胡安·米羅認(rèn)領(lǐng)

0粉絲

胡安·米羅（Joan Miró i Ferrà，1893年4月20日－1983年12月25日），加泰羅尼亞畫家、雕塑家、陶藝家、版畫家，超現(xiàn)實主義的代表人物。

從小時候，米羅就對于大自然的風(fēng)景非常熱愛，對于自己成長的地方更是如此。畫畫對于安靜及敏感的他來說，似乎是一種習(xí)以為常的工作。

他的父親對于天文很有興趣，而此興趣多少也影響到米羅。

同時，他也有著對藝術(shù)的敏銳。也很喜歡畫（女人、小鳥、太陽、星星）。畫作常以自創(chuàng)符號及色塊構(gòu)成，成為獨特的個人風(fēng)格。與畢加索、達(dá)利并列西班牙后三大藝術(shù)家。

簡介

胡安·米羅（Joan Miró i Ferrà，1893年4月20日－1983年12月25日），加泰羅尼亞畫家、雕塑家、陶藝家、版畫家，超現(xiàn)實主義的代表人物。從小時候，米羅就對于大自然的風(fēng)景非常熱愛，對于自己成長的地方更是如此。畫畫對于安靜及敏感的他來說，似乎是一種習(xí)以為常的工作。他的父親對于天文很有興趣，而此興趣多少也影響到米羅。同時，他也有著對藝術(shù)的敏銳。也很喜歡畫（女人、小鳥、太陽、星星）。畫作常以自創(chuàng)符號及色塊構(gòu)成，成為獨特的個人風(fēng)格。與畢加索、達(dá)利并列西班牙后三大藝術(shù)家。

影視作品

加泰羅尼亞農(nóng)民與吉他

風(fēng)景（野兔）

犁過的田地

Populated with complex, often inscrutable forms, The Tilled Field, with its puzzling iconography, is an abstract depiction of the landscape of Miró's Catalan homeland. The painting, teeming with organic forms that merge and meld seemingly in defiance of nature, is a testament to Miró's ever-increasing stylization and abstraction at this point in his career. The picture may be viewed as both an homage to Spain's past and a statement on the political upheaval in Europe. In subtle ways, Miró's works frequently expressed his own political sentiments as does this one as well as works from the period leading up to and throughout World War II. The painting also emphasizes how extremely radical was Miró's departure from his previous, naturalist style once he arrived in Paris and was exposed to the avant-garde art of that city in which innovation thrived.

麥穗的故事

"The Ear of Grain" is an early work in which Miró demonstrates his close study of everyday objects, in some ways a by-product of study in a traditional academic setting. As a young artist, Miró was influenced by the painstaking, detailed realism of the Dutch Masters. The attention he gives to objects is reflected later in the care Miró takes with constructing the clean-edged, biomorphic forms of his trademark style.