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Joan Miro 1956-1983: Sentiment, Emocio, Gest

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This book presents Miro's work between 1956 and 1983, when he started working in the studio the architect Josep Lluis Sert designed for him in Palma (Mallorca). From that time, his art underwent considerable changes. At first, he stopped painting altogether. He worked hard to finish the ceramic murals for the Unesco building in Paris, which were unveiled in 1958. He also h This book presents Miro's work between 1956 and 1983, when he started working in the studio the architect Josep Lluis Sert designed for him in Palma (Mallorca). From that time, his art underwent considerable changes. At first, he stopped painting altogether. He worked hard to finish the ceramic murals for the Unesco building in Paris, which were unveiled in 1958. He also had to organize things in his studio. He spent a lot of time reviewing his earlier work, mainly the preparatory drawings accumulated over the years. He tore up quite a number of them, and others he used as the starting point for new projects. With more space at his disposal, he was able to return to the large formats that he had found so satisfying when working on his murals (both ceramic and painted) and his plan now was to embark on large-format canvases.


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This book presents Miro's work between 1956 and 1983, when he started working in the studio the architect Josep Lluis Sert designed for him in Palma (Mallorca). From that time, his art underwent considerable changes. At first, he stopped painting altogether. He worked hard to finish the ceramic murals for the Unesco building in Paris, which were unveiled in 1958. He also h This book presents Miro's work between 1956 and 1983, when he started working in the studio the architect Josep Lluis Sert designed for him in Palma (Mallorca). From that time, his art underwent considerable changes. At first, he stopped painting altogether. He worked hard to finish the ceramic murals for the Unesco building in Paris, which were unveiled in 1958. He also had to organize things in his studio. He spent a lot of time reviewing his earlier work, mainly the preparatory drawings accumulated over the years. He tore up quite a number of them, and others he used as the starting point for new projects. With more space at his disposal, he was able to return to the large formats that he had found so satisfying when working on his murals (both ceramic and painted) and his plan now was to embark on large-format canvases.

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