Жоан Миро цитаты

„То, что я ищу, является неподвижным движением, то, что было бы равнозначно, что называется красноречию молчания, или как св. Иоанна на кресте, я думаю, это было бы описано термином «немая музыка.»“

—  Жоан Миро

„Я чувствую потребность достижения максимума интенсивности с минимумом средств.“

—  Жоан Миро

„Когда я работаю, то некая субстанция становится для меня знаком женщины или птицы.“

—  Жоан Миро

„Работы должны быть задуманы с огнём в душе, но выполнены с клинической прохладой.“

—  Жоан Миро

„Я пытаюсь использовать цвета, как слова, которые формируют стихи, как ноты, что формируют музыку.“

—  Жоан Миро

„Я начинаю рисовать, и, пока я рисую, картина сама утверждается под моей кистью.“

—  Жоан Миро

„Для меня форма никогда не бывает абстрактной, она всегда звезда, человек или ещё что-нибудь.“

—  Жоан Миро

„Всё, что я рисую, я видел в полях или на морском берегу.“

—  Жоан Миро

„В течение всего периода, в котором я работаю на холсте, я чувствую, как я начал любить его той любовью, которая рождается из медленного понимания.“

—  Жоан Миро

„I try to apply colors like words that shape poems, like notes that shape music.“

—  Joan Miró

from: Joan Miro: Selected Writings and Interviews, M.Rowell, Thames and Hudson, 1987
1940 - 1960

„I begin my work under the effect of shock, which I can sense and which gets me on the run from reality... In any case, I need a starting point, even if it’s just a speck of dust or a gleam of light.“

—  Joan Miró

1940 - 1960
Источник: On the Readability of Signs; Miro's path from Mysterious to Comic Pictorial signs, Sylvia Martin; Düsseldorf 2002, p. 67

„[the canvas.. ] rubbing in with a handful of straw, with a rag, a scrubbing brush, a Majorcan brush for applying white, with the hand, etc.... [a drawing in a] gigantic rhythm like that of a waterfall cascading down a mountainside.... [works based on] pure signs begun in Varensgeville and finished in Palma.... [with a picture ground of] blue vitriol [a pesticide] that they use for the vines and that splashes against the walls of the farmhouse..“

—  Joan Miró

Miro describes his 'attacks' on the canvas
Quote of Miró in his 'Working notes, 1941 – 1942'; as cited in Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 69
1940 - 1960

„.. wherever you are, you find the sun, a blade of grass, the spirals of the dragonfly. Courage consists of staying at home, close to nature, which could not care less about our disasters. Each grain of dust contains the soul of something marvellous.“

—  Joan Miró

Miró admonished art-critic w:Georges Duthuit
1915 - 1940
Источник: 'Où allez-vous Miró?' (Where do you go, Miró), Georges Duthuit in Cahiers d'Art 11, nos. 8-10, 1936

„Thirty five years ago.... Sandy [Alexander Calder, and his wife] Louisa came to see me at Montroig, where I conceived the farm [Montroig in Spain, where Miro had a farm in the 1930s], where the trees, the mountains, the sky, the house, the vineyards, have remained the same. There were the mules have always eaten carobs, and where we have the same warming red wine. Well then, one day I invited all my neighbours, the farmers and workmen of the district to see the Circus that Calder had brought. Everyone was transfixed and totally overwhelmed by it.“

—  Joan Miró

1961 and later

„Let's transplant the primitive soul to the ultramodern New York, inject his soul with the noise of the subway, of the 'el', and may his brain become a long street of buildings 224 stories high.“

—  Joan Miró

Barcelona - Dada, 1917
1915 - 1940
Источник: a letter to Enric C. Ricart, 1 October 1917; as quoted in Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 47

„In the current struggle I see the antiquated forces of fascism on one side, and on the other, those of the people, whose immense creative resources will give Spain a drive that will amaze the world.“

—  Joan Miró

1961 and later
Источник: Revelations', Luis Permanyer, April 1978; as quoted in Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 81 note 10

„We see ourselves confronted with pure abstraction. Small problems and highly obscure subjects are, if you will, always grand in intention, and the layman would casually and quite undisparagingly trample on them if they were to serve as carpet motifs.“

—  Joan Miró

in a review of his Bernheim show, G. J. Gros, Fall 1933; as quoted in Calder Miro, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 81 note 10
1915 - 1940

„Decoration. Very rapidly executed, at one go, spontaneously [reflection of making a mural on the site for the terrace plaza hotel in Cincinnati]. What takes a long time in my case is the work of silent reflection; it is impossible for me to predict the duration of this preparatory period. You have to keep in mind that it is by no means a matter of just doing a large picture, and though it will not be possible to paint a true mural by attacking the wall directly, in fresco, to do so will require persistence while maintaining, as much as possible, the spirit of the great tradition of mural painting. I shall have to go to Cincinnati in advance as soon as I can, to view the architecture and its environs, because otherwise I would only create an easel painting in large format.“

—  Joan Miró

In a letter to Pierre Matisse, 26 January 1946; as quoted in Calder Miro, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 70
1940 - 1960

„When I first saw Calder's art very long ago [c. 1928 in Paris, Miro saw Calder performing his mechanical 'Circus' for the Paris' art scene, all puppets made from metal wire and wood] I thought it was good, but not art.“

—  Joan Miró

1961 and later
Источник: 'New York Times', 3 April 1969