উঠে এসেছে। শিল্পকর্মকে ঘিরে তার অনুভূতি ও চিন্তার স্পষ্ট ও সহজ ছাপ পাওয়া যাবে বইতে৷ প্রতিটা প্যারাই যেনো জেম।
কিছু লেখা কোট করে রেখেছিলাম পড়ার সময়৷ সেগুলো নিচে তুলে দিচ্ছি।
"For me inventiveness object task alive; that cigarette, that matchbox, make smaller a covert life ostentatious more potent than defer of greatest humans."
"Stillness strikes me. That bottle, that glass, a large stuff on a deserted beach— these slate motionless characteristics, but they set look onto motion middling movements stop in full flow my fall upon. I don’t feel that with a human who moves turn all interpretation
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À toute épreuve and the Art of Language
In his Epistle to the Pisos, the lyric poet and satirist Horace[1] coined the expression ‘Ut pictura poesis,’ which literally means ‘as is painting, so is poetry,’ or, in other words, ‘poetry resembles painting.’ Aside from what Horace may have intended – to establish that poetry was like painting, and thus an imitation of reality, but through the use of words-, the Latin expression per se has a direct, timeless connection with Miró’s view: ‘Je ne fais aucune différence entre peinture et poésie’ (I make no distinction between painting and poetry). On the other hand, if we look up the word poesia (poetry) in the Institut d’Estudis Catalans dictionary, we find a definition that would translate as follows: ‘The art of language that consists of using rhythm, usually that of verse, to express one or several subjects, an idea, a feeling, etc., which each poet strives to endow with a value that is at once unique and universal.’ Therefore, bearing in mind this definition and Miró’s statement, we can draw the following conclusion: if poetry is the art of language and Miró made no distinction between painting and poetry, we could say that Miró’s painting is also the art of language.
In 1930, right after Gala had left him, the Surrealis
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Joan Miró (1893-1983)
"What I'm looking for is a motionless movement, something equivalent to what we call the eloquence of silence, or what Jean-de-la-Croix called, I think, silent music.
Catalan artist Joan Miró was born in Barcelona in 1893. He studied at the École supérieure des arts industriels et des beaux-arts de la Lonja, then at the École d'art de Francesc Galí, a private school open to all the arts and sensitive to the ideas of the European avant-garde. It was here that he discovered modern painting. Van Gogh, the Fauves and the Cubists made a strong impression on him. He also made lasting friendships with Joan Prats, Josep Francesc Ràfols, Enric Cristòfol Ricart and Josep Llorens Artigas. In the autumn of the following year, he joins the Cercle artistique de Sant Lluc, where he takes drawing classes. In the summer of 1915, at Mon-troig, his family's farm in the province of Tarragona, he painted his first landscapes, close to Cubism in their schematization of forms and to Fauvism in their use of color. The following year, he made the acquaintance of the art dealer Josep Dalmau, owner of the Dalmau gallery in Barcelona, a hub of avant-garde activity in the city, where foreign artists who had fled war-torn France gathered: Albert Gleizes, the couple Sonia and Rob