The Caress of a Bird: Difference between revisions
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==History== |
==History== |
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The origin of this sculpture are in the early object-sculptures the artist made in [[Mont-roig del Camp]] with [[found object]]s. The objects found were gathered at his workshop and then shaped into the artist's new world. The objects were not placed in the right place first. But once the creation started there was a rigorous evaluation of the their position by the artist. During the [[second world war]], Miro was alone in his ancestral home and landscape in Mont-roig del Camp. He was excluded from his artistic peers and the influence of art galleries, museums and exhibitions. He extracted natural forms and elements into a new artistic language of [[found art]]. [[Joan Prats]], Miro's lifelong freind and collaborator said: "When I take a stone, it is just a stone. When I grab a stone, it is a Miro."<ref name=nasher>{{cite web|title=Joan Miró|url=http://www.nashersculpturecenter.org/object.aspx?ObjectID=111|publisher=Nasher Sculpture Centre|accessdate=8 October 2011}}</ref> |
The origin of this sculpture are in the early object-sculptures the artist made in [[Mont-roig del Camp]] with [[found object]]s. The objects found were gathered at his workshop and then shaped into the artist's new world. The objects were not placed in the right place first. But once the creation started there was a rigorous evaluation of the their position by the artist. During the [[second world war]], Miro was alone in his ancestral home and landscape in Mont-roig del Camp. He was excluded from his artistic peers and the influence of art galleries, museums and exhibitions. He extracted natural forms and elements into a new artistic language of [[found art]]. [[Joan Prats]], Miro's lifelong freind and collaborator said: "When I take a stone, it is just a stone. When I grab a stone, it is a Miro."<ref name=nasher>{{cite web|title=Joan Miró|url=http://www.nashersculpturecenter.org/object.aspx?ObjectID=111|publisher=Nasher Sculpture Centre|accessdate=8 October 2011}}</ref> In the mid 60s it was realised that the original sculpture was deteriating and it was re-created in bronze by founders in [[Paris]]. Miro himself supervised the texture and controlled patina which he considered to be very important.<ref name=french>{{cite web|title=Miró sculpteur (in French)|url=http://www.artmuseum.gov.mo/photolist2.asp?prg_id=2005043001&lc=4&grp=2&name=Mir%C3%B3%20sculpteur|publisher=www.artmuseum.gov.mo|accessdate=8 October 2011}}</ref> |
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==Description== |
==Description== |
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Revision as of 21:46, 8 October 2011
| The Caress of a Bird | |
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| Artist | Joan Miró |
| Year | 1967 |
| Type | Painted bronze |
| Location | Fundació Joan Miró, Barcelona |
The Caress of a Bird (correctly La Caresse d'un oiseau) is a 1967 sculpture by Joan Miró made at his studio in Palma de Mallorca. It is now part of the permanent collection of the Miro Foundation in Barcelona.[1]
History
The origin of this sculpture are in the early object-sculptures the artist made in Mont-roig del Camp with found objects. The objects found were gathered at his workshop and then shaped into the artist's new world. The objects were not placed in the right place first. But once the creation started there was a rigorous evaluation of the their position by the artist. During the second world war, Miro was alone in his ancestral home and landscape in Mont-roig del Camp. He was excluded from his artistic peers and the influence of art galleries, museums and exhibitions. He extracted natural forms and elements into a new artistic language of found art. Joan Prats, Miro's lifelong freind and collaborator said: "When I take a stone, it is just a stone. When I grab a stone, it is a Miro."[2] In the mid 60s it was realised that the original sculpture was deteriating and it was re-created in bronze by founders in Paris. Miro himself supervised the texture and controlled patina which he considered to be very important.[3]
Description
In this humorous sculptures Joan Miró uses easy to identify objects that serve as the basis of the design.[4] The sculpture is over 3 metres tall and over a metre wide, but is only 38 cm deep. It is constructed from bronze but this is disguised by the use of bright paint.[5] The found objects now cast in bronze include an outhouse seat and an ironboard for the body and legs with a pair of balls at the back represent the female buttocks. The head is a donkey's straw hat whilst the turtle shell represents the female genitals. The sculpture has been compared to a "totem of female sexuality".[2]
References
- ^ "The caress of a bird". Fundació Joan Miró, Barcelona. Retrieved 8 October 2011.
- ^ a b "Joan Miró". Nasher Sculpture Centre. Retrieved 8 October 2011.
- ^ "Miró sculpteur (in French)". www.artmuseum.gov.mo. Retrieved 8 October 2011.
- ^ Erben 2004: p.181
- ^ "The caress of a bird, 1967". Works by Joan Miró. Sculptures and ceramics. Fundació Joan Miró. Retrieved 7 October 2011.
- Clavero, J. George Foundation. Guide to the Foundation. Barcelona: Ediciones Polígrafa, 2010. DL B.10.061.2010. ISBN 978-84-343-1242-5 .
- Erben, Walter. Miró . Taschen Publishing, 1/03/2004. ISBN 978-3-8228-2358-3 .