Miró: The Experience of Seeing is the potpourri of Seattle Art Museum’s recent special exhibitions. Featuring work from the last two decades (1963-1981) of Surrealist and abstract expressionist Joan Miró’s career, the SAM borrows 61 classically bold paintings and bronze-cast sculptures from the Reina Sofia Museum in Madrid.
The first painting viewers glimpse— both in the museum and on advertising— is a distinctly un-three-dimensional, primary colored form: “Woman, Bird, and Star (Homage to Picasso),” 1966. The minimal lines, distinct shapes, and unblended colors are naturally evocative of Pablo Picasso and Alexander Calder, among other 20th century extreme modernists, who Miró admired and was oft inspired by.
The Catalan Spanish artist’s paintings wander through the sweeping concepts of space, the subconscious, and movement. Miró believed that painting should ignite the imagination; his canvases (or pieces of cardboard) certainly don’t reveal a clear meaning in one look. “Poem to the Glory of Sparkles,” 1969, shows the “erratic course of firecrackers” and outer space, though they could be scattered, colorful prescription pills united by a black line of movement (a thematic constant of Miró’s). Continue reading