Joan Miró was a Spanish painter and sculptor. He was born in 1893 in Spain into a family of craftsmen (“Joan Miró Biography”). At a young age he started to draw instead of doing his homework and later dropped out of business school in order to pursue his art career. Although he wasn’t in the best economic situation, Miró was still able to make ends meet. When the Spanish Civil War broke out, the chaos brought up many challenges for his family. These challenges also presented a lot of inspiration for his artwork. It was said that he was finally “plunged into reality” which made him realize the difficulties of life (Lanchner 69). This realization brought about two pieces, Still Life with Old Shoe and Self-Portrait I (Lanchner 69). From these
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The straight forward title gives me this idea. Yellow is the dominant color in the background with varying shades from left to right in the foreground. The figures to the right are bright yellows, reds, blues, greens, whites and blacks. No recognizable geometric shapes are used in the painting: they are all organic and morph together, building off on another. The figures are made up of these morphed organic shapes, connected by lines and other forms in order to make them somewhat recognizable as “personages”. Proportions between the figures and the background are foreground are off: the figures are much larger than the mountains even though they seem to be the same distance …show more content…
This technique brings a mythical aspect to the painting. It was as if the painting was a part of somebody’s dream: nothing in the image is something that you would see in everyday life. The proportions and the way the shapes are organized also makes the image look like a fantasy because it is not realistic: the figures are much larger than the landscape making it feel like it is all make-believe. The figures do not look human and they do not look like animals, they look imaginary, unnatural almost. The proportions of these shapes in different parts of the painting are also important. Individual parts of each figure are out of proportion with each other: some shapes are bigger than others and they vary from figure to figure. The compositional ordering of the image is that all the figures are facing the mountains: the direction of the piece is to the left because that is where the figure are looking and where the mountains are
The straight forward title gives me this idea. Yellow is the dominant color in the background with varying shades from left to right in the foreground. The figures to the right are bright yellows, reds, blues, greens, whites and blacks. No recognizable geometric shapes are used in the painting: they are all organic and morph together, building off on another. The figures are made up of these morphed organic shapes, connected by lines and other forms in order to make them somewhat recognizable as “personages”. Proportions between the figures and the background are foreground are off: the figures are much larger than the mountains even though they seem to be the same distance …show more content…
This technique brings a mythical aspect to the painting. It was as if the painting was a part of somebody’s dream: nothing in the image is something that you would see in everyday life. The proportions and the way the shapes are organized also makes the image look like a fantasy because it is not realistic: the figures are much larger than the landscape making it feel like it is all make-believe. The figures do not look human and they do not look like animals, they look imaginary, unnatural almost. The proportions of these shapes in different parts of the painting are also important. Individual parts of each figure are out of proportion with each other: some shapes are bigger than others and they vary from figure to figure. The compositional ordering of the image is that all the figures are facing the mountains: the direction of the piece is to the left because that is where the figure are looking and where the mountains are