Abstraction II:The Eloquence of Silence and Unimportant Details

Joan Miró

Image via Wikipedia

“It is completely unimportant. That is why it is so interesting.”– Agatha Christie

Miró‘s Search for Mute Music

Miró refused to comment, despite the heated debate that was going on. Max Ernst grabbed a coil of rope, while others pinioned Miró’s arms. The noose was laid around his neck and he was threatened with the death penalty for keeping his mouth shut. Still, he remained silent.  from Miró” by Janis Mink


What I am looking for… is an immobile movement, something which would be the equivalent of what is called the eloquence of silence, or what St. John of the Cross, I think it was, described with the term ‘mute music’– Joan Miró

“For me an object is something living. This cigarette or this box of matches contains a secret life much more intense than that of certain human beings.– Joan Miró

I find rubies and emeralds in the dung heap– Rembrandt van Rijn quoted often by Miró

The moment I begin work on a canvas I fall in love, the love that is the daughter of gradual understanding. A slow appreciation of the manifold nuances, the concentrated glory of the sun. It is a joy to await an understanding of a blade of grass in the countryside– why belittle it? This blade of grass that is equally as beautiful as a tree or a mountain.– Joan Miró

I am working hard; going toward an art of concept, using reality as a point of departure never as stopping place.– Joan Miró

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2 Responses to Abstraction II:The Eloquence of Silence and Unimportant Details

  1. Artswebshow says:

    This doesn’t quite seem abstract to me, though impressive all the same.
    I see abstraction in it and i truly like what i see

  2. randomyriad says:

    Miro’s abstraction is different than O’Keeffe’s in that he is trying to include everything no matter how insignificant to most people. He starts with the reality of a farm and then finds all the little objects and creatures that he finds of vital interest, animates them into lively forms and sets them against the background of the original location which has been simplified to be a stage for the animated items. He would lay awake at night and arrange imaginary scenes on his ceiling and jot them down. O’Keeffe on the other hand took a single object and magnified it, playing with colors and backgrounds. Both to me are abstract by totally different approaches.

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