Le Marteau sans maître

René Char, Le Marteau sans maître, 1934
illustration par Joan Miró
(source: Ursus Books and Prints)
no copyright infringement intended

recueil de poèmes marquant la prise de distance de René Char avec le surréalisme.

Pierre Boulez, Le Marteau sans maître, 1955
pour voix d’alto et six instruments
(video by Polyphonie X)

1. Avant l’Artisanat furieux. Rapide
2. Commentaire I de Bourreaux de solitude. Lent
3. L’Artisanat furieux. Modéré sans rigeur
4. Commentaire II de Bourreaux de solitude. Rapide
5. Bel édifice et les pressentiments version première. Assez vif
6. Bourreaux de solitude.Assez lent 7. Après l’Artisanat furieux . Rapide
8. Commentaire III de Bourreaux de solitude. Assez lent
9. Bel édifice et les pressentiments double. Tempo libre de récit

René Char, Le Marteau sans maître, 1934
illustration par Joan Miró
(source: Ursus Books and Prints)
no copyright infringement intended

L'artisanat furieux

La roulotte rouge au bord du clou
Et cadavre dans le panier
Et chevaux de labours dans le fer à cheval
Je rêve la tête sur la pointe de mon couteau le Pérou.

René Char, Le Marteau sans maître, 1934
illustration par Joan Miró
(source: Ursus Books and Prints)
no copyright infringement intended

Bourreaux de solitude

Le pas s'est éloigné le marcheur s'est tu
Sur le cadran de l'Imitation
Le Balancier lance sa charge de granit réflexe.

René Char, Le Marteau sans maître, 1934
illustration par Joan Miró
(source: Ursus Books and Prints)
no copyright infringement intended

Bel édifice et les pressentiments

J'écoute marcher dans mes jambes
La mer morte vagues par dessus tête
Enfant la jetée promenade sauvage
Homme l'illusion imitée
Des yeux purs dans les bois
Cherchent en pleurant la tête habitable.

(René Char)

(Pierre Boulez)

(Joan Miró)

Joan Miró

Joan Miró i Ferrà
1893-1983
(source: Eskimeyen Kitaplar)
no copyright infringement intended

pintor, escultor, gravador i ceramista català, considerat un dels màxims representants del surrealisme; va manifestar el seu desig d'abandonar els mètodes convencionals de pintura, que en les seves pròpies paraules es concreta en «matar-los, assassinar-los o violar-los», per poder afavorir una forma d'expressió que fos contemporània, i no voler doblegar-se a les exigències ni a l'estètica d'aquests mètodes, ni tan sols en els seus compromisos vers els surrealistes.

(https://ca.wikipedia.org/wiki/Joan_Mir%C3%B3_i_Ferr%C3%A0)

pintor, escultor, grabador y ceramista español, considerado uno de los máximos representantes del surrealismo; manifestó su deseo de abandonar los métodos convencionales de pintura, en sus propias palabras de "matarlos, asesinarlos o violarlos", para poder favorecer una forma de expresión que fuese contemporánea, y no querer doblegarse a sus exigencias y a su estética ni siquiera con sus compromisos hacia los surrealistas.

(https://es.wikipedia.org/wiki/Joan_Mir%C3%B3)

earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride; expressed contempt for conventional painting methods as a way of supporting bourgeois society, and famously declared an "assassination of painting" in favor of upsetting the visual elements of established painting.

(https://en.wikipedia.org/wiki/Joan_Mir%C3%B3)

• The Farm
• A Drawing by Joan Miró
• La Naissance du Jour
• Japonaise
• Le Marteau sans maître
• A Video Made at Galerie Lareuse

(Avangarda 20)

A Video Made at Galerie Lareuse

Picasso, Miró, Calder, Matisse, Chagall, Kandinsky, Dufy, all together in the cozy room of Galerie Lareuse, in Georgetown, on the M Street. Kreg Kelley is the curator of the gallery. He is young, enthusiastic and very capable.

Each visit at the gallery is an exciting adventure: you'll discover each time lithographs you didn't know they were there.

I discovered on the web another gallery of prints and lithographs, this time in England, it's Idbury Prints, and it's managed by Neil Philip, a poet, a folklorist, and a great art lover. Each time I am on the web on one of the two galleries, I also dream at the other. Each one is a fabulous place.

(Galerie Lareuse)

(Joan Miró)

Joan Miró: Japonaise

Joan Miró - Japonaise

A ceramic by Picasso is is front of the Japonaise of Miró.


(Galerie Lareuse)

(Joan Miró)

Joan Miró - La Naissance du Jour

Joan Miró - La Naissance du Jour, c. 1957
lithography
edition: 300

I say again, it is much difference between the drawings of Miró and his sculptures: dreamy delicacy versus dreamy fears.


(Galerie Lareuse)

(Joan Miró)

A Drawing by Joan Miró

Last Sunday again I passed by the Galerie Lareuse in Georgetown. I found it closed and I tried to take some shots through the window. There was a drawing by Joan Miró, among other artworks.

I like the delicacy of his drawings: his sense of fantasy is complete in all respects; only I think his drawings are of elfin grace while his sculptures are anything but delicate. Look at this painting of Miró, from the Washington National Gallery of Art, and look at this Personnage Gothique - Oiseau Eclair from the Sculpture Garden of the same museum.


However, look again at this sculpture and at the drawing from the window of Galerie Lareuse. The drawing looks delicate, the sculpture is challenging our sense of beauty, but the approach is the same. Miró was in search for the four-dimensional space, which means he was looking for the fourth dimension: the transcendental. Malevich or Mondrian were looking for the same fourth dimension, yet they were trying to arrive there through other paths. Miró took the surrealist approach (or did he invent it?), trying to free himself from the tyranny of the objectual space through spontaneity: the automatic drawing. I interpret in the same way his desire to assassinate the painting: kill the conventions, transcend the space. The result is this bunch of dream-shapes.

It remains for me an unanswered question, why his sculptural drawings look delicate while his sculptures do not? Because of the crayon?

Here are two more works by Miró: Harlequin's Carnival (Albright-Knox Art Gallery, Buffalo) and Sourire de ma blonde (Private Collection).








(Galerie Lareuse)

(Joan Miró)

(Avangarda 20)

Joan Miró - The Farm

Joan Miró -The Farm

at the Washington National Gallery of Art

(Joan Miró)

(Washington DC National Gallery of Art)