Reino Unido
This article explores Catalan artist Joan Miró's “assassination of painting” as a protest against traditional aesthetics through experimentation in radically new artistic forms. Although the impulse to subversion can be traced throughout the artist's career, the study focuses mainly on Miró's paintings, collages and assemblages of the 1920s and 1930s. The works are discussed in the context of the avant-garde milieus of Barcelona and Paris, and in relation to the political situation across Europe.
© 2001-2024 Fundación Dialnet · Todos los derechos reservados