The inner fire of Miró at the Grand Palais could be contagious
We don’t always know what to do on a Sunday afternoon, the Louvre is too vast, the Orangery museum is too small, and anyway you have seen it all. If you feel like experiencing pureness there is Giacometti, if you feel like enjoying colors, do not miss at the Grand-Palais the exhibition dedicated to Joan Miró. After Artistes et Robots then Kupka, we present you the Spanish artist that defined himself as “International Catalan”. And if you wish to extend pleasure, do not forget the bar under exterior columns, one of the most beautiful of Paris.
A real surrealist at first
The work of one of the most influent artists of the 20th century is shows chronologically in this exhibition his inner journey, reflected in tis creations.
Catalan, attached to his land, to land in general, matter has a determinant place in the pieces of this rebellious spirit.
Through Picasso, 10 years older than him, Spanish like him and that protects him, he meets André Breton and Louis Aragon and become the main painter of the surrealist movement. This movement based on unconscious and onirism helps him in its search for new pictorial language.
“Miró make a giant leap the last barricades to total spontaneity of expression”, André Breton.
Then he meets Paul Éluardand Robert Desnosduring the twenties when they are looking for new poetic forms of expression. They lead him to produce poem-paintings mixing both words and colors, always trying to find a better language to come out of himself.
An artist of its time
Then the Diktat of Breton combined with its desire to “murder academic painting” pull him away from surrealist movement. The years preceding fascism in Europe are for Miró years of anger, visible in its paintings.
“I knew a catastrophe was about to occur, but I did not know what catastrophe”, Joan Miró.
In 1937, refugee in Paris, he produces a monumental piece—El Segador—for the Spanish republic pavilion, during the universal exhibition. It is displayed in front of Picasso’s Guernica. The masterpiece has been lost and the role of Miró towards Francoism, contrary to his friend Pablo.
War strikes France, painting and canvas are missing and he realizes on simple paper sheets, with gouache the enchanting Constellations.
In 1943, Miró paints the Barcelona Series of lithography in Black and White to denounce violences perpetrated in his country. Inspired but the Alfred Jarry’s Ubu Roi, those paintings expose the exactions of the regime, attack Francoism. Yet, he experiences the most difficult period of his life, being tackled by artists and intellectuals in exile because he took refuge at Palma de Mallorca. At the same time, first in US, then around the world he starts to be seen as a major figure of modern art.
Later will come the large format paintings—to reinforce stripping—such as the Triptych Bleu I, Bleu II, Bleu III. Like Calder, whose mobiles seem childish he tries to generate the emotion of invention. As close friends as close are their works, their arts were identically often misunderstood, only seen as consensual and childish.
Those comments hurt him his whole life, and may have contributed to maintain the inner fire, the wish to perpetual revolution inside, hidden by a perfect bourgeois appearance outside.
From March 21th to July 30th.
Open every day except Tuesday
From 10 am to 8 pm Thursday to Monday
From 10 am to 10 pm on Wednesday
HOW TO GET TO THE GRAND PALAIS
3, avenue du Général Eisenhower
Voice server: 00 33 (0)1 44 13 17 17
Lines 1/9 Franklin D. Roosevelt Station
Lines 1/13 Champs-Élysées – Clémenceau Station
RER C : Invalides Station
Rond-point des Champs-Élysées
Place de la Concorde
Entrance to Exhibition
Full rate: 15€
Reduced rate: 11€
If you want to know more, before or after your visit, the Arte report: Joan Miró, the inner fire: