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given an autonomous space, each blade of grass is given its own identity. . . The barking dog, the rabbit, the snail, the cock, the donkey, the dove, the pail, the watering can, the wagon, the plow, the dozens of farm implements, the farmer's wife, the baby by the wash trough, are each suspended in the shadowless clarity of a metaphysical illumination — it is the kind of light one gets through an optical instrument. . . It is as though the artist had intermixed, in a single work, the illusory space of traditional landscape with the shallow space of Cubism, so that everything is on the surface and at the same time bears no relation to the surface, which, after all, is not part of the landscape...No one who knows great painting can look at it without sensing the divided consciousness and the aesthetic indeterminacy of an artist who sank into his art the oppositions of his vision: Catalan and
Parisian, traditionalist and Cubist, naif and cosmopolite."
307:
267:. In Paris, back to work again in the canvas, I realized immediately that something wasn't working. Could not paint the herbs of Mont-Roig del Camp from the Boulogne woods, and to continue the painting I ended up asking to be sent authentic herbs of Mont-Roig del Camp inside an envelope. They got all dry, of course. But at least with these flowers, I could continue the work. When I finished ... no dealer wanted to get the painting nor even take a look at it. I wrote a lot of people and nothing happened.
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275:, accepted having it on deposit at home and there was left a few time He made me this statement: "You know that Paris people currently are living in smaller rooms every day, because the crisis is passed.? Well, why not do something? We could make this material into eight pieces and then sell it to small ... "Rosenberg spoke seriously. After a couple of months I removed the canvas from Rosenberg's and took it to my workshop, living with her in the midst of misery.
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everything I loved in the field. I think it's foolish to give more value to a mountain than to an ant (and these landscapers do not know) and therefore I did not hesitate to pass my hours to give life to the ant. During the nine months I worked there worked in the artwork I did it for seven or eight hours a day. I suffered terribly, like a condemned. I erased a lot. I began to get rid of foreign influences to get in touch with
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120:(traditional Catalan farmhouse) owned by his family since 1911 in the town of Mont-roig del Camp. Miró himself regarded this work as a key in his career, describing it as "a summary of my entire life in the countryside" and "the summary of one period of my work, but also the point of departure for what was to follow." It now resides in the
427:
It was through this new vocabulary of signs that Miró was finally realize his poetic conception of the
Catalan countryside, detached from politics and debates about the cultural situation of modern art. At a time when the beleaguered and vanguard estaba where the idea of the Mediterranean was used to
372:
is energized by two incompatible artistic realities, corresponding to the polarities of Miró's life. It has the obsessive documentation of visual reality that we find in primitive painting: each leaf on the dominating eucalyptus tree is separately painted, each rock in the stony field to the right is
328:
considered as "key work of the artist's later development." He worked on it for nine months of tough preparation. The mythical relationship with the land held by Miró is summarized in this table, the graphic nature of naive and unrealistic of all objects: the animals are domestic, plants are the ones
344:
and the characteristics of the building objects and animals. The clear definition of the drawings can easily achieves the recognition of all without causing any confusion. Like a stock shows a mule, some chickens, a dog, a goat, a rabbit, snails, insects and lizards, most isolated and most of them
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is the terrestrial sky. In it, the roosters argue the lyricism, the tree raises the strength of the instinct to drink the astral light, which is not known whether the sun or the moon. Despite its transparent walls and absolute clarity the mysteries of what makes it accessible and far unfathomable
285:
The building of the house belonging to the Miró family, Mas Miró, was declared a
Cultural Asset of National Interest in 2006. After years of paperwork between the family and various public institutions, they did an agreement to make the project an active museum, where the painter's personal items
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Nine months of hard work! Nine months (curiously, the same as the human gestation) every day painting and erasing it and doing studies and returning to destroy them! The house was the summary of my life (spiritual and poetic) in the field. From a large tree to a small snail, I wanted to put
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It comes completely perfect Miró, connects for a moment with the statement, which is prayer, Maragall: why another cell, if this land is so beautiful? "The error" before introducing the deep shadow of the artist thought was concitat the moment. The
209:, agreed to have it in storage and any time and at the insistence of Miró, he seriously suggested dividing the canvas into small pieces to make it easier to sell. Miró, angry, picked up the canvas and took it to his workshop. Then, he took it to
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that are the immediate things. Each line is a blow to the spirit, a joy each vertex, each built up a world to live happily in it. There is an atmosphere of ecstasy Taoist in this house that matches the
Catalan peace on earth.
140:, who had described it by saying, “It has in it all that you feel about Spain when you are there and all that you feel when you are away and cannot go there. No one else has been able to paint these two very opposing things.”
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home: "In the open taxi the wind caught the big canvas as though it were a sail, and we made the taxi driver crawl along." Hemingway later said, "No one could look at it and not know it had been painted by a great painter."
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The observation of everything around him and the lights on the rocks and trees, that changed at certain times with the brightness of the sun, made the artist feel bound to the elemental Earth, of which was said:
349:"says justification" and get moving among the other elements of the work depicted. The building of the house includes the crevices and cracks in the plastered wall. In the center of the painting is a large
160:, was always linked with the rural world, especially the town of Mont-roig del Camp, and his early works show an influence of the landscapes and characters in their summer country views in the land of
188:... is essential to have your feet firmly resting on the ground to lift into flight through the air when painting ... has to walk on the land, because, through the limbs, it communicates its force.
456:
represents for our diverse Spain, for the uniqueness and richness of spiritual values, that both works possess and transmit to the members of their communities of origin and of all humanity.
428:
reinforce political positions, ideological and rhetorical, Miró tried to consolidate a new kind of alliance between form and content in their archetypal images of a
Catalonia primitive. With
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born of a black circle, which contrasts with the white circle representing the Sun from the sky. All elements of this painting, animals and objects came to be in the form of prototypes
290:
through prints that show the quality and texture of the oil paintings. According to statements made by the grandson of the artist Emilio
Fernandez Miró, "In addition both the Barcelona
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from 1921 to 1922, Miró laid bare his own house (or inside the poetic) in the field of
Tarragona and cataloged the contents with unprecedented clarity and precision ...
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bought Miró's painting as a birthday present for his wife, Hadley; after paying off the last installment of the 5,000 francs it cost, he brought
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Miró carried out with discretion and a perfect means of incredible accuracy, poetic and artistic experience that will raise the limits of the
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The painting denotes all the familiarity that was represented with Miró. It is made in a place where you can see the daily activities of a
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298:, which my grandfather used as drafts for his works We want it to be a living museum. We will be providing it with works in rotation."
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and the heart of this whole imaginary this truly surreal reality, the surrealists did not get to know and they rub only the periphery.
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1555:"Aspects of Twentieth-Century Art I. Picasso and Cubism II. European Painting and Sculpture III. Henri Matisse: Cut-Outs and Jazz"
333:. Learn all the details to a minimum, is called the "Miró handwriting" starting point for the following years of his contact with
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placed on any object that ago as a display on pedestals, the possibility of union between the object and animal piece by
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180:. It was a time when Miró was established in Paris and alternated with some travels, especially summers in Mont-Roig.
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246:, can be observed succession in the transformation of figurative forms to other places, where there are all kinds of
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that would appear in several works by Miró, for example one of the most common is the ladder representing evasion.
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unnumbered catalog, which is reproduced. (Catalogue in French), no catalog number, Fig. 4 (available in
Spanish)
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271:, whom I also offered, didn't want to know anything. By late Rosenberg, probably for engagement with
164:. Miró captured this relationship with the land in such paintings produced between 1918 and 1924 as
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is the culminating work of the "detailist" period of Joan Miró, made when he was 29 years old, and
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1996:
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The exhibition took place between 10 January and 9 February 1935, and showed 30 works in total.
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was started on Miró's first trip back to Mont-roig del Camp from France, and was completed in
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Joan Miró: la intencionalidad oculta de su vida y obra, cómo deletrear su aventura pictória
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2251:
2192:
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will be displayed in addition to the recreation of their most important works, including
2012:
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1987–1988, no. 22 (French catalog), no. 20 (available in
Spanish), which is reproduced.
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Several historians and art critics have given their opinion on this reference work:
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123.8 cm × 141.3 cm (48.7 in × 55.6 in)
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is described using this article and similar articles from
Knowledge (XXG) using
36:
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not. 47 (available in Spanish), no. 22 (available in English) is reproduced.
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no. 20 (available in German), no. 14 (available in English) is reproduced.
639:
Picasso, Miró, Gris. Teachers of Spanish painting of the twentieth century
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that the man works and objects are all of daily use and necessary for the
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213:, of the Pierre gallery, who after a few attempts, sold it to the writer
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Miró later would use the area of Mont-Roig in other works such as
177:
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1865:(in Spanish). Spain: Publicacions De La Universitat De València.
1701:
Agnès Angliviel de La Beaumelle; Centre Georges Pompidou (2004).
360:
Calling the work "Miró's climactic masterpiece," American critic
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Exposició de pintures i dibuixos de Joan Miró i Francesc Domingo
330:
2070:
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1934:(in Spanish). Codex. property registry Intellectual 893,686.
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The work is reproduced, displayed with the catalog number 19
2033:
Suarez, Alicia (1989). "Chapter V of the interwar period".
1433:
Encounters and Reflections: art in the historical present,
1372:
Encounters and Reflections: art in the historical present,
1122:
Encounters and Reflections: art in the historical present,
597:
A Century of Progress Exhibition of Painting and Sculpture
294:
and the family yield original works. The house is full of
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Miró was the first reporter on the story of his artwork:
152:
Main view of Mas Miró, the family farmhouse of Joan Miró.
1882:
The Mediterranean Miró: conceptions of cultural identity
1707:. Centre National d'Art et de Culture Georges Pompidou.
1238:
Joan Miró: la intencionalidad oculta de su vida y obra
840:
Five Centuries of Spanish Art: The Century of Picasso
463:
Joan Miró: hidden intentionality of his life and work
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The Mediterranean Miró : conceptions of identity
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Joan Miró: Estudi retrospectiu de l'obra de pintura
197:By economic necessity, Miró began visiting various
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71:
61:
53:
43:
21:
2011:
205:, among others who took care of the paintings of
2185:Ciphers and Constellations, in Love with a Woman
1915:(in Spanish). Ed. Politec University. Valencia.
619:Joan Miró, 1933-1934: Painting, gouache, pastels
1435:University of California Press, 1997: p. 101–3.
1290:"La masía de Mont-roig albergará un museu Miró"
1201:(in Spanish). Editorial Siglo XXI. p. 92.
444:
425:
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260:
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450:represents for our nation Catalan the same as
2169:Man and Woman in Front of a Pile of Excrement
2082:
1531:Plan to show the permanent collection of the
1374:University of California Press, 1997: p. 102.
1124:University of California Press, 1997: p. 101.
8:
2062:at the National Gallery of Art in Washington
1943:(in Spanish). Barcelona: Erasmus Ediciones.
1574:no. 9, displayed. (only shown at Washington)
1098:the Great Encyclopedia in Catalan: volume 13
2201:Woman, Bird, Star (Homage to Pablo Picasso)
1704:Joan Miró, 1917–1934: la naissance du monde
1565:Catalog Number no. 77, which is reproduced.
1156:
1154:
446:Personally, I have no doubt in saying that
2217:Hands Flying off Toward the Constellations
2089:
2075:
2067:
2001:: CS1 maint: location missing publisher (
1962:. New York, Globe and Polígrafa Editions.
1754:In the same exhibition were works such as
1522:unnumbered catalog. Only shown in New York
1240:by Saturnino Pesquero. Ed. Erasmus, 2009,
1004:Joan Miró 1917–1934: La Naissance du Monde
493:
18:
1913:pincelada From Monet to Pollock's gesture
221:. Hemingway wrote in 1934 in the journal
2633:Paintings in the National Gallery of Art
845:Musée d'Art Moderne de la Ville de Paris
132:, coming from the private collection of
1088:
1024:Barcelona and Modernity: Gaudí to Dalí
2556:Fundació Pilar i Joan Miró in Mallorca
1994:
1825:Fundació Joan Miró. Foundation's Guide
1763:Ramon Casas i Pere Romeu en un tàndem
1736:"Artwork at the Metropolitan website"
984:Joan Miró. Snail, woman, flower, Star
7:
1863:La Masía, Un Miró Para Mrs Hemingway
1221:
784:Sculpture Garden in Washington and
561:The evolution of the Catalan Poetry
170:Montroig, the church and the people
116:. It is a kind of inventory of the
2386:Personnage Gothique, Oiseau-Eclair
1861:Fernández de Castro, Alex (2015).
14:
1791:"Joan Miró: The Ladder of Escape"
2319:Naked Woman Climbing a Staircase
2035:Universal Art History: Volume IX
2018:. University of Illinois Press.
1958:Rebull Trudell, Melania (1994).
1681:"Artwork at the museums website"
1533:Museum of Modern Art in New York
1236:: p. 158. and next. included in
756:Aspects of Twentieth-Century Art
681:Los Angeles County Museum of Art
128:, where it was given in 1987 by
35:
2585:Joan Miró: The Ladder of Escape
2443:The World Trade Center Tapestry
1932:Art Gallery of the Genios: Miró
1911:Martinez Muñoz, Amalia (2000).
1884:. Foundation Miró Leonardo Art.
1630:"Exhibits at the Museu Picasso"
1499:Pierre Matisse Gallery Archives
1346:
1322:
1055:Joan Miró. The Ladder of escape
1034:Metropolitan Museum of New York
231:for any painting in the world"
1334:
935:Louisiana Museum of Modern Art
240:Catalan Landscape (The Hunter)
108:between the summer of 1921 in
1:
2014:Ernest Hemingway and the Arts
1814:Cirlot, Juan-Eduardo (1949).
1419:
1358:
1288:Joseph, Massot (2011-02-25).
1172:
988:Stiftung Museum Kunst Palast
2010:Stipes Watts, Emily (1971).
1939:Pesquero, Saturnino (2009).
820:Solomon R. Guggenheim Museum
166:Vegetable Garden with Donkey
156:The painter, though born in
2225:The Hope of a Condemned Man
2113:Portrait of Vincent Nubiola
1757:Bal du moulin de la Galette
1383:
1310:
1292:(in Spanish). La Vanguardia
1184:
1160:
1145:
1133:
644:San Francisco Museum of Art
398:Juan-Eduardo Cirlot Laporta
2659:
1896:. Barcelona: Edicions 62.
1489:Reference Catalogue no. 1.
1407:
1395:
1100:. Barcelona: editions 62.
805:Joan Miró: A Retrospective
2244:Head of a Catalan Peasant
1977:Raillard, George (1992).
1846:(in Spanish). Polígrafa.
1823:Clavero, Jordi.J (2010).
787:Albright-Knox Art Gallery
558:Conference of A.Schoneber
34:
26:
2459:Tapestry of the Fundació
2292:Triptych Bleu I, II, III
2177:Still Life with Old Shoe
2137:The Harlequin's Carnival
1930:Penrose, Roland (1965).
1827:. Barcelona: Polígrafa.
1503:Archives of American Art
778:Miró: Selected paintings
602:Art Institute of Chicago
2515:Josep Llorens i Artigas
2378:His Highness the Prince
2153:Dog Barking at the Moon
1842:Dupin, Jacques (2004).
1480:Catalogue pieceno. 355.
1029:Cleveland Museum of Art
1009:Centre Georges Pompidou
761:National Gallery of Art
623:Pierre Matisse Gallery
201:to sell this painting.
122:National Gallery of Art
84:National Gallery of Art
2623:Paintings by Joan Miró
2145:The Birth of the World
1981:(in Spanish). Madrid.
1880:Lubar, Robert (1993).
1471:Catalogue piece no. 1.
1197:Paporov, Yuri (1993).
467:
443:
424:
406:
375:
318:
283:
195:
153:
2497:Family and colleagues
2370:Her Majesty the Queen
2260:Paintings on Masonite
1818:. Barcelona: Cobalto.
815:Kunsthalle Düsseldorf
470:Ernest Hemingway and
366:
309:
151:
16:Painting by Joan Miró
2362:His Majesty the King
2354:The Caress of a Bird
2300:The Navigator's Hope
2161:Painting (Blue Star)
2037:. New York: Planet.
895:Joan Miró: 1893–1993
703:Permanent collection
477:The American writer
461:Saturnino Pescador,
292:Joan Miró Foundation
227:, "I won't exchange
217:, for five thousand
2486:Personnages Oiseaux
1384:Cirlot Laporta 1949
1222:Martinez Muñoz 2000
883:Saint-Paul-de-Vence
649:Portland Art Museum
112:and winter 1922 in
2592:Mont-roig del Camp
2551:Fundació Joan Miró
2530:Joan Gardy Artigas
2504:María Dolores Miró
1444:Catalogue no. 1754
1066:Fundació Joan Miró
900:Fundació Joan Miró
829:Zurich and N.York
791:Washington DC and
319:
154:
110:Mont-roig del Camp
2605:
2604:
2025:978-0-252-00169-7
1950:978-84-936972-1-1
1922:978-84-7721-883-8
1890:Malet, Rosa Maria
1872:978-84-370-9668-1
1834:978-84-343-1242-5
1714:978-2-84426-227-1
1683:. Centre Pompidou
1661:no. 5, displayed.
1601:no. 12, displayed
1544:no. 28, displayed
1246:978-84-936972-1-1
1208:978-968-23-1848-1
1199:Hemingway in Cuba
1161:Suarez/Vidal 1989
1081:
1080:
850:Museo Reina Sofia
782:Hirshhorn Museum
242:. In them, as in
93:
92:
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2572:Fondation Maeght
2520:Josep Lluís Sert
2435:Wall of the Moon
2284:Barcelona Series
2129:The Tilled Field
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2084:
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1619:no. 6, displayed
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1269:on 25 April 2012
1265:. Archived from
1263:Patrimoni.gencat
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1120:Arthur C Danto,
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878:Fondation Maeght
810:Kunsthaus Zurich
494:
479:Ernest Hemingway
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326:James J. Sweeney
281:
254:History for Miró
236:Earth and worker
215:Ernest Hemingway
203:Léonce Rosenberg
193:
138:Ernest Hemingway
88:Washington, D.C.
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2193:Women and Birds
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1808:Further reading
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1780:, among others.
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2053:External links
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66:Oil on canvas
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20:
2584:
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2423:and textiles
2410:Dona i Ocell
2408:
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2013:
1978:
1959:
1940:
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1912:
1893:
1881:
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1824:
1815:
1794:. Retrieved
1785:
1771:
1761:
1755:
1750:
1739:. Retrieved
1730:
1718:. Retrieved
1703:
1696:
1685:. Retrieved
1675:
1666:
1657:
1648:
1637:. Retrieved
1624:
1615:
1606:
1597:
1588:
1579:
1570:
1558:. Retrieved
1549:
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1527:
1518:
1509:
1494:
1485:
1476:
1467:
1462:9 April 1923
1458:
1449:
1440:
1432:
1427:
1420:Fishing 2009
1415:
1403:
1391:
1379:
1371:
1366:
1359:Penrose 1965
1354:
1347:Penrose 1991
1342:
1330:
1323:Penrose 1991
1318:
1306:
1294:. Retrieved
1283:
1271:. Retrieved
1267:the original
1253:
1248:pp. 100–101.
1237:
1234:Declarations
1233:
1229:
1217:
1198:
1192:
1187:: pp. 29–32.
1180:
1173:Penrose 1965
1168:
1141:
1129:
1121:
1116:
1097:
1091:
1053:
1023:
1003:
983:
962:Grand Palais
956:
924:
894:
872:
839:
804:
777:
755:
728:Tate Gallery
722:
702:
670:
659:Portland, OR
638:
618:
596:
578:
565:Au Cameleon
560:
557:
544:Au Cameleon
539:
525:Grand Palais
517:
482:
476:
471:
462:
453:The Guernika
451:
447:
445:
438:
429:
426:
419:
408:
401:
388:
385:
381:
369:
367:
362:Arthur Danto
359:
339:
321:
320:
310:
287:
284:
261:
257:
243:
239:
235:
233:
228:
222:
211:Jacques Viot
196:
187:
182:
173:
169:
165:
155:
102:oil painting
96:
95:
94:
28:
2489:(1972–1978)
2438:(1955–1958)
2405:(1961–1981)
2389:(1974–1977)
2341:(1944–1967)
2303:(1968–1973)
2287:(1939–1944)
2279:(1939–1941)
2271:(1935–1936)
2247:(1924–1925)
2212:(1968–1973)
2204:(1966–1973)
2140:(1924–1925)
2132:(1923–1924)
2124:(1921–1922)
1768:Ramon Casas
1535:, 1960-1962
1396:Dupin, 2004
1311:Rebull 1994
1146:Rebull 1994
1134:Rebull 1994
691:Los Angeles
500:Exhibition
302:Description
199:art dealers
2643:Sun in art
2612:Categories
2587:exhibition
2535:Josep Royo
2510:Joan Prats
2506:(daughter)
2478:The Reaper
2346:Solar Bird
2338:Lunar Bird
1796:12 October
1741:2011-08-20
1687:2011-08-20
1639:2011-08-20
1560:2011-08-20
1408:Lubar 1993
1259:"Mas Miró"
1185:Malet 1992
1084:References
1075:Barcelona
1020:2006–2007
992:Düsseldorf
973:Barcelona
921:1998–1999
836:1987–1988
825:Düsseldorf
801:1986–1987
732:Kunsthaus
351:eucalyptus
335:surrealism
280:Joan Miró
168:(1918) or
72:Dimensions
2597:4329 Miró
2578:Miró otro
2451:Miró Wall
2402:Labyrinth
2330:Sculpture
2105:Paintings
2098:Joan Miró
1997:cite book
1960:Joan Miró
1894:Joan Miró
1816:Joan Miró
1773:Desconsol
1720:20 August
1422:: p. 101.
1398:: p. 116.
1296:20 August
1273:20 August
1163:: p. 297.
1043:New York
1039:Cleveland
945:Humlebaek
940:Stockholm
925:Joan Miró
909:Barcelona
723:Joan Miró
712:New York
671:Joan Miró
579:Joan Miró
430:The House
402:Joan Miró
342:farmhouse
296:graffitis
269:Plandiura
265:Catalonia
162:Tarragona
158:Barcelona
106:Joan Miró
57:1921–1922
48:Joan Miró
27:Catalan:
2421:Ceramics
2311:Drawings
2209:May 1968
2121:The Farm
2060:The Farm
1892:(1992).
1453:May 1923
1410:: p. 48.
1349:: p. 29.
1337:: p. 60.
1325:: p. 28.
1313:pp. 6-9.
1224:: p. 99.
971:Paris i
490:Exhibits
483:The Farm
472:The Farm
459:—
448:The Farm
435:—
416:—
411:painting
395:—
378:Analysis
370:The Farm
322:The Farm
311:The Farm
288:The Farm
278:—
244:The Farm
229:The Farm
191:—
174:The Farm
172:(1919).
134:American
104:made by
97:The Farm
80:Location
29:La Masia
22:The Farm
2565:Related
2544:Museums
1501:at the
1148:: p. 9.
1136:: p. 4.
793:Buffalo
607:Chicago
364:wrote,
315:QRpedia
273:Picasso
207:Picasso
144:History
136:writer
2481:(1938)
2470:Murals
2462:(1979)
2454:(1979)
2446:(1974)
2413:(1983)
2397:(1981)
2381:(1974)
2373:(1974)
2365:(1974)
2357:(1967)
2349:(1966)
2322:(1937)
2295:(1961)
2263:(1936)
2255:(1928)
2236:Series
2228:(1974)
2220:(1974)
2196:(1963)
2188:(1941)
2180:(1937)
2172:(1935)
2164:(1927)
2156:(1926)
2148:(1925)
2116:(1917)
2041:
2022:
1985:
1966:
1947:
1919:
1900:
1869:
1850:
1831:
1711:
1386:p. 19.
1244:
1205:
1104:
1071:London
1013:Paris
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902:&
861:Madrid
744:Zurich
739:London
734:Zurich
586:Paris
568:Paris
547:Paris
529:Paris
503:Place
420:Miró''
355:symbol
347:Braque
317:codes.
248:symbol
100:is an
62:Medium
44:Artist
1361:p. 6.
1175:p. 3.
1050:2011
1000:2004
980:2002
953:2001
891:1993
869:1990
856:Paris
774:1980
752:1978
719:1964
699:1960
667:1959
635:1948
615:1935
593:1934
575:1925
554:1923
536:1923
514:1922
506:City
497:Year
389:house
178:Paris
118:masia
114:Paris
2433:and
2039:ISBN
2020:ISBN
2003:link
1983:ISBN
1979:Miró
1964:ISBN
1945:ISBN
1917:ISBN
1898:ISBN
1867:ISBN
1848:ISBN
1844:Miró
1829:ISBN
1798:2011
1770:and
1722:2011
1709:ISBN
1298:2011
1275:2011
1242:ISBN
1203:ISBN
1102:ISBN
1073:and
1063:and
1061:Tate
1041:and
1031:and
932:and
911:and
904:MoMA
858:and
847:and
817:and
730:and
708:MoMA
688:and
678:and
676:MoMA
656:and
646:and
509:Ref
331:home
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1776:by
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238:or
124:in
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