Joan Miró, 1893-1983

Arts & Photography

Mink, Janis

History & Criticism

Barnes&Noble Books

Miró

Literature & Fiction

Taschen America, LLC

Duchamp (Spanish Edition)

TASCHEN ESPAÑA, S.A.U.

Lichtenstein (Spanish Edition)

Joan Miró (1893-1983) es uno de los más importantes pintores españoles del siglo XX. Los temas y los tratamientos de sus primeros trabajos fueron moldeadas por el paisaje catalán y muestran claramente la influencia del fauvismo y el cubismo. Durante sus viajes, Miró encontró con la vanguardia intelectual de su época; sus amigos incluyeron Francis Picabia, Tristan Tzara, André Masson, Jean Arp y Pablo Picasso. Desde mediados de la década de 1920 en adelante, Miró se esforzó por dejar referencias objetivas directas detrás y desarrolló los pictogramas que caracterizan su estilo. Los cuadros de este periodo, que incluyen quizás la más bella e importante de toda su obra, prescinden de la especialidad y una referencia inequívoca a los objetos. A partir de entonces , las superficies fueron definidos por los números, la escritura, emblemas abstractos y figuras lúdicas y criaturas. En los años de la posguerra se comenzará a producir obra gráfica, cerámica, murales monumentales y esculturas. En estas obras, también, el artista catalán buscó la base sólida de un arte simbólico figurativo, con caras, estrellas, lunas, formas animales rudimentarios, y las letras. Joan Miró se desarrolló en varias etapas de su característica que fluye estilo caligráfico y su mundo de formas que se asemejan símbolos taquigráficos en varias etapas. Desde el fauvismo al surrealismo a través de su estilo infantil original, Miró quiso sacudir el establecimiento y, al hacerlo, se hizo un nombre por sí mismo.

Miró (Spanish Edition)

Painting

Taschen

From the funny pages to the canvas, comics recontextualized In the late 50s and 60s, American painter Roy Lichtenstein (1923-1997) became one of the most important exponents of Pop Art - that movement which transformed products of mass consumption and the entertainment industry into subjects for art. This apotheosis of banal, everyday objects simultaneously constituted a criticism of the traditional elitist understanding of art. Almost alone among artists, Lichtenstein pursued the question of how an image becomes a work of art. Wholly in keeping with the spirit of the Classical Modern, he held that it was not the "rank" of the picture’s subject that lends the picture its artistic character, but rather the artist’s formal treatment of it. To Lichtenstein, however, this position seemed far too broad to be seriously pursued. Developed in the early 60s, Lichtenstein’s grid technique, with its allusion to the mass-production of graphic art, allowed the painter to give vent to his own artistic scepticism. In the 60s and 70s, Lichtenstein expanded his formal repertoire of techniques for creating distance and irony by means of an idiosyncratic process of abstraction and especially by his use of his numerous art quotations. About the Series: Each book in TASCHEN’s Basic Art series features:<ul>
<li>a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance</li> <li>a concise biography</li> <li>approximately 100 illustrations with explanatory captions</li> </ul>

Lichtenstein: 1923 - 1997

Miró's world of forms resembling shorthand symbols Joan Miró (1893-1983) is one of the most significant Spanish painters of the twentieth century. His early work clearly shows the influence of Fauvism and Cubism. The Catalan landscape also shapes the themes and treatment of these initial works. In his travels, Miró encountered the intellectual avant-garde of his time. His friends included Francis Picabia, Tristan Tzara, André Masson, Jean Arp and Pablo Picasso. From the mid-twenties onward, Miró strove to leave direct objective references behind and developed the pictograms that typify his style. The pictures of this period, which include perhaps the most beautiful and significant ones of his whole oeuvre, dispense with spatiality and an unambiguous reference to objects. From now on, the surfaces are defined by numerals, writing, abstract emblems, and playful figures and creatures. Nineteen forty four saw the beginning of his extensive graphic oeuvre, ceramics, monumental mural works, and sculptures. In these works, too, the Catalan artist sought the solid foundation of a figurative, symbolic art with orientation as regards content: faces, stars, moons, rudimentary animal forms, letters. Joan Miró developed in several stages his characteristic flowing calligraphic style and his world of forms resembling shorthand symbols. About the Series: Each book in TASCHEN’s Basic Art series features:<ul>
<li>a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance</li> <li>a concise biography</li> <li>approximately 100 illustrations with explanatory captions</li> </ul>

Joan Miro: 1893-1983

Marcel Duchamp: 1887-1968: Art as Anti-Art

An enigma to art historians and a great source of inspiration to other artists Someone else may have invented the wheel, but Marcel Duchamp (1887-1968) invented the ready-made. A bottle dryer may be a bottle dryer, but signed by Duchamp it is also one of the major works of 20th century art. Duchamp has been an enigma to art historians and a great source of inspiration to other artists. This study addresses the myth and reveals the compelling charisma of Marcel Duchamp. About the Series: Each book in TASCHEN’s Basic Art series features:<ul>
<li>a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance</li> <li>a concise biography</li> <li>approximately 100 illustrations with explanatory captions</li> </ul>

Marcel Duchamp, 1887 - 1968: Art As Anti- Art

Joan Miró is one of the most significant Spanish painters. His early work clearly shows the influence of Fauvism and Cubism. The Catalan landscape also shapes the themes and treatment of these initial works. In his travels, Miró encountered the intellectual avant-garde of his time. His friends included Francis Picabia and P

DUCHAMP.

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