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The artistry of Joan MiroJuly 1, 2012 7:04 AMSpanish painter Joan Miro (1893-1983) changed styles every few years, challenging the conventions of art. Rita Braver reports on a new museum exhibit celebrating Miro's long and storied career.

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Page 2 of 7The artistry of Joan Miro - CBS News Video

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National Gallery of Art, Washington, Successió Miró/Artists Rights Society (ARS), New

York/ADAGP, Paris

“The Farm” (1921-1922), part of the National Gallery’s “Joan Miró: The Ladder of Escape,” which explores politics in Miró’s art.

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ART REVIEW

Filtering Miró’s Work Through a Political Sieve‘Joan Miró: The Ladder of Escape,’ at National Gallery

By KEN JOHNSONPublished: August 2, 2012

WASHINGTON — Was Joan Miró a political artist? A much-beloved

Surrealist, he is not commonly thought of as such. On its face, his

oeuvre appears remarkably apolitical, especially considering that he

lived through two world wars and a murderous civil war in his

homeland, Spain. From the hallucinogenic vision of “The Farm” in

the 1920s to his mural-scale fields of color punctuated by wispy signs

in the 1960s, evidence of worldly political engagement is hard to find.

A reluctant joiner and manifesto signer, Miró (1893-1983) disliked

Social Realism. The artists of the past who inspired him were mystic

visionaries like Hieronymus Bosch and William Blake.

This poses a problem for the many

scholars and critics of today who tend

to judge art on ethical grounds. The solution for ideological

interrogators, then, would be either to dismiss Miró as a

bourgeois escapist or to discover political convictions

underlying the seemingly innocuous surfaces of his works.

This second option is what the organizers of “Joan Miró:

The Ladder of Escape” at the National Gallery of Art have

determined to pursue. On that score the show is a muddled

effort. Fortunately, this does not detract from the

approximately 160 works dating from 1917 to 1974 on view.

It is a beautiful and exciting show.

But for those who pay attention to wall texts and catalog

essays, it is a different story. Marko Daniel and Matthew

Gale, curators at the Tate Modern in London who organized

the exhibition in collaboration with Teresa Montaner, a

curator at the Fundació Joan Miró in Barcelona, contend

that at certain crucial times in his life Miró did express

passionately held political concerns, albeit in coded and not

obviously illustrative ways.

They see Catalonian nationalism in his early proto-Magic

Realist landscapes and in his more abstract images of the

Catalan peasant-hunter. Later they find him to be an enemy

of Fascism during the Spanish Civil War and World War II.

In the postwar years under the Franco dictatorship, he was

a mostly passive resister, unknown in Spain outside of a

small circle of friends and supporters, even as he was being

celebrated in exhibitions elsewhere around the world.

How well do Miró’s actual works support claims of a

politicized Miró? Not very. Consider his breakout series of

landscapes of the late teens and early 1920s, culminating in

“The Farm” (1921-22). In his essay about these stunning

paintings, the art historian Robert S. Lubar declares that

Miró’s mission was “to link his vision of an essential

Catalonia with the promise of an emergent nation that

hoped to participate on the world stage as an equal

partner.”

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Page 1 of 3‘Joan Miró - The Ladder of Escape,’ at National Gallery - NYTimes.com

24/08/2012http://www.nytimes.com/2012/08/03/arts/design/joan-miro-the-ladder-of-escape-at-na...

Collection of Samuel and Ronnie Heyman, New York, Successió Miró/Artists Rights Society

(ARS), New York, ADAGP, Paris

“Portrait IV” (1938), part of the National Gallery’s “Joan Miró: The Ladder of Escape."

A version of this review appeared in print on August 3, 2012, on page C28 of the National edition with the headline: Filtering Miró’s Work Through a Political Sieve.

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Miro, Joan

This just does not sound right. Miró was a Barcelona city

boy. His parents bought the house in Montroig in 1911,

when he was in his late teens, for summer vacations.

Moreover, romancing rural life is standard fare in art of the

19th and early 20th centuries. Gauguin, van Gogh, Cézanne

and countless others contributed to that tradition.

What distinguishes “The Farm” is its nearly hallucinatory crystallization of the old

buildings, the spindly central tree and the animals, plants and objects neatly distributed

around the grounds. It is as if we were seeing through the eyes of a saint in a state of

spiritual transport. That this Edenlike scene happens to be in Catalonia rather than, say,

Normandy, is incidental.

Viewed through a political lens, the Catalan peasant and hunter — the comical pipe-

smoking, gun-toting, bearded stick figure who appears in zanily Surrealistic landscapes of

the 1920s — may be a personification of Catalan pride. But he is easier to read as Miró’s

own avatar, a tracker of signs of cosmic life in the landscapes of his own imagination.

Near the end of the 1930s, Miró revisited the realism of “The Farm,” and he produced a

masterpiece: “Still Life With Old Shoe” (1937). Struck by the image of the fork stabbing a

dried apple and the ominously flowing areas of blackness, critics have read the painting as

an allegory about the Spanish Civil War, calling it his “Guernica.” What is immediately

captivating about it, though, is how the rustic objects seem to glow numinously from

within. It is an image of supernatural immanence in the humblest of circumstances.

Making a political case for Miró’s later work is a harder sell yet, as he turned increasingly

to abstraction during and after the war. There is more comedy than tragedy in the

cavorting hieroglyphic characters and hectic narratives of the wonderful “Constellations”

series of 1939-41.

A renowned public figure in his last decades, Miró was given to occasional political

gestures, like creating posters for liberal causes and a splattered and dripped painting

called “Mai 68,” commemorating the youthful revolutions in Paris of the late ’60s. In

paintings that he cut holes in and burned with a torch in the early ’70s, he implicitly

equated the violation of aesthetic norms with sociopolitical protest, but by then such Dada-

like provocations were old hat.

In a 1936 letter to his dealer, Pierre Matisse, Miró wrote that he would “plunge in again

and set out on the discovery of a profound and objective reality of things, a reality that is

neither superficial nor Surrealistic, but a deep poetic reality, an extrapictorial reality, if you

will, in spite of pictorial and realistic appearances.”

Miró believed in a reality transcending that of the material world: a place between infinite

spirit and finite Creation. It is to this realm of imagination that the ladder recurring in

many of his paintings leads: to a place inhabited by metaphysical life-forms and mind-

stretching symbols, whose hallucinatory presences may convey truths that elude everyday

consciousness.

But ladders go both ways. They can be a means of escape from worldly woes, but they also

may lead the visionary prophet back down to earth, where he may try to get people to

become better oriented to transcendental realities — by making art, for example. That we

would all be better off if more people kept in touch with cosmic mysteries was an article of

faith with Miró, from first to last.

“Joan Miró: The Ladder of Escape” continues through Aug. 12 at the National Gallery of

Art, Constitution Avenue NW, between Third and Ninth Streets, Washington; (202) 737-

4215, nga.gov.

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Page 2 of 3‘Joan Miró - The Ladder of Escape,’ at National Gallery - NYTimes.com

24/08/2012http://www.nytimes.com/2012/08/03/arts/design/joan-miro-the-ladder-of-escape-at-na...

Scoring goals in sequins and glitter

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Catalan concert pays homage to Miro

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By Joan Reinthaler, Published: July 2

One of the advantages of running the music program at the National Gallery of Art is that

there is always an exhibition to structure a program around. Catalan artist Joan Miro is

currently in the museum’s spotlight, and Sunday’s concert, this season’s finale, brought

together a quartet of musicians under the auspices of the New York Opera Society for a

concert of mostly Catalan music in his honor.

Padre Antonio Soler and Isaac Albeniz, that region’s big names, defined Catalan Baroque

and Romantic idioms, and pianist Miguel Basegla opened the program with a booming no-

holds-barred account of Soler’s Sonata in D-flat Major (making no attempt to replicate its

harpsichord origins), and closed it with a well-crafted and balanced performance of the

Albeniz “Zaragoza.” In between were a couple of pieces by Ricardo Llorca, who was in the

audience, and music by Ernest Borras and Xavier Montsalvatge.

Llorca’s music was particularly interesting.

His harmonic language blends a foundation

in classical simplicity with unselfconscious

digressions into astringent dissonances that

please rather than surprise. His “El Combat

del Somni,” a set of three songs, were

beautifully sung by soprano Rosa

Betancourt, and his “La Memoria de les

Canelles” was played agilely enough by

guitarist Giuliano Belotti but way

overamplified (is any amplification needed

in that hall?).

Baritone Gustavo Ahualli delivered four

songs from Borras’s “Llibre d’Amic” with a

big, smooth, resonant sound but not a lot of

dramatic imagination, and Betancourt

provided the evening’s best fun with a

smashing and suggestive portrayal of a

staggering, dancing drunk in Montsalvatge’s

“Canto Negro.”

The gallery’s new season opens on Sept. 5

with the music of John Cage.

Reinthaler is a freelance writer.

(National Gallery of Art, Washington Gift of Mary Hemingway) - Joan Miró‘s \"The Farm,\" 1921-1922, oil on canvas.

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Page 1 of 3Catalan concert pays homage to Miro - The Washington Post

23/08/2012http://www.washingtonpost.com/lifestyle/style/catalan-concert-pays-homage-to-miro/...

Examiner.com

Concert of Catalan music celebrated unique Miro exhibit at DC's Kreeger MuseumKREEGER MUSEUM APRIL 22, 2012 BY: MARSHA DUBROW

"Sounds of Catalonia

(http://www.kreegermuseum.org/programs/concerts-master-classes) " wafted through DC's exquisite Kreeger Museum (http://www.kreegermuseum.org/) April 21, a fitting musical celebration of the collection's masterpieces by Picasso and Miró.

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Page 1 of 3Concert of Catalan music celebrated unique Miro exhibit at DC's Kreeger Museum - ...

22/08/2012http://www.examiner.com/article/concert-last-night-celebrated-miro-exhibit-at-dc-s-el...

Guests listened to Catalan music in the Great Hall of the elegant home museum, designed by renowned architect Philip Johnson (http://www.kreegermuseum.org/about-us/architecture) , after viewing its exhibition "Joan Miró From The Collection of The Kreeger Museum (http://www.kreegermuseum.org/exhibitions/event/JOAN-MIR-From-the-Collection-of-The-Kreeger-Museum-2012-04-10) ".

View slideshow: Concert of Spanish music April 21 celebrated Miró exhibit at DC's elegant Kreeger Museum (http://www.examiner.com/slideshow/concert-of-spanish-music-april-21-celebrated-mir-exhibit-at-dc-s-elegant-kreeger-museum)

It was "the most perfect night", to quote the concert's first piece, "Llibre D'amic" by Ernest Borrás, performed by baritone Gustavo Ahualli and pianist Rosa Torres-Pardo.

Guitarist Giuliano Belotti and soprano Rosa Betancourt performed other works, including song cycles by award-winning composer and Juilliard teacher Ricardo Llorca, who attended the event. Belotti especially delighted in two familiar pieces, "Asturias" and "Cadiz" by Isaac Albeniz.

The musical evening, co-sponsored by the Embassy of Spain (http://www.maec.es/en/Home/Paginas/HomeEN.aspx) and the New York Opera Society (http://www.newyorkoperasociety.com/) , honored the exhibition -- the first time all of the Kreeger’s collection of Miró works have been displayed. They include "The Mallorca Suite", "Makimono", and "El Vol de l’Alosa" (The Flight of the Lark), Miró's illustrated book of works by 19 Mallorcan poets.

Miró, born in Barcelona in 1893, lived on the Mediterranean island of Mallorca from 1940 until his death on Christmas 1983.

"The Mallorca Suite" and "The Flight of the Lark" were bought by art collectors and philanthropists David and Carmen Kreeger in 1973 when they attended Miró’s 80th birthday celebration on the island. The Kreeger Museum (http://www.examiner.com/topic/kreeger-museum/articles) is believed to be the only US venue with all 36 images in the "The Mallorca Suite".

Miró's illustrations for "The Flight of the Lark" special edition include a cloth box to hold it. One side of the box is black on blue, symbolizing the sea around Mallorca. The other side is black on red, symbolizing Spain. He also created a new lithograph for the unique edition.

“I make no distinction between painting and poetry...I illustrate my canvases with poetic phrases and vice versa,” the self-taught artist once said.

"Makimono", which took Miró five years to complete, is 36-feet by 16-inch raw silk, printed with lithographed and etched designs from Miró’s original wood and metal blocks. The multi-colored, joyous symbols partly signify Catalonia like its crimson, black and yellow flag, but mostly represent the artist's extraordinary imagination.

David Kreeger bought "Makimono", including its incised and lacquered oak box, in 1965.

Kreeger once said "I never bought art as an investment. I bought it for love and I was lucky. Art that embodies the creative spirit of men transcends the value of money."

The collection includes many other 19th and 20th century masters such as Monet -- nine Monet paintings line the salon where the post-recital reception was held; Braque -- several compliment the



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Picassos in the 66-foot-long Great Hall; Renoir; Kandinsky; Chagall; Rodin; Henry Moore; David Smith; as well as African masks.

Kreeger, the son of Russian immigrants, earned his way through Rutgers by playing the piano, graduated with honors from Harvard Law School, worked as a government lawyer during FDR's New Deal, founded and headed GEICO, and became a pre-eminent contributor to the arts in Washington.

A self-taught violinist, Kreeger enjoyed playing his Stradivarius, especially accompanying famed musicians including Isaac Stern, Itzhak Perlman, Pinchas Zukerman, and Mstislav Rostropovich.

For more info: "Joan Miró From The Collection of The Kreeger Museum (http://www.kreegermuseum.org/exhibitions/event/JOAN-MIR-From-the-Collection-of-The-Kreeger-Museum-2012-04-10) ", on view through July 31, The Kreeger Museum (http://www.kreegermuseum.org/) , www.kreegermuseum.org (http://www.kreegermuseum.org) , 2401 Foxhall Road, NW, Washington, DC, 202-337-3050. Next concerts (http://www.kreegermuseum.org/programs/concerts-master-classes) , the 2012 June Chamber Festival on June 8, 12, and 15. The museum has a twice-monthly "Conversations (http://www.kreegermuseum.org/programs/Conversations-at-The-Kreeger-Museum) " program of music and art for individuals with Alzheimer's Disease and their caregivers. The Kreeger Gala (http://www.kreegermuseum.org/programs/gala) is on May 19. Ricardo Llorca is composer-in-residence at New York Opera Society (http://www.newyorkoperasociety.com/) .

Marsha Dubrow, DC Art Travel Examiner Marsha Dubrow's arts and travel stories have run in National Geographic Traveler, Washington Post, Houston Chronicle, World Footprints, among others. She was a Correspondent for Life, People, Punch, and Reuters. Dubrow earned an M.F.A. in Writing and Literature at Bennington College, which...

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José Andrés

National Gallery Of Art Taps José Andrés To Remake Garden Café Menu For Joan Miro Exhibition

WASHINGTON -- Chef José Andrés will give the National Gallery of Art's Garden Café a makeover starting in May.

The NGA announced Monday that the acclaimed Spanish chef, who owns D.C. restaurants Jaleo, Zaytinya, Oyamel and Minibar and is the executive producer of the PBS show "Made in Spain," will add some new flavors to the menu at the museum's ground-level restaurant. It's all inspired by artist Joan Miró, who spent his formative years in and around Barcelona, the capital of Spain's Catalonia province.

The NGA's "Joan Miró: The Ladder of Escape" exhibition, featuring 120 paintings and other work, will start May 6 and will conclude on Aug. 12.

Among Andrés' Miro-inspired menu items is escalivada catalana, a roasted vegetable dish, according to a NGA media advisory.

The Garden Café has been recently featuring the cooking of Fiola chef Fabio Trabocchi, whose Italian menu selections were inspired by the "Antico: The Golden Age of Renaissance Bronzes" exhibition.

Last year, Andrés began a collaboration with the National Archives on America Eats Tavern, a temporary restaurant that set up shop in the restaurant space that once was home to the chef's Café Atlantico, which closed last June.

America Eats Tavern is set to close in July.

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August 22, 2012

Posted: 04/16/2012 5:43 pm Updated: 04/18/2012 1:14 pm

Page 1 of 1National Gallery Of Art Taps José Andrés To Remake Garden Café Menu For Joan M...

22/08/2012http://www.huffingtonpost.com/2012/04/16/nga-jose-andres-menu_n_1429722.html

Office of Press and Public Information Fourth Street and Constitution Avenue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press

Release Date: April 16, 2012

Chef José Andrés Creates Garden Café Catalonia in Honor of Joan Miró: The Ladder of Escape at the National Gallery of Art

Sopa freda de cireres de Santa Coloma de Cervelló (cold cherry and tomato soup), one of the dishes featured on the buffet

created by Chef José Andrés for Garden Café Catalonia at the National Gallery of Art. Photo by Rob Shelley © National Gallery

of Art, Washington.

Washington, DC—Inspired by Joan Miró: The Ladder of Escape, on view in the

East Building from May 6 through August 12, 2012, award-winning Washington-

based Chef José Andrés is transforming the menu in the Garden Café with signature

Catalan dishes beginning May 1. Andrés—just named to the 2012 TIME 100, the

magazine's annual list of the 100 most influential people in the world—spent his

formative years in and around Barcelona, and is chef and owner of ThinkFoodGroup

restaurants in Washington, DC, Los Angeles, Las Vegas, and Miami. His restaurants

include Jaleo, Zaytinya, Oyamel, minibar by josé andrés, and The Bazaar by José

Andrés. Andrés is also the host and executive producer of the PBS culinary series

Made in Spain. The Garden Café Catalonia menu is presented in partnership

with Restaurant Associates and Executive Chef David Rogers at the National Gallery

of Art.

Page 1 of 5[object]

22/08/2012http://www.nga.gov/press/2012/cafe_catalonia.shtm

Garden Café Catalonia

The sense of Catalan identity evident throughout the exhibition is also reflected in

the Garden Café Catalonia. Andrés' pride in his native Spain and in the

distinctive culinary traditions of the northeast province of Catalonia is highlighted in

the Garden Café menu. He incorporates traditional Catalan flavors, combining sweet

fruits and nuts with savory meats and vegetables, and features classic dishes such as

escalivada catalana, the roasted vegetable dish which takes its name from the

Catalan verb escalivar, to cook slowly near embers of a fire.

À la carte selections inspired by the exhibition include empedrat de mongetes amb

bacallà (white bean salad with vegetables and Catalan salt cod, $12.00), canelons de

Sant Esteve (pork and chicken "canelons" with béchamel sauce, $14.50), and

escalivada catalana (salad of roasted red pepper, eggplant, and onion, $14.50).

Rounding out the meal is peres al vi amb gelat de vainilla (pears poached in red

wine with vanilla ice cream, $8.00).

Chef Andrés' buffet ($20.25) incorporates a variety of traditional Catalan fare,

including rustic bread, empedrat de mongetes (white bean salad with vegetables,

black olives, and tomato), sopa freda de cireres de Santa Coloma de Cervelló (cold

cherry and tomato soup), samfaina (Catalan vegetable stew), xatonada (salad of

frisée, preserved tuna, and romesco sauce), formatges amb anous i codony (Catalan

cheese with Marcona almonds and quince marmalade), escalivada catalana (salad

of roasted red pepper, eggplant, and onion), pollastre a la catalana (Catalan chicken

stew with dried fruits and nuts), fricandó de galtes de vedella amb bolets (Catalan

stew of beef cheeks and mushrooms), and for dessert crema catalana (caramelized

Catalan custard). Recipe cards for selected dishes are offered to guests free of charge.

White, red, and sparkling Catalan and Spanish wines have been carefully selected to

complement the menu, along with beer (Estrella Damm, Barcelona, Spain) and

specialty drinks, including red wine sangria, calimocho (ludovicus, cola, bitters), and

clara (Estrella Damm, house-made lemonade, orange bitters). Juice, soda, and still

or sparkling bottled water are available, as are coffee, espresso, and tea.

Garden Café Catalonia is open Monday through Saturday, 11:30 a.m. to 3:00

p.m., and Sunday, noon to 4:00 p.m. A preconcert menu of light fare, desserts, and

beverages is offered from 4:00 to 6:00 p.m. on Sundays to accommodate visitors

Page 2 of 5[object]


who attend the free Sunday evening concerts in the West Garden Court. One of the

most distinctive dining spots in the nation's capital, the Garden Café features a 19th-

century French marble sculpture after Jacopo Sansovino, Bacchus and a Faun, and a

fountain with Herbert Adams' bronze Girl with Water Lilies (model 1928).

The Garden Café is located in the West Building near the entrance at 6th Street and

Constitution Avenue NW. To make reservations for groups of eight or more, please

contact the café manager at (202) 712-7454. For more information about the Gallery

and its restaurants, visit www.nga.gov/dining

Chef José Andrés

Named Outstanding Chef by the James Beard Foundation in 2011, José Andrés is an

internationally recognized culinary innovator, passionate advocate for food and

hunger issues, author, educator, television personality and chef/owner of

ThinkFoodGroup. He and his ThinkFoodGroup, with partner Rob Wilder, are the

team responsible for Washington's renowned dining concepts minibar by josé

andrés, Jaleo, Zaytinya, Oyamel, America Eats Tavern, and Pepe the food truck.

Dining concepts in Los Angeles and Las Vegas include the celebrated Bazaar by José

Andrés at the SLS Hotel at Beverly Hills, Jaleo, China Poblano, and é by José Andrés

at The Cosmopolitan of Las Vegas. Scheduled to open in 2012 are The Bazaar by José

Andrés at the SLS South Beach Miami and a dining destination at the new Dorado

Beach, Ritz Carlton Reserve in Puerto Rico. Andrés can be seen on PBS as host and

executive producer of Made in Spain. His cookbooks include Tapas: A Taste of

Spain in America. For his efforts to promote his native country, Spain's Ministry of

Culture recognized Andrés with the prestigious Order of Arts and Letter medallion,

making him the first chef to receive this award presented by the Government of

Spain. Andrés also teaches science and cooking at Harvard University.

Joan Miró: The Ladder of Escape

May 6–August 12, 2012

Celebrated as one of the greatest modern artists, Miró (1893–1983) developed a

visual language that reflected his vision and energy in a variety of styles across many

media. Through some 120 works of art, this exhibition reveals the politically engaged

side of Miró's work, including his passionate response to one of the most turbulent

Page 3 of 5[object]


periods in European history as well as his sense of Spanish—specifically Catalan—

identity.

The exhibition was organized by Tate Modern, London, in collaboration with

Fundació Joan Miró, Barcelona, and in association with the National Gallery of Art,

Washington.

The exhibition is made possible through the generous support of the Anna-Maria

and Stephen Kellen Foundation.

Additional support is provided by Buffy and William Cafritz.

The Institut Ramon Llull is an exhibition sponsor in Washington and London.

The exhibition is supported by an indemnity from the Federal Council on the Arts

and the Humanities.

In-kind promotional support has been provided by Chef José Andrés of Jaléo and

ThinkFoodGroup.

# # #

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General Information

The National Gallery of Art and its Sculpture Garden are at all times free to the

public. They are located on the National Mall between 3rd and 9th Streets at

Constitution Avenue NW, and are open Monday through Saturday from 10:00 a.m.

to 5:00 p.m. and Sunday from 11:00 a.m. to 6:00 p.m. The Gallery is closed on

December 25 and January 1. For information call (202) 737-4215 or the

Telecommunications Device for the Deaf (TDD) at (202) 842-6176, or visit the

Gallery's Web site at www.nga.gov. Follow the Gallery on Facebook at

www.facebook.com/NationalGalleryofArt and on Twitter at www.twitter.com/ngadc.

Visitors will be asked to present all carried items for inspection upon entering.

Checkrooms are free of charge and located at each entrance. Luggage and other

oversized bags must be presented at the 4th Street entrances to the East or West

Building to permit x-ray screening and must be deposited in the checkrooms at those

entrances. For the safety of visitors and the works of art, nothing may be carried into

the Gallery on a visitor's back. Any bag or other items that cannot be carried

reasonably and safely in some other manner must be left in the checkrooms. Items

larger than 17 by 26 inches cannot be accepted by the Gallery or its checkrooms.

For additional press information please call or send inquiries to:

Press Office

National Gallery of Art

2000B South Club Drive

Landover, MD 20785

phone: (202) 842-6353 e-mail: [email protected]

Deborah Ziska

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(202) 842-6353

[email protected]

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José Andrés Honors Joan Miró in Washington, DC23 Apr 2012

National Gallery of Art’s visitors will be able to taste the essence of Catalonia in the US capitalDebuting May 1st and lasting until September, the US National Gallery of Art in Washington, DC will display a captivating art exhibition of flavors from Spain.

Just like years ago elBulli became an annex of art fair DOCUMENTA Kassel, this time Spanish Chef José Andrés will paint with imagination a fantastic gastronomic experience that will delineate on the plates of the Gallery’s Garden Café the vivid colors of the Catalan culinary tradition, transforming this culinary space into Garden Café Catalonia. The flavors added by the Spanish Chef emerge from the ladder of inspiration offered by Spanish art icon Joan Miró, whose forthcoming exhibit “The Ladder of Escape” will integrate the offer of the National Gallery of Art starting this May through next August. “Joan Miró: The Ladder of Escape” features 120 works of art of one the greatest modern artists. The exhibition reveals the politically engaged side of the work of this Catalan artist, including his passionate response to a turbulent period of European history, and also his sense of Catalan and Spanish identity. The exhibition was organized by Tate Modern, London, in collaboration with Fundació Joan Miró, Barcelona, and in association with the National Gallery of Art, Washington. José Andrés has contributed his recipes and time as in-kind promotional support to the exhibition. The creation of a special menu of Catalan dishes in honor of Miró seemed like a natural collaboration as Miró is a great modern artist who José Andrés has long admired. The chef and his culinary team including Jaleo’s head chef Ramón Martínez and Rubén García, head of R+D —who are both also from Catalonia— joined forces with the chefs at the NGA to create the menu. While the menu was created in collaboration with Jose Andrés and culinary team, the Garden Café is being run by Restaurant Associates. Although born in Asturias, José Andrés has spent many years in Catalonia, which has enabled him to incorporate traditional Catalan flavors into the menu, combining sweet fruits and nuts with savory meats and vegetables. Garden Café Catalonia will serve meals both buffet and à la carte style, the latter full-size entrées. The menu will debut on May 1st and will be in place until September, even after the exhibition is over. The buffet incorporates a variety of traditional Catalan fare, including rustic bread, empedrat de mongetes (White bean salad with vegetables, black olives, and tomato), sopa freda de cireres de Santa Coloma de Cervelló (Cold cherry and tomato soup), Samfaina (Traditional Catalan stew of vegetables), xatonada (Salad of frisée, preserved tuna, and romesco sauce), formatges amb anous i codony (Catalan cheese with Marcona almonds and quince marmalade), Escalivada catalana (Salad of roasted red pepper, eggplant, and onion), pollastre a la catalane (Traditional Catalan chicken stew with dried fruit and nuts), fricandó de galtes de vedella amb bolets (Traditional Catalan stew of beef cheeks and mushrooms), crema catalana (Traditional caramelized Catalan custard). Recipe cards for selected dishes will be offered to guests free of charge. À la carte selections inspired by the exhibition include empedrat de mongetes amb bacallà (white bean salad with vegetables and Catalan salt cod), canelons de Sant Esteve (pork and chicken "canelons" with béchamel sauce), and escalivada catalana (salad of roasted red pepper, eggplant, and onion). Rounding out the meal will be peres al vi amb gelat de vainilla (pears poached in red wine with vanilla ice cream). To complement the menu, the restaurant will have available a selection of white, red and sparkling wines from Spain and Catalonia, along with Estrella Dam beers. This is José Andrés’s second collaboration with the National Gallery of Art. In 2009, the chef and his culinary team custom-created a menu of signature Spanish dishes for pop-up Grand Café España, open over that year’s summer to celebrate the exhibitions Luis Meléndez: Master of the Spanish Still Life and The Art of Power: Royal Armor and Portraits from Imperial Spain. Last year, Andrés began a collaboration with the National Archives on America Eats Tavern, another pop-up located in the restaurant space where once was the chef's Café Atlantico, which closed last June. Garden CaféCatalonia will open Monday through Saturday, 11:30 a.m. to 3:00 p.m., and Sunday, noon to 4:00 p.m. A preconcert menu of light fare, desserts, and beverages is offered from 4:00 to 6:00 p.m. on Sundays to accommodate visitors who attend the free Sunday evening concerts in the West Garden Court. The Garden Café is located in the West Building near the entrance at 6th Street and Constitution Avenue NW. To make reservations for groups of eight or more, please contact the café manager at (202) 712-7454. For more information about the Gallery and its restaurants, visit www.nga.gov/dining

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By Roland Flamini - Special to The Washington Times Thursday, May 3, 2012

(/multimedia/image/20120503-181824-pic-834448675jpg/)

Enlarge Photo

(/multimedia/image/20120503-181824-

pic-834448675jpg/)

Of the three great Spanish artists of the 20th century — Picasso, Salvador Dali and Joan Miro(/topics/joan-miro/)

— the first is a recurring subject of National Gallery(/topics/national-gallery/) of Art exhibitions, with seven shows

in the past three decades. But while Dali awaits his turn, beginning Sunday Miro gets some overdue attention from the National Gallery(/topics/national-gallery/) in “Joan Miro(/topics/joan-miro/) : The Ladder of Escape,” a

major new exhibition of well over a hundred works spanning his long, productive life.

In reality, labeling Miro(/topics/joan-miro/) as Spanish is a misnomer. He was born in 1893 in Barcelona, capital of

Catalonia, the strongly nationalist northern province with its own identity, language and culture — and now its own autonomous government. And while Picasso (some 10 years Miro(/topics/joan-miro/) ’s senior) moved to

Paris and — with significant exceptions — became detached from any national characteristics, Miro(/topics/joan-

miro/) ’s emotional and creative point of reference remained firmly Catalan despite his own artist’s pilgrimage to

France(/topics/france/) from the 1920s to the outbreak of World War II.

The National Gallery(/topics/national-gallery/) ’s Miro(/topics/joan-miro/) exhibit is an artist’s astonishing

chronological journey through the major movements of modern art. Fauvism, cubism, dadaism, surrealism, and abstract expressionism — all are more or less easily identifiable, but invested with an obsessive, fantastic — and quite often disturbing — depiction of an inner universe expressed in a language of codes and symbols.

The Catalan peasant of Miro(/topics/joan-miro/) ’s tributes to rural Catalonia becomes a stylized triangle

representing the peasant’s traditional hat; his ubiquitous birds are shown merely as an eye, a wing, a beak; his women are little more than a few brush strokes and a parade of erotic female parts (one difference with his two iconic contemporaries was Miro(/topics/joan-miro/) ’s apparently monogamous domestic life; with him, it was all

in the mind).

And then there’s the ladder, which served Miro(/topics/joan-miro/) as a multipurpose metaphor that varied

according to context. “The Escape Ladder” of the exhibition title was painted in 1940 following the artist’s hurried departure with his family from France(/topics/france/) in advance of the German occupation. Here, the

ladder represents his escape from Nazi oppression, even if returning to Spain(/topics/spain/) meant living under the

fascist regime of dictator Francisco Franco(/topics/francisco-franco/) .

There are galleries in this impeccably displayed exhibition where the anger is as subtle as a car crash: Dogs barking at the moon, vicious-looking birds tearing at heaven knows what. This often grotesque, barely contained fury expresses what is, in fact, the underlying theme of the exhibition: what the catalog calls “Miro(/topics/joan-miro/) ’s

sometimes uncomfortable confrontation with social and political concerns.”

The exhibit’s portrayal of an artist passionately responsive to his era’s political convulsions represents something of a change from the conventional scholarly emphasis on Miro(/topics/joan-miro/) as a

forefather of abstraction. The curators attempt to make their case by focusing on works from the years 1918-1925, when Catalonia set up an independent state, only to have it suppressed; 1934-1941, covering

the turmoil of the Spanish Civil War and the start of World War II; and 1968-1975, a period of ultra-leftist terrorism in Europe.

The case for the more politically engaged Miro(/topics/joan-miro/) appears circumstantial at best. More so, for

example, than Picasso’s. There is no “Guernica” (1937) — the greatest history painting of the 20th century — to buttress the argument. Picasso’s powerful canvas was a response to the bombing in the Spanish Civil War of the Basque town of Guernica by German and Italian warplanes rehearsing the “blitzkrieg” tactics they later used in World War II. A daylong series of raids left the town in shambles and killed more than 1,600 civilians; and Picasso’s painting gained a monumental status as an antiwar symbol.

‘Ladder of Escape’ celebrates the range of Joan MiroSymbols and codes are employed in a variety of styles

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Page 1 of 2'Ladder of Escape' celebrates the range of Joan Miro - Washington Times

22/08/2012http://www.washingtontimes.com/news/2012/may/3/ladder-of-escape-celebrates-the-r...

What has been called Miro(/topics/joan-miro/) ’s “Guernica” is his “Still Life with Old Shoe” (1937), not a

work on an epic scale but, rather, a mundane collection of everyday objects set against a background of flame and black shadow. Miro(/topics/joan-miro/) called them “tragic symbols of the period — the

tragedy of a miserable crust of bread and an old shoe, an apple pierced by a cruel fork and a bottle that like a burning house, spread its flames across the entire surface of the canvas.”

Picasso shunned his homeland throughout the long reign of the dictator. Miro(/topics/joan-miro/) went

home to Spain(/topics/spain/) in 1939 and within two months had resumed work. He remained based

there throughout the fascist regime, apparently without interference from its rigorous censorship. He signed no manifestos and joined no public protests. Instead, he channeled his anger through creation. Savage, grotesque faces, bared sharp teeth; his work is dark and unrelenting.

In 1944, the Brazilian consul smuggled to New York seven of Miro(/topics/joan-miro/) ’s “Constellation”

series, and the Spanish artist’s work was shown in the United States for the first time, gaining considerable attention. Begun in France(/topics/france/) and finished in Spain(/topics/spain/) in 1941,

these 23 gouaches on paper are densely crowded with numerous black triangles and other geometric shapes seemingly in random order. Miro(/topics/joan-miro/) would say in later interviews that the effort

of producing such intricate designs was his escape from the tensions of the time.

By the 1960s, still living uncomfortably if not precariously under Franco(/topics/francisco-franco/) ’s iron

fist, Miro(/topics/joan-miro/) had created a much bolder, more ferocious style. He daubed paint with his

fingers, hurled paint at the canvas, painted on the floor, and later burned and slashed the canvas.

By the time we reach the graphic pyrotechnics of his lithographs covering an entire gallery wall, we are a long way from the almost linear conventionality of “The Farm” (1921-22), a painting of the family farm in the mountain village of Mont Roig. In this early Miro(/topics/joan-miro/) masterpiece, which

opens the show, the artist’s close attention to detail finds expression in a picture that’s crowded with birds, chickens, a donkey working a corn-mill, twigs on the ground and the kitchen sink. “The Farm,” once owned by Ernest Hemingway and now in the National Gallery(/topics/national-gallery/) ’s

permanent collection, is one of the very few works in the exhibition that shows Miro(/topics/joan-miro/)

as an almost conventional artist.

One problem with Miro(/topics/joan-miro/) is that once seen, the symbols, squiggles, and ectoplasmic

blobs that sprang from his creative imagination appear easy to imitate. One London critic called them graffiti for grown-ups. The one-line plus big blob works of his later life (he died on Christmas Day 1983) add little to the distinction of a career marked by radical changes of scale and style. It is this ceaseless self-reinvention that prevents the array of 150 or so works on exhibit from seeming repetitive: It may not be pretty, but it’s addictive.

WHAT: “Joan Miro(/topics/joan-miro/) : The Ladder of Escape”

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Page 2 of 2'Ladder of Escape' celebrates the range of Joan Miro - Washington Times

22/08/2012http://www.washingtontimes.com/news/2012/may/3/ladder-of-escape-celebrates-the-r...

Joan Miro: The Ladder of Escape

DETAILS OUR REVIEW READER REVIEWS [0] MAP & DIRECTIONS

DETAILS: May 6-Aug. 12: 10 a.m.-5 p.m. Monday

-Saturday 11 a.m.-6 p.m. Sunday

National Gallery of Art Fourth Street and Constitution Avenue NW Washington, DC 202-737-4215» Web site

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Fundacio Joan Miro

Along with Salvador Dali, Catalan

painter Joan Miro was one of the

most influential surrealists of the

20th century. A few of Miro's

paintings are already on display in

the National Gallery, but in May, a

traveling exhibition of about 120 of

his works arrives. The show

highlights his political side, with a

focus on his response to some of

the most turbulent events in

Europe, including the Spanish Civil

War and World War II.

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Page 1 of 3Joan Miro: The Ladder of Escape in Washington, DC: Exhibits on washingtonpost.com

31/07/2012http://www.washingtonpost.com/gog/exhibits/joan-miro-the-ladder-of-escape,121088...

Special FeaturesJoan Miro: An artist of his times

Our Review

Continue Reading

Miro on a higher rung

By Philip Kennicott

Sunday, May 6, 2012

For tens of thousands of years man has looked at the sky, in wonder and

fear, hope and frustration. In the 1930s, that basic gesture took on a new

meaning in Western art and imagination, as people looked to the sky in

mortal terror of aerial bombardment. Several of the figures in Picasso's

"Guernica," a painted protest against the 1937 bombing of a Basque city,

look to the sky with faces that seem both monstrous and gripped by

monstrous fear.

And so do many of the contorted, anguished figures painted by Joan Miro

during the same period. But collective memory hasn't inscribed Miro's

name among the famous opponents of Francisco Franco's thuggish right-

wing government. Picasso, Federico Garcia Lorca, Orwell, come to mind.

But Miro's name conjures images of enigmatic stick figures and sweet

ciphers, cavorting in a genial surrealist firmament of lopsided stars.

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Page 2 of 3Joan Miro: The Ladder of Escape in Washington, DC: Exhibits on washingtonpost.com

31/07/2012http://www.washingtonpost.com/gog/exhibits/joan-miro-the-ladder-of-escape,121088...

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Joan Miro on a higher rung: â€˜Ladder of Escapeâ€™ at the National Gallery

View Photo Gallery — Joan Miro: An artist of his times: A new exhibit at the National Gallery of Art, “Joan Miro: The Ladder of Escape,” puts an emphasis on the artist’s complicated relationship to his homeland, the Spanish Civil War, the devastation of the Second World War and Spain’s difficult times during Francisco Franco’s long rule. The exhibit runs through Aug. 12.

Text Size Print E-mail Reprints

By Philip Kennicott, Published: May 4

For tens of thousands of years man has looked at the sky, in wonder and fear, hope and

frustration. In the 1930s, that basic gesture took on a new meaning in Western art and

imagination, as people looked to the sky in mortal terror of aerial bombardment. Several of

the figures in Picasso’s “Guernica,” a painted protest against the 1937 bombing of a Basque

city, look to the sky with faces that seem both monstrous and gripped by monstrous fear.

And so do many of the contorted, anguished figures painted by Joan Miro during the same

period. But collective memory hasn’t inscribed Miro’s name among the famous opponents of

Francisco Franco’s thuggish right-wing government. Picasso, Federico Garcia Lorca, Orwell,

come to mind. But Miro’s name conjures images of enigmatic stick figures and sweet

ciphers, cavorting in a genial surrealist firmament of lopsided stars.

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The curators of “Joan Miro: The Ladder of

Escape,” which appeared first at the Tate

Modern in London and opens today at the

National Gallery of Art, would like to correct

any lingering sense that Miro wasn’t

engaged with the dramatic political events of

his day. By focusing on his Catalan identity,

and seminal works including a lost mural

that hung in the same Paris Exhibition

pavilion as Picasso’s “Guernica,” the new

Miro show emphasizes the artist’s

complicated relationship to his homeland,

the Spanish Civil War, the devastation of the

Second World War, and the long national

nightmare of Spain withering (well until the

1970s) under Franco’s criminal rule.

“There is another Miro,” reads the wall text

that introduces the exhibition. “Not Miro the

childlike inventor, the daring surrealist, the poet of few words, or the lyrical abstractionist.”

The other Miro, we learn, was an “artist of his times.”

It would have taken an exceptional solipsism not to make art about war and suffering given

the years encompassed by Miro’s long and productive life (1893-1983). In 1937, Miro created

a design for a French postage stamp (later made into a poster), meant to raise support for

Spain’s Second Republic. Against a rich blue background, a figure in profile raises an

oversized, clenched fist to the sky. The words “Aidez l’Espagne” (“Help Spain”) and a fiery

red orb balance the simple but powerful composition. Underneath the artist wrote a

characteristically optimistic assessment of the struggle: “I see on the fascist side, spent

forces; on the opposite side, the people, whose boundless creative will gives Spain an

impetus which will astonish the world.”

Later works, including a 1944 series of stark lithographs that make a powerful counterpoint

to “Guernica,” and a painting begun in 1968 (“May 68”) that uses splashed paint, hand

prints and graffiti-like improvisation to pay homage to the student unrest of the late 1960s,

are also easily and obviously read as political statements. And yet it is more uninteresting

than enlightening to argue that Miro was a political animal. One senses, rather, that from

time to time, he directed a portion of his astonishing creative energy to political subjects, but

that he was not by temperament deeply political.

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HOME | Arts & Entertainment Spanish Princess Visits Miro Exhibit in Washington WASHINGTON – Spain’s Princess Cristina received a personal guided tour of the “Joan Miro: The Ladder of Escape” exhibit at the National Gallery of Art in Washington. The princess viewed the extensive exhibition of 120 works by Spain’s most politically combative painter, although the press was only allowed to witness her arrival at the exhibit hall and her contemplation of Miro’s main work on display, “La granja.” The youngest child of King Juan Carlos and Queen Sofia listened to the explanation that exhibition curator Harry Cooper gave concerning the painting, which reflects the origins of the Catalonian painter and summarizes the basic features of his career. The collection places emphasis on the most politically combative facet of the painter, who was critical of the convulsions in Spain in the 1930s and ‘40s, and also focuses on his Catalonian roots and his recognition of that sometimes-oppressed culture. Princess Cristina made her visit after hours on Wednesday, accompanied by the charge d’affaires at Spain’s embassy in Washington, Juan Manuel Molina, and Andrew Davis, the representative of the Catalonian delegation in the United States. The princess made her visit to view Miro’s work prior to a gala dinner offered by the National Gallery of Art to invited guests from the city’s cultural and social spheres. Princess Cristina has been returning gradually to Washington’s social scene after her husband, Iñaki Urdangarin, was accused of involvement in a corruption case. Queen Sofia made a brief visit to Washington in late April to spend several days with Cristina and her grandchildren on the occasion of Miguel Urdangarin y Borbon’s 10th birthday. EFE

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Page 1 of 2Latin American Herald Tribune - Spanish Princess Visits Miro Exhibit in Washington

22/08/2012http://www.laht.com/article.asp?ArticleId=504533&CategoryId=13003

About the Author•Coming Soon!•

Joan Miró and Pablo Picasso at the National Gallery of Art, Washington D.C.May 21, 2012 · by Culture Spectator · in Visual Arts

Joan Miró The Farm, 1921-1922 oil on canvas National Gallery of Art, Washington, Gift of Mary Hemingway © 2012 Successió Miró/Artists Rights Society (ARS), New York/ADAGP, Paris

There are a lot of moving parts to the exhibition Joan Miró: The Ladder of Escape, an international loan show organized by the Fundació Joan Miró, Barcelona; Tate Modern, London; and the National Gallery of Art (now at the latter venue for its final showing until the 12th August 2012). While not claiming to be a retrospective, it functions like one, comprising works spanning his entire career. The title proclaims its intent to be a show about the artist’s social and political concerns. And ultimately, as I see it, it serves well as an exploration of artistic and cultural identity. It succeeds on all those levels and it was especially providential as it paired—briefly—with the recently closed early Picasso drawings show. For those lucky few who saw both at once on the sole overlapping day (the 6th May), this was an extraordinary opportunity to examine two Spanish artists, contemporaries who were extremely different, but both of whom fiercely identified as Catalan (although Picasso moved to Barcelona only at the age of 13) and were their most Spanish during their respective French sojourns. Furthermore, the irony is not lost on us that Picasso and Miró preferred to title their works in their adopted language of French (one with which Picasso was not comfortable for quite some time). Most importantly, as I see it, the side-by-side exhibitions provided a window into how these two artists–the most important Spanish painters of the 20th century–redefined received ideas of artistic representation. Picasso of course, with his groundbreaking work from 1907 on (Les Demoiselles d’Avignon and the development of Cubism) and Miró with his increasingly reductive pictoglyphs (and his exploration of Surrealism).There have been a number of exhibitions and countless publications that have dealt with these themes, a cottage industry surrounding Picasso and his work; a sweeping, highly important exhibition devoted to context—2007’s Barcelona and Modernity: Picasso, Gaudí, Miró, Dalí and more recently, last year’s Picasso, Miró, Dalí. Angry Young Men: the Birth of Modernity at Palazzo Strozzi in Florence. This Miró exhibition amply demonstrates his ability to simplify or distill the essence of things, as it traverses his entire career. This reductive method may explain Miró’s influential career: his ability to effectively communicate his ideas to other artists and ultimately his popularity with the general public.

The exhibition opens with a group of early pictures from 1917 until 1922—the so called detailist style—that owes much to ancient Catalan art, Fauvism, Expressionism and above all, an initial approach to Cubism. Extraordinary precision given to certain motifs provides a lucidity, all the while the paintings’ spatial organization is rigidly cubistic (flattened and schematized motifs, perspective tilted toward the viewer). This includes paintings of Mont-roig (“Red Mount”), a family retreat; a vegetable garden (in a 1918 painting now in the Moderna Museet, Stockholm); and his early masterpiece, The Farm (1921-22), a picture bought by none other than Hispanophile Ernest Hemingway and given by his widow to the National Gallery of Art (see above). In The Farm for example, Miró manages to convey the theatricality of a stage set littered with references to Cubism and its tropes, such as the flattened newspaper along with a watering can and pail in the foreground, everything a still life.

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Joan Miró Paysage Catalan (Le Chasseur), 1923-1924 oil on canvas The Museum of Modern Art, New York, Purchase, 1936 © 2012 Successió Miró/Artists Rights Society (ARS), New York/ADAGP, Paris

Just a few steps away we see Miró go from there to distillation of the simplified in two hugely important paintings, both of 1923-24: La terre labourée (The Tilled Earth) and Paysage Catalan (Le Chasseur) or Catalan Landscape (The Hunter). The effect is not jarring but relevatory. In the former, Miró has composed a hymn to his idealization of country life. With the political negation of Catalan culture with Dictator Primo Rivera in the 1920s, seemingly innocuous depictions of country life (Miró called Mont-roig “the most Catalonian place of all” in an interview in 1928)—of Catalan life—may be seen as implicitly political statements. And interestingly, these works were being painted, exhibited and published in Paris. Miró attained his ambition to be an “international Catalan” (Miro to a friend, 1920). The sentiments are both nationalistic and traditional, but the visual vocabulary is indeed international. Abstracted, simplified, all sense of perspective and spatial organization upended, figures are distilled to their essence, represented in abbreviated motifs, some flattened and schematized while others are simultaneously depicted modeled in acid arbitrary colors and given depth and volume. The effect is contradictory and, yes, surreal. These are his first surrealist paintings, seemingly irrational and weird, but truly representing complete thoughts, the life of the mind and the subconscious.

One of the great services of this exhibition is the opportunity for the collective impact of these pictures to inform the eye. As a result, once in the galleries we are acclimated to looking, the paintings are readily legible. In The Hunter, the protagonist is to the far left, simplified to a stick figure with identifying ear, smoking pipe and beating heart (this painting was purchased by André Breton, the father of Surrealism, who soon after would call Miró, “the most ‘surrealist’ of us all.”). In the center foreground, underneath the fantastic sardine, is an organic red swirl of a shape, which must be a barretina—a Catalan peasant’s cap–although here it reads as an incipient bio-morphic shape, a Surrealist motif which interested Miró; Salvador Dalí, the third Catalan artistic genius of the age; and later artists like Yves Tanguy and Henry Moore.

Joan Miró Head of a Catalan Peasant, 1924 oil on canvas National Gallery of Art, Washingon, Gift of the Collectors Committee © 2012 Successió Miró/Artists Rights Society (ARS), New York/ADAGP, Paris

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Joan Miró Head of a Catalan Peasant, 1925 oil on canvas Tate, London, and the Scottish National Gallery of Modern Art, Edinburgh, Purchased Jointly with Assistance from the Art Fund, the Friends of the Tate Gallery and the Knapping Fund, 1999 © 2012 Successió Miró/Artists Rights Society (ARS), New York/ADAGP, Paris

The red barretina leads us to the next gallery and the year 1924. Here we have a near comprehensive treatment of his series of portraits of a Catalan peasant. The earliest of these, from the National Gallery’s own collection, is the ultimate reductive portrait, with two bisecting lines (based of couse on traditional draftsmanship, as an artist drawing a face begins with dividing the head into four quarters) and at the end of each of these “cardinal” points two eyes, a schematized beard and at top, the barretina. The other pictures from Madrid, London, Paris (here it is shaped like an artist’s palette, making the portrait autobiographical) and Stockholm are variants all displaying the identifying marker of the red cap. (Miró probably knew a slightly earlier painting, the striking portrait by Modernista artist Ramon Casas of Pere Romeu, 1897; private collection, Barcelona. Romeu looks directly at us, on his head the flaming red barretina. Romeu is most famously known as the proprietor of Els Quatre Gats, the Barcelona tavern cum gallery where he gave Picasso his first show.)

With the rise of Fascism and the Spanish Civil War came the most explicit politically charged work of Miró, involving the further development of the Catalan peasant imagery. A design for a French stamp which later became a poster, Aidez L’Espagne (Help Spain) of 1937 shows an angry man shaking his upraised fist, wearing the barretina. Miro’s audiences would have understood the association of the barretina with the centuries-old symbol of liberty, the Phrygian cap. This political poster led to his monumental mural for the Spanish Pavilion at the Paris International Exhibition of 1937, the Spanish Second Republic’s cry to the world in the midst of its civil war. Here these politically progressive forces gathered the best in avant-garde art. The pavilion was designed by Josep Lluis Sert: inside were Picasso’s Guernica and sculptures by Julio Gonzalez and Alexander Calder. In the Pavilion’s staircase, Miró created a searing image of Le Faucher (The Reaper) or The Catalan Peasant in Revolt, sickle in one hand and wearing a barretina, its top curled up like a fist. Miró, like his compatriots Picasso and Dalí, was keenly aware of received artistic tradition. His monumental peasant has its predecessors in the long line of country folk and farmers aggrandized and immortalized in painting from Poussin in the 17th century to Millet and Breton in the 19th. Miró’s mural—now lost—is represented in the Washington exhibition by a large photomural. The Catalan peasant as revered by Miró represents not only his search for identity but a link to his past, his culture, all the while living in a foreign capital. Similar concerns had also preoccupied Picasso, just ten years before.

Pablo Picasso Self-Portrait, Paris, late 1901 / early 1902 black chalk with watercolor on paper National Gallery of Art, Washington, Ailsa Mellon Bruce Collection, 1970 © 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New York

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One of the special pleasures afforded us at the National Gallery of Art—a mark of its status as one of the world’s great museums, and feasible at few other institutions—is the opportunity to see simultaneous multiple major exhibitions. I fondly recall the once-in-lifetime experience of viewing simultaneously Titian: Prince of Painters and Anthony van Dyck in 1990. These two monographic shows, independent projects in their own right, nevertheless allowed us to explore the connections between that towering genius of Venetian Renaissance painting and the 17th-century Flemish artist who perhaps best understood Titian’s legacy. Likewise, to see the Miró exhibition at the same time as Picasso’s Drawings, 1890-1921: Reinventing Tradition (closed the 6th May) was an amazing opportunity to see at once these two Spaniards re-inventing the depiction of the human figure.

Picasso and Miró had a lengthy and respectful association; in fact, the former’s life-long friend and later secretary, Jaime Sabartés, was a cousin of Miró. Although both artists grew up in the artistic circles of Barcelona, Miró was twelve years younger. They did not become friends until February 1920, when significantly, Miró visited Picasso’s studio on the younger artist’s first trip to Paris. In fact, Picasso acknowledged the younger Miró’s importance and his impact on himself.

Susan Grace Galassi, senior curator at the Frick Collection, which originated this show of sixty drawings, gives a clear, concise overview in the catalogue, following in the exhibition, of the first decades of Picasso’s production in drawings. Beginning with their sources in the Antique and Old Masters, she and co-curator Marilyn McCully limn his innovative draftsmanship ranging from redefining representation with Cubism to new approaches such as the papiers collés (paper collages) to works created after the First World War and its “call to order” in traditional media like pastel, his gorgeous neo-classical works.

Pablo Picasso Standing Nude, Paris, autumn 1909 watercolor on paper Private collection © 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New York

In Picasso’s Drawings this redefinition of the representation of the human figure is expressed nowhere more eloquently than in the suite of drawings of the standing female nude, truly a Cubist trope. Marks and cross-hatching, pen-and-ink, broken planes and volumes, outline the “idea” of a classically posed nude model. These works of 1910-12 are further reductions of the more fulsome figure in the handsome watercolor of a standing female nude (see far left). Likewise, Miró begins the reduction of the figure to the esssential in his Catalan peasant head series a decade later.

Pablo Picasso The Cup of Coffee, Paris, spring 1913 papier épinglé with charcoal and white chalk National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon, 1985 © 2012 Estate of Pablo

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Picasso/Artists Rights Society (ARS), New York

Even more to the point is a papier collé (more precisely, here a papier épinglé or pinned as opposed to pasted down) that Picasso made during one of his summer breaks from Paris in the Catalan countryside, at Céret outside Barcelona. The Spaniard (1913; private collection) shows a mustachioed man in a hat with a dot for his right eye with line connecting it to a drawn left eye, the face framed with a parallelogram. Ten years later, Miró in his Catalan peasant series would reduce these essentials even further. Another superb example of a papier collé in the exhibition was The Cup of Coffee made in Paris just before The Spaniard, with its tension between illusionism and flattened space, charcoal lines with cut-out wallpapers and artist’s colored papers (see immediate left).

In July 1936, General Franco led the Nationalists in armed conflict against the Spanish Republic. The pointed artistic response on the part of Spain’s artistic leadership—Picasso’s Guernica and Miro’s The Reaper among them—would be amply on display at the Spanish Pavilion a year later. However in that first month of the Civil War, Miró began a series of paintings on masonite which he gouged and spackled with tar and sand. These transgressive paintings would seem to echo the artist’s proclamation some years before, “I want to assassinate painting.” Dalí was captivated—as one might expect—by this sensationalist statement, saying in a 1928 essay, “The assassination of art, what a beautiful tribute!” The masonite paintings are certainly responses to the political situation and the extreme violence and uncertainty of the age. Interestingly, Miró had already violated the traditional rules ten years earlier, in the National Gallery’s own Catalan Peasant (1924; see above). It is there he first rebels against the traditional idea of painting on canvas by piercing the canvas twelve times, presaging Lucio Fontana’s challenge to the Western tradition and its concept of the illusion of reality contained on canvas.

Joan Miró Figures at Night Guided by the Phosphorescent Tracks of Snails,1940 watercolor and gouache on paper Philadelphia Museum of Art, The Louis E. Stern Collection, 1963 © 2012 Successió Miró/Artists Rights Society (ARS), New York/ADAGP, Paris

The penultimate moment in the Miró exhibition is an entire wall of the series the artist called the Constellations–paintings in watercolor on paper created in 1940 and 1941 (see above). With these surprising works we reach the apogée of Miro’s style, his personal vocabulary of simplified pictoglyphs of humans, birds and animals, celestial arrays, articulated in primary colors. The Constellations series was painted in the midst of war, indicated no doubt by the aggressive forms and dark night sky set with stars. Nevertheless the graceful, attenuated forms, extraterrestrial imagery and rich colors seem to foretell a happier time and a world interested in progress and the future. The paintings created a stir when exhibited first at the Pierre Matisse Gallery in New York in January 1945 and would influence the New York School (Miró meeting Jackson Pollock and Arshile Gorky, among others, on his first trip to the U.S. in 1947).

The Washington exhibition ends with two galleries that condense Miró’s work from the last three decades of his life. This last section addresses the Miró Otro (Other Miró) exhibition of 1969—an anti-establishment political statement against his official 75th birthday celebration put on by Franco regime. As a part of Miró Otro , the artist, in a performance-like act, painted with his signature shorthand a long vista of glass windows inscribed with Catalan freedom verses (and months later then scraped it off). The result was very much what we would call street art, or graffiti art, today. This project, combined with Miro’s other large-scale public works, a number created for patrons in the United States beginning in the 1940s, provides the opportunity to consider his impact on public art and more largely, popular culture. As far away from Barcelona and Franco’s Spain as is Kansas, I myself grew up with a late Miro mural, an outdoor glass mosaic—Personages Oiseaux—commissioned for the façade of Wichita State University’s Ulrich Museum of Art in 1978 (see http://webs.wichita.edu/?u=ulrichmuseum&p=/Art/MiroProject).

The current Miró exhibition is a worthy endeavor with a genuine point of view. It goes a long way to help explain Miró’s influence in high culture for his political and social sensibility and as well as his influence on popular culture. In the end, however, perhaps Miró’s work was too reductive. Thanks to focus and astute curatorial editing, the exhibition triumphs over the ubiquity and over-simplification present in much of Miro’s late work. Joan Miro’s legacy lives on in his large-scale public works and the impact that his entire output has had both in the popular imagination and on artists ranging from the Abstract Expressionists to Keith Haring and Walt Disney to the 1990s animated television series The Ren and Stimpy Show. As the artist Roy Lichtenstein—himself indebted to the popular culture doubtless shaped in part by Miró—said in 1983, the year Miró died, “There is a relationship between cartooning and people like Miró and Picasso which may not be understood by the cartoonist, but it definitely is related even in the early Disney.” Miró’s impact on what we understand to be modern and popular culture’s place therein should not be underestimated.

Tags: Barcelona, Catalan modern art, Cubism, Drawings, Francisco Franco, Frick Collection, Joan Miro, Ladder of Escape, modern art, National Gallery of Art, Pablo Picasso, Richard P Townsend, Spanish Civil War, Spanish Pavilion, Surealism, Tate

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Selected works from Joan Miro are part of a new exhibit opening at the National Gallery of Art. (MoMANew York/ScalaFlorence)

Posted at 04:10 PM ET, 05/03/2012 Joan Miro exhibit, Trucko de Mayo: Things to do in D.C. this weekendBy Brandon Weigel

We’ve rounded up our picks for the best things to do this weekend. We know it’s already hard to plan for Saturday alone, what with all of the parties surrounding Cinco De Mayo and the Kentucky Derby and more. Some of other favorites include Trucko de Mayo, the opening of an

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exhibit of works by surrealist painter Joan Miro and the start of the Kennedy Center's “Look Both Ways: Street Arts Across America” festival.

For the food-truck crazies in town, tons of D.C.’s mobile eateries are gathering in the parking lot of RFK Stadium for Trucko de Mayo, an afternoon of music, games and delicious food from some of your favorite vendors on wheels.

Along with Salvador Dali, Joan Miro was one of the most influential surrealist artists of the 20th century. Some of Miro’s works already hang at the National Gallery, and Sunday is the opening of an exhibit of about 120 works focusing on the artist’s responses to political events, including the Spanish Civil War and World War II. That day, the National Gallery of Art hosts a cine-concert of music by New York University’s Steinhardt Film Scoring Program accompanying short films by Spanish filmmaker Segundo de Chomon.

Also kicking off on Sunday: “Look Both Ways: Street Arts Across America,”a festival that sees the Kennedy Center taking performances out of its grand halls and putting them on the street. The free festival features hipster marching bands, jugglers, dancers and high-flying aerialists, among others.

These are just a few of our picks: Now see our full list of picks for the best events this weekend.

By Brandon Weigel | 04:10 PM ET, 05/03/2012 Categories: Events

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La prestigiosa National Gallery de Washington inaugura aquesta setmana l'exposició "L'escala de l'evasió", una àmplia retrospectiva sobre Joan Miró que acull més d'un centenar d'obres de tres períodes diferents de l'artista. La mostra, que arriba a Washington de la mà de l'Institut Ramon Llull, vol ensenyar al públic nord-americà que Miró no va ser només un geni, sinó també un artista compromès.

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Miró, embajador en WashingtonLa National Gallery acoge su primera retrospectiva del genio catalán | La exposición cierrapasó por Barcelona | El comisario dice que el público "entenderá" la diferencia que repres

Como si fuera el Barón Rampante, Joan Miró ha trepado por su escalera hasta alcaNational Gallery of Art de Washington. Aquí llega el Miró (1893-1983) que ya no es el "poeta naif". Este es un pintor político lienzo y la fantasía-, un defensor de esa Europa castigada por dos guerras y adalid da las luchas fratricidas y la dictadura. Sus cuadros lucen barretinas, aunque dentro de un mensaje universal. "Has de ser uencerrado en casa carece de valor". Ahí están Mont-roig o Barcelona o Palma, y tamimpresionó al sobrevolarlo de noche. A tiro de piedra de su retrospectiva se encuentra el Capitolio, la casa de los legisladode que el Viejo Continente está caduco y, en su decadencia, amenaza con provocar estadounidense. El genio catalán llega a capital del imperio moderno -del 6 de mayo al 12 de agosto-ayer en la presentación Harry Cooper, comisario en la National Gallery de la exposicde una de las Constel·lacions -L'escala de l'evasió- en las que Miró contrapuso su co De esta manera se cierra el ciclo virtuoso de esta demostración de talento, auspiciadde abril a septiembre del 2011 convocó a 300.000 personas, y la fundación barcelondesde octubre a este marzo citó a 236.000 admiradores. Cooper, convencido de quemedallas del éxito para otros. "Me encontré con esta exposición, vino a mí", señaló. Recordó que Matthew Gale (Loacudieron a él para pedirle obras de cara a organizar algo grande sobre Miró. Una de(1921), la que compró Hemingway y que con los años su hija donó a esta galería, espuerta de entrada a las diversas sala washingtonianas. "Si he de elegir una obra, elijcomisario, quien, en lugar de prestar piezas, "pedí que me prestaran el show". En su

Cultura | 02/05/2012 - 00:40h

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por su ambigüedad. Sirve para subir, para escapar, y, además, para bajar, para poner los pies en la tierraretrospectiva comprometida, añade Cooper. Porque en una época en que España o mala prensa que eso conlleva, Miró irrumpe para explicar que existe otra narrativa folos valores. Cooper insiste, además, en que, si los estadounidenses saben que hay una literaturaCatalunya -muy presente, con el chef José Andrés presentando menús catalanes enretrospectiva les dejará las cosas claras. "Aquí se puede entender el contexto político y la singularidad, la exposición se explic "Miró es el mejor embajador", concluye Àlex Susanna, director adjunto del Institut Raorganización. "El que era percibido como un artista fuera de la historia -afirma- se mucomprometido al 100% con los acontecimientos y con su país. Desde este punto de principio a fin". El cierre a las 120 piezas lo pone Head (cabeza). Destaca un ojo, "el ojo que ve en lahombre mayor que quiere seguir mirando para que conste en acta.

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Miró fa el triplet L'exposició ‘L'escala de l'evasió' arriba a Washington, després que més de mig milió de persones l'hagin visitat a Londres i Barcelona

L'exposició Joan Miró: l'escala de l'evasió arriba a la National Gallery de Washington, després que més de mig milió de persones l'hagin vist prèviament a la Tate Modern de Londres i a la Fundació Miró de Barcelona. La mostra a Washington, que s'obre al públic diumenge i es tancarà el 12 d'agost, clou el periple d'aquesta exposició, centrada en el compromís social i polític del pintor.

La versió americana de l'exposició inclou alguns canvis respecte a Londres i Barcelona, ja que les col·leccions privades americanes són especialment riques en l'obra mironiana. Com recorda la directora de la Fundació Miró, Rosa M. Malet, els Estats Units van reconèixer molt aviat l'obra del pintor barceloní i, a més, allà l'artista va tenir la difusió entusiasta del marxant i galerista Pierre Matisse.

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Una visitant fotografia amb la seva tauleta ‘La masia', a l'exposició de Miró a la Fundació de Barcelona. Ara, la pintura torna a Washington Foto: ANDREU PUIG.

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En aquest sentit, a Washington es veuran obres com Personnages dans la nuit (1942), Femme entendant de la musique (1945) o Femme et fillete devant le soleil (1946) que no es van incloure en les versions de Londres i Barcelona. En canvi, en el cas de La masia, la mostra a Washington suposa el retorn a casa de la pintura, ja que l'emblemàtica obra, que Ernst Hemingway va comprar a Miró a París, forma part de la col·lecció permanent de la National Gallery. La pintura va ingressar al museu el 1987, després que la vídua de Hemingway la llegués a la institució.

Com ja va passar a la Tate Modern, l'exposició a Washington va acompanyada d'activitats complementàries en les quals ha col·laborat l'Institut Ramon Llull. A diferència de Londres, entre els actes programats s'ha prestat especial atenció a la música i el cinema, a petició de la mateixa National Gallery, segons ha explicat Àlex Susanna, director adjunt del Ramon Llull.

Música i cinema

Així, diumenge, el dia de la inauguració, es projectaran curts de Segundo de Chomón, acompanyats de música en viu, amb noves partitures creades expressament per acompanyar els films, basades en temes de la cultura catalana. Entre els altres concerts programats, destaquen el d'Ignasi Terraza i Ensemble, que el dia 17 de juny oferirà una sèrie d'interpretacions jazzístiques a partir de l'obra de Miró. La New York Opera Society oferirà el concert Sounds of Catalonia l'1 de juliol. A més, entre altres propostes, els dies 1 i 2 de juny tindrà lloc un simposi sobre l'obra de Miró amb experts catalans, balears i nord-americans.

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S'inaugura la primera gran retrospectiva del pintor a la capital dels Estats Units

Joan Miró desembarca a Washington L'exposició Joan Miró. L'escala de l'evasió fa l'última parada a Washington després del pas per Londres i Barcelona. El Miró més polític i compromès amb Catalunya donarà peu a desenes d'activitats.

NÚRIA FERRAGUTCASAS WASHINGTON. | Actualitzada el 02/05/2012 00:00

El retrat de Vicenç Nubiola fet per Joan Miró el 1917 dóna la benvinguda al visitant de l'exposició Joan Miró. L'escala de l'evasió que es podrà veure a la National Gallery of Art de Washington del 6 de maig al 12 d'agost. Miró pinta el seu amic i professor d'horticultura amb una camisa de coll obert de color vermell, indicador del seu radicalisme polític, en el sentit obrer, catalanista i noucentista, i ...

Page 1 of 1Joan Miró desembarca a Washington

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El Miró más político visita Washington«La escalera de la evasión», que reúne 120 obras, llega a Estados Unidos tras su paso por Londres y Barcelona

EMILI J. BLASCO / CORRESPONSAL EN WASHINGTON Día 02/05/2012 - 14.22h

AFP

«Tete humaine», de Miró, saldrá a subasta mañana en la sala Sotheby's de Nueva York

Otro peldaño en «La escalera de la evasión» de Joan Miró: la exposición que analiza el

compromiso del artista con sus raíces catalanas y con sus convicciones ideológicas llega a la Galería

Nacional de Wahington, después de haberse inaugurado en la Tate de Londres y luego haberse

mostrado en la Fundación Miró de Barcelona.

Con unas 120 obras, básicamente pinturas y trabajos en papel, es la mayor exposición monográfica

realizada sobre Miró en la gran pinacoteca de la capital estadounidense. Entre otros complementos

culturales que la acompañan está el menú especial concebido por el chef español José

Andrés para el restaurante del museo, que los próximos meses pasa a llamarse «Garden Café

Catalonia».

Page 1 of 3El Miró más político visita Washington - abcdesevilla.es

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A Joan Miró se le asocia con los puntos de colores y los trazos de apariencia infantil, pero la «La

escalera de la evasión» presenta una faceta menos conocida: su implicación política, de la

catalanidad al antifranquismo. La muestra, abierta hasta el 12 de agosto, descubre un aspecto vital

de Miró: que fue una persona de principios, con un sentido de la ética y la justicia. Esa «tesis» es lo

que más destaca Harry Cooper, comisario artístico de la exposición de Washington. «El título

tiene una ambigüedad intencionada. Es algo que Miró utilizó muchas veces. Se podría interpretar

como una escalera que el artista asciende para entrar en el mundo de la imaginación, lo que no

necesariamente es una evasión, porque puede crear modelos de libertad que pueden ser usados en

términos políticos, y por la que el artistas desciende para implicarse en este mundo», explicó Cooper.

El compromiso de MiróPara Alex Susanna, subdirector del Institut Ramon Llull, que patrocina la exposición, ésta

«presenta a Miró de una manera diferente, intentando mostrar que para que los árboles crezcan

tienen que estar bien fundados».

La primera parte del recorrido documenta el enraizamiento de Miró en Cataluña y su

compromiso con aspectos identitarios, muchos de ellos presentes en los lienzos, como en «La

masía» (1921-1922), que perteneció a Ernest Hemingway, amigo del artista, y «Cabeza de payés

catalán» (1925-1925). En la segunda parte, la exposición se ocupa de la preocupación de Miró por las

tensiones en España y Europa. Es el único momento en que su grado de compromiso llega a ser

propiamente militante, con su cartel «Aidez l'Espagne» (1937) para recoger fondos destinados a la

República, y «El segador» (1937), su contribución al pabellón republicano en la Exposición

Internacional de París, que los comisiarios de la Tate califican como «el Guernica de Miró».

En el franquismo se centra precisamente la última parte, en la que piezas destacadas son una serie

de cincuenta litografías de 1944, de tonos lúgubres y figuras angustiosas; «Mayo 1968», que capta la

atmósfera de la rebelión de esos años, y el tríptico «La esperanza del condenado a muerte» (1974),

que coincide con el ajusticiamiento de Salvador Puig Antich.

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1 Mayo 12 - Washington - Efe

La muestra "Joan Miró: la escalera de la fuga", presentada a la prensa hoy, se adentrará en la obra del artista hasta el 12 de agosto, con una inusual agenda de actividades complementarias para divulgar la vida y el contexto histórico del surrealista catalán, y se suma a otra exposición del artista en cartel en el museo Kreeger de la capital estadounidense. El comisario de "Joan Miró: la escalera de la fuga", Harry Cooper, subrayó hoy a Efe que la exposición da un nuevo paso para explicar "cómo la guerra civil española y la historia de ese momento afectó a la carrera de Miró y a su obra". El director adjunto del Institut Ramon Llull -que promueve la cultura catalana-, Àlex Susanna, consideró que "la aportación clave es la relectura de Miró bajo un prisma a priori inesperado, como alguien mucho más vinculado a los episodios de la historia que se podía imaginar". "Cuando uno piensa en Miró, uno piensa en un artista naíf, que en todo momento consigue sustraerse a las coordenadas de espacio y tiempo, y en cambio aquí chocamos de bruces con un Miró que tiene un grado de compromiso increíble con la cultura, la lengua y las instituciones catalanas", subrayó Susanna. Después de que la retrospectiva pasara por la Tate Modern de Londres y la Fundació Joan Miró de Barcelona, la muestra de Washington acentúa más la faceta combativa de Miró, además de crear una nueva presentación formal. Por las dificultades de transportar los grandes lienzos al otro lado del Atlántico, hay unas cincuenta obras menos, pero también hay piezas no vistas en Europa, ya que la serie de las "Constelaciones" cuenta con creaciones procedentes de colecciones privadas americanas que no pudieron viajar a Londres ni a Barcelona. "Otra gran diferencia respecto a las anteriores es que cada museo es diferente y lo que intentamos aquí es narrar una historia muy clara, muy lineal sobre su trayectoria, sus viajes y su vida", especialmente para dar más contexto a un público a veces ajeno a los convulsos años treinta y cuarenta en Europa, destacó el comisario. Al entrar, la muestra pregunta al espectador estadounidense qué sabe de Miró, qué conoce más allá "de sus formas coloridas en rojo, azul y negro, sin gravedad". "Francamente, el público estadounidense no sabe mucho de Miró", admitió el comisario, que cree que el conocimiento de los amantes del arte en EE.UU. se reduce a su obra de los cuarenta, más surrealista. Por ello Cooper explica que la muestra ha cuidado especialmente los textos que acompañan las 120 obras para que el visitante no pierda detalle de las raíces culturales del artista y de la oscura historia europea que avanzó paralela a la producción de Joan Miró. La obra que da la bienvenida es "La granja", que concentra "los innumerables hilos que tejen su obra", según cuenta Susanna, y cierra la muestra "Cabeza", "el ojo del artista capaz de perforar la oscuridad de su tiempo", aunque no es de extrañar tampoco la aparición del entorno rural y de genuinos símbolos catalanes como la barretina. Otra prueba del afán divulgativo es un documental, con un año de trabajo a sus espaldas, que incluye imágenes inéditas en Estados Unidos, que se rodó en Barcelona, Mallorca, París y su pueblo natal, Mont-roig del Camp (Tarragona), y que ofrece una "visión global de la historia del momento", apuntó uno de los responsables del audiovisual, Félix Monguilot. Se le sumarán visitas guiadas cada viernes en español, varias actividades vinculadas con Cataluña que se irán programando hasta agosto y una creación del mediático cocinero español José Andrés. El cocinero es responsable de adaptar, en paralelo a "Joan Miró: la escalera de la fuga", la carta de un restaurante de la National Gallery, que será renombrado como Garden Café Catalonia, con platos como la escalivada catalana y la sopa fría de cerezas. 05/01/19-53/12

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Page 3 of 4La National Gallery de Washington descubre al Miró más combativo

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|

Jueves 03/05/2012. Actualizado 09:18h.

CULTURA | Exposición en Washington con más de 140 obras

¿A qué sabe Joan Miró?

Uno de los platos del menú. | V. M.

••••

•••

El chef José Andrés elabora un sofisticado menú en honor a la muestra•Desde el seis de mayo se podrá disfrutar en la National Gallery•

Victoria Morell | Washington DC

Actualizado jueves 03/05/2012 04:00 horas

Joan Miró vuelve a ser noticia en Washington D.C. Si el pasado abril, el Museo Kreegerorganizaba una muestra donde presentaba; Sèrie Mallorca, Makimono y El Val d'Alosa, esta vez la noticia viene acompañada de un sabor exquisito, nada más y nada menos que de la mano de José Andrés. El chef asturiano, nombrado recientemente entre los cien personajes más influyentes del mundo por la revista Time, se encarga de poner sabor y guinda a un sofisticado menú elaborado en honor a la obra 'La escalera de la evasión' que, desde el seis de mayo, se podrá disfrutar en la National Gallery de Washington.

Page 1 of 2¿A qué sabe Joan Miró? | Baleares | elmundo.es

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© 2012 Unidad Editorial Información General S.L.U.

La exposición revela el compromiso político de Miró a partir de más de 140 obras en las cuales se refleja la respuesta del artista ante uno de los períodos más turbulentos de la historia europea; las dos guerras mundiales, la Guerra Civil española, y la posterior dictadura franquista. La muestra se divide en tres grandes períodos que abarcan la problemática política y social de la época.

La primera etapa representa el culto al paisaje catalán, centrándose en el pueblo de Mont- Roig del Camp donde Miró pasó largas temporadas en la masía familiar. Son obras destacables de este período; 'Cabeza de campesino catalán' , 'La Masía' , 'Mont-Roig, la iglesia y el pueblo' y 'La escalera de la evasión' pintura que da nombre a la exposición y que representa un símbolo característico en la creación del artista.

"En la lucha actual, veo del lado fascista las fuerzas obsoletas, y del otro lado el pueblo cuyos inmensos recursos creadores darán a España un impulso que asombrará al mundo'. La segunda etapa, caracterizada por la influencia francesa, representa la etapa comprendida entre la Guerra Civil Española, la caída de Francia y la vida bajo el mandato franquista. El arte más reivindicativo puede observarse con obras como 'Aidez l'Espagne' que muestra el lado más comprometido del artista.

Finalmente, y haciendo incapié en la influencia del expresionismo abstracto, el ciclo se cierra con los trabajos previos a la muerte del dictador. Destacan las obras 'Mural Painting I-II' y 'Fuegos artificiales-III'.

Entre cuadros contestatarios, que evocan la cultura catalana, la figura de José Andrés se presenta como un complemento perfecto. El chef, que destaca por haber provocado una revolución dentro del ámbito gastronómico, acompaña la muestra con un suculento menú elaborado a partir de productos catalanes. Una fusión plástica y gastronómica donde los amantes de la cocina catalana podrán disfrutar de platos como 'l'empedrat de mongetes amb bacallà', 'canelons de Sant Esteve', 'escalivada' o 'samfaina'. El toque dulce, que viene acompañado de 'peres al vi amb gelat de vainilla' y 'crema catalana', promete no dejar indiferente el paladar. Finalmente, para acompañar el manjar, se ofrece una amplia selección de vinos españoles cuidadosamente seleccionados para la ocasión.

La muestra, organizada por el Tate Modern de Londres, en colaboración con la Fundación Joan Miró de Barcelona, y en asociación con la National Gallery de Washington, podrá disfrutarse hasta el próximo mes de agosto donde el compromiso del artista con los acontecimientos históricos y la esencia de la cultura catalana quedarán manifestados.

Page 2 of 2¿A qué sabe Joan Miró? | Baleares | elmundo.es

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