Жоан Миро цитаты

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

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

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

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

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

„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 цитаты

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

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

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

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

Жоан Миро: Цитаты на английском языке

“Childhood and magic are married in this poem inscribed in infinity, like traces on walls or cracks in venerable walls, superimposed posters lacerated by wind, rain and poetry; calligraphy and ideograph intermerge in this equation.... in this sign.”

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

“Have you ever heard of anything more stupid than 'abstraction-abstraction?'”

1915 - 1940
Источник: a letter to art-seller in New York Pierre Matisse, [son of Henri Matisse, 19 February 1936]; the Pierre Matisse Gallery Archives, The Pierpont Morgan Library, New York MA 5020

“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.”

and they ask me into their deserted house [probably Miro meant the group 'Abstraction-Création', founded by a. o. Jean Arp and André Breton; both coined Miro's art in 1931 as 'mobile' and 'stabile'] as if the marks I put on a canvas did not correspond to a concrete representation of my mind, did not possess a profound reality, were not a part of the real itself.
1930s
Источник: 'Où allez-vous Miró?', art critic Georges Duthuit in Cahiers d'Art 261, nos. 8-10, 1936

“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.”

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.”

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

“[to] think, in a certain way, of the power and severity of Romanesque paintings... Go to the beach and make graphic signs in the sand, draw by pissing on the dry ground, design in space by recording the songs of the birds, the sounds of water and wind.... and the chant of insects.”

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

“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.”

'Working notes of Miro, 1940 – 1941'; as quoted in: Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 69
1940 - 1960

“And then, as you can see, I give greater and greater importance to the materials I use in my work [c. 1936]. A rich and vigorous material seems necessary to me in order to give the viewer that smack in the face that must happen before reflection intervenes. In this way, poetry is expressed through a plastic medium, and it speaks its own language.”

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

“Have you ever heard of anything more stupid than 'abstraction-abstraction'? and they ask me into their deserted house [probably Miro meant the group 'Abstraction-Création', founded by a. o. Jean Arp and André Breton; both coined Miro's art in 1931 as 'mobile' and 'stabile'] as if the marks I put on a canvas did not correspond to a concrete representation of my mind, did not possess a profound reality, were not a part of the real itself.”

1915 - 1940
Источник: 'Où allez-vous Miro?', Georges Duthuit in Cahiers d'Art 11, nos. 8-10, 1936

“.. something as sensational as [a] heavy weight prize fight…. a rain of swings, uppercuts, and straight right and lefts to the stomach and everywhere throughout the entire event – a round lasting about twenty minutes. [remark on a ballet Miro planned to, c. 1930]”

1915 - 1940
Источник: 'Où allez-vous Miró?', art critic Georges Duthuit in Cahiers d'Art 261, nos. 8-10, 1936

“How did I think up my drawings and my ideas for painting? Well I'd come home to my Paris studio in Rue Blomet at night, I'd go to bed, and sometimes I hadn't any supper. I saw things, and I jotted them down in a notebook. I saw shapes on the ceiling..”

Quote of Miró in 'Bravo' Barcelona 1994; as cited in Calder Miro, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 37
1915 - 1940

“.. 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.”

from: Miro, on English Wikipedia
Miró's quote on 'automatic painting and drawing', explaining the start of his work 'Harlequin's Carnival' he made in Paris, strongly admired then by Surrealists like André Breton
1915 - 1940

“The spectacle of the sky overwhelms me. I'm overwhelmed when I see, in an immense sky, the crescent of the moon, or the sun. There, in my pictures, tiny forms in huge empty spaces. Empty spaces, empty horizons, empty plains - everything which is bare has always greatly impressed me.”

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

“Your face had become dark, and, upon the day's awakening, your ashes will disperse themselves throughout the garden.
Your ashes will fly to the sky, to make love with the stars.
Sandy, Sandy, your ashes caress the rainbow flowers that tickle the blue of the sky.
[short poem of Miro, on the death of his good old art-paw, the inventor of the 'mobile', Sandy Calder ]”

from: English Wikipedia, Joan Miró, 1958, as quoted in Twentieth-Century Artists on Art, ed. Dore Ashton, 1986
1940 - 1960

“Picasso was wild about it and said it was one of the best things I have ever made. [on Miro's exhibition in Paris, 1938 where he showed a big frieze, made for a children's room; commissioned by art-dealer Pierre Matisse in New York]”

1961 and later
Источник: his 'Foreword', Barcelona 1977; as quoted in Calder Miro, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 309

“I have thought a lot about the question of titles. I must confess that I find any for works that take off from an arbitrary starting point and end with something real…. [Miro allowed Pierre Matisse to make titles, based on the] real things…. [if they do] not evoke some tendency or other, something I want to avoid completely [very probably Miro meant here: the Surrealists ]. [advising Pierre Matisse; who showed then several modern European painters in New York].”

1915 - 1940
Источник: Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 76

“To gain freedom is to gain simplicity.”

In a letter to his art-seller Pierre Matisse, 12 October 1934; as quoted in Calder Miro, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 82, note 24
1915 - 1940

“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, Joan Miró Foundation
1940 - 1960

“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.”

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

“[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..”

1961 and later

“I was very interested in the reproductions of your [ Calder's ] sculptures. I have looked at them many times [Calder sent him], and they are something completely unexpected. You are taking a path full of great possibilities. Bravo! Sculpture is of enormous interest to me right now. For the last two years [1944-46], during summer vacation, that's all I have been doing and it's very good for a painter to get away from the old story of canvas and frame every now and again.”

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

“Painting must be fertile. It must give birth to a world.... it must fertilize the imagination.”

In a letter to his friend Calder, Barcelona, 18 March 1946; as quoted in Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 268
1940 - 1960

“to try also, inasmuch as possible, to go beyond easel painting, which in my opinion has a narrow goal, and to bring myself closer, through painting, to the human masses I have never stopped thinking about.”

from: Taillandier, 1959; as quoted in Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 82, note 24
1940 - 1960

“Quote of Miró on a visit of Calder who brought with him the small mechanical circus made from wire: a letter by Miro, 17 March 1964 / Correspondence 61; as cited in Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 33”

1915 - 1940
Источник: 'Je rêve d'un grand atelier', Miro 1938; as quoted in Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 65

“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.”

1961 and later