Credit: Marcos Palazzi (Barcelona, #Catalonia, Spain, 1965-). The Cat of #Girona, 2005, Oil and pencil on board, 73 x 54 cm.
#marcospalazzi #catsinart #animalart #feline #catalanartist #whitecat #catpainting #catdrawing #cat #gato #gatto #contemporaryart #mixedmedia #art #artsky #domesticinteriors
During the summer of 1923 Joan Miró began painting The Tilled Field, a view of his family’s farm in Montroig, Catalonia. Although thematically related to his earlier quasi-realistic, Fauvist-colored rural views, such as Prades, The Village, this painting is the first example of Miró’s Surrealist vision. Its fanciful juxtaposition of human, animal, and vegetal forms and its array of schematized creatures constitute a realm visible only to the mind’s eye, and reveal the great range of Miró’s imagination. While working on the painting he wrote, “I have managed to escape into the absolute of nature.” The Tilled Field is thus a poetic metaphor that expresses Miró’s idyllic conception of his homeland, where, he said, he could not “conceive of the wrongdoings of mankind.” The complex iconography of The Tilled Field has myriad sources, and attests to Miró’s long-standing interest in his artistic heritage. The muted, contrasting tones of the painting recall the colors of Catalan Romanesque frescoes, while the overt flatness of the painting—space is suggested by three horizontal bands indicating sky, sea, and earth—and the decorative scattering of multicolored animals throughout were most likely inspired by medieval Spanish tapestries. These lively creatures are themselves derived from Catalan ceramics, which Miró collected and kept in his studio. The stylized figure with a plow has its source in the prehistoric cave paintings of Altamira, which Miró knew well. Even the enormous eye peering through the foliage of the pine tree, and the eye-covered pine cone beneath it, can be traced to examples of early Christian art, in which the wings of angels were bedecked with many tiny eyes. Miró found something alive and magical in all things: the gigantic ear affixed to the trunk of the tree, for example, reflects his belief that every object contains a living soul.
The Tilled Field
oil on canvas
1923-24
Joan Miró (1893-1983)
Catalonia, Spain
#surrealism #surrealistart #joanmiro #spain #catalonia #thetilledfield #modernart #catalanart #catalanartist #painting #modernpainting #c1923
Credit: Xevi Solà Serra (Santa Coloma de Farners, Catalonia, Spain, 1969-).
#dog #dogsky #art #artsky #womansbestfriend #hundewanderung #catalanartist #canine #dogsinart #animalart #arteanimal #contemporarypainting #womananddog #germanshepherd #pastoraleman #dogpainting #xevisolaserra #retrato
The Cat of Girona - Marcos Palazzi, 2005.
Catalan, b. 1965 -
Oil and pencil on board, 73 x 54 cm.
#cat #whitecat #painting #MarcosPalazzi #catalanartist #art
Pere Torné Esquius (11 May 1879 - 26 May 1936) was a Catalan artist. The favorite topics of Torné Esquius were interior or secluded spaces, such as gardens or living rooms, humble or of artisan extraction.
Table in the Garden, Museo Carmen Thyssen, Malaga
#BornOnThisDay #CatalanArtist #GardenArt
The Museo Nacional Centro de Arte Reina Sofía (Queen Sofía National Museum Art Center aka MNCARS) is home to many of Spain's finest 20th-century art including this oil painting of a bride from Benimamet (near Valencia, Spain). She stands in an elaborate long white dress adorned with many floral bouquets while holding a matching fully-open lace fan in her left hand. Behind her is a white horse adorned with exquisite red saddle and head gear as well as flowers and decorations. Lively brushwork and his decorative style draws comparisons to Gustav Klimt with heavy influences from Asian and Arab cultures.
La novia de Benimamet (The Bride from Benimamet) by Hermen Anglada Camarasa (Spanish) - Oil on canvas / 1906 - Museo Nacional Centro de Arte Reina Sofía (Madrid, Spain) #womeninart #spanishart #fineart #artwork #HermenAngladaCamarasa #Camarasa #art #womensart #MNCARS #catalanartist #oilpainting
