113:, with nowaday objects as the basket of the house. The huge size of the main elements, as the lute, corresponds to its importance in the scene and not to its real size or the proportions of the original picture. This ability to break the model by distorting the images (mainly sizes and shapes of the objects) is a key characteristic of Miró's style. It doesn't go never very far away from the Flemish model. As Miró reported "I had the postcard pinned up on my easel while I painted"
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The third painting of the series differs from the other two because, despite being inspired by a domestic scene of a
Flemish model, it changes the subject: the main character is a woman who isn't taking a bath but giving birth to a goat. This woman is impaled by a nail to the floor and is framed by a
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In this painting there are some repeated elements, like the dog and the cat, who dance with a group of children. The subject is not a description or a realistic work, but the music and the sound. Two red eyes are watching the scene and they foresee the fantasy touch of the third one, so the three
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It shows the aim of Miró to perform what it was called antipainting, influenced by Dada and Marcel
Duchamp. When he takes a famous painting and transforms it, he is recognizing his debt with the model while he destroys it. At the same time Miró is questioning his own previous work.
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This painting presents a scene where the lute player stands in the centre. A woman besides him looks at the partiture, near a table. Under the table, a cat and a dog are playing. These domestic components contrast with the landscape of
Amsterdam which is seen through a window.
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black line, one of the typical colours of Miró. The cruelty of the scene is softened by the stylization of the details, although the red of the blood makes it harder, attracting the attention of the viewer.
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The colours belong to the same hue as in the original painting but with a greater intensity. They are pure and flat colours, not mixed ones, with special attention to green, white and brown.
75:. The colors are the hues of the original paintings, but the intensity of the color is purely Miró. Thus, a green-gray gradient wall of Martensz Sorgh becomes a green apple in Miró.
67:, also by Steen. They belong to a period of Miró which is called "assassination of painting". In the spring of 1928, during a trip to Belgium and Holland, Miró was impressed by the
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paintings can be seen as a progressive series. Blue and brown are the main colours of the interior, while the cat serves as the spinning force of the whole composition.
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Pesquero, Saturnino. Joan Miró: la intencionalidad oculta de su vida y obra. Erasmus
Ediciones, 2009.
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273:( ca ) Melania Rebull Trudell, Joan Miró, Barcelona, Ediciones y Globus Polígrafa 1994 (
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of the 17th century. After buying colorful postcards of some paintings he began his
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Paintings in the Museum of Modern Art (New York City)
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403:Ciphers and Constellations, in Love with a Woman
107:It includes the same degree of detail shown in
211:, Joan Miró , Barcelona, Edicions 62 , 1992 (
387:Man and Woman in Front of a Pile of Excrement
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866:Paintings in the Metropolitan Museum of Art
419:Woman, Bird, Star (Homage to Pablo Picasso)
25:are a series of three paintings painted by
435:Hands Flying off Toward the Constellations
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774:Fundació Pilar i Joan Miró in Mallorca
266:Dupin, Jacques, Miró, Flammarion, 2004
16:Series of three paintings by Joan Miró
257:Díaz, Jesús et al., Miró, Tikal, 2010
248:Dupin, Jaques, Miró, Flammarion, 2004
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604:Personnage Gothique, Oiseau-Eclair
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537:Naked Woman Climbing a Staircase
52:Children Teaching a Cat to Dance
803:Joan Miró: The Ladder of Escape
661:The World Trade Center Tapestry
238:Painting's Description at Moma
33:paintings of Dutch interiors.
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63:is a reinterpretation of the
37:is a reinterpretation of the
861:Peggy Guggenheim Collection
443:The Hope of a Condemned Man
331:Portrait of Vincent Nubiola
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856:Musical instruments in art
29:in 1928, each inspired by
462:Head of a Catalan Peasant
65:Young woman at her toilet
49:is a reinterpretation of
43:Hendrik Martenszoon Sorgh
677:Tapestry of the Fundació
510:Triptych Bleu I, II, III
395:Still Life with Old Shoe
355:The Harlequin's Carnival
733:Josep Llorens i Artigas
596:His Highness the Prince
371:Dog Barking at the Moon
846:Paintings by Jan Steen
841:Paintings by Joan Miró
363:The Birth of the World
174:
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715:Family and colleagues
588:Her Majesty the Queen
478:Paintings on Masonite
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580:His Majesty the King
572:The Caress of a Bird
518:The Navigator's Hope
379:Painting (Blue Star)
704:Personnages Oiseaux
189:100 Great Paintings
810:Mont-roig del Camp
769:Fundació Joan Miró
748:Joan Gardy Artigas
722:María Dolores Miró
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154:Dutch Interior III
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61:Dutch Interior III
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192:, 1980 BBC series
161:View Miró version
128:View Miró version
121:Dutch Interior II
98:View Miró version
92:by Martensz Sorgh
73:reinterpretations
47:Dutch Interior II
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790:Fondation Maeght
738:Josep Lluís Sert
653:Wall of the Moon
502:Barcelona Series
347:The Tilled Field
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35:Dutch Interior I
31:Dutch Golden Age
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743:Joaquim Gomis
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486:Metamorphosis
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641:and textiles
628:Dona i Ocell
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173:by Jan Steen
171:Interior III
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140:by Jan Steen
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851:Dogs in art
707:(1972–1978)
656:(1955–1958)
623:(1961–1981)
607:(1974–1977)
559:(1944–1967)
521:(1968–1973)
505:(1939–1944)
497:(1939–1941)
489:(1935–1936)
465:(1924–1925)
430:(1968–1973)
422:(1966–1973)
358:(1924–1925)
350:(1923–1924)
342:(1921–1922)
138:Interior II
39:Lute Player
830:Categories
805:exhibition
753:Josep Royo
728:Joan Prats
724:(daughter)
696:The Reaper
564:Solar Bird
556:Lunar Bird
197:References
90:Interior I
815:4329 Miró
796:Miró otro
669:Miró Wall
620:Labyrinth
548:Sculpture
323:Paintings
316:Joan Miró
57:Jan Steen
27:Joan Miró
639:Ceramics
529:Drawings
427:May 1968
339:The Farm
182:See also
110:The Farm
783:Related
762:Museums
699:(1938)
688:Murals
680:(1979)
672:(1979)
664:(1974)
631:(1983)
615:(1981)
599:(1974)
591:(1974)
583:(1974)
575:(1967)
567:(1966)
540:(1937)
513:(1961)
481:(1936)
473:(1928)
454:Series
446:(1974)
438:(1974)
414:(1963)
406:(1941)
398:(1937)
390:(1935)
382:(1927)
374:(1926)
366:(1925)
334:(1917)
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215:
59:, and
651:and
275:ISBN
213:ISBN
19:The
55:by
41:by
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