Quotes by Joan Miro - Page 1

I work like a gardener.
Joan Miro / Painter
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I want to assassinate painting.
Joan Miro / Painter
Painting
Want
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The simplest things give me ideas.
Joan Miro / Painter
Giving
Ideas
Simplicity
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To gain freedom is to gain simplicity.
Joan Miro / Painter
Gains
Simplicity
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The more I work, the more I want to work.
Joan Miro / Painter
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I make no distinction between poetry and painting.
Joan Miro / Painter
Distinction
Painting
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The picture should be fecund. It must bring a world to birth.
Joan Miro / Painter
Birth
Should
World
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A simple line painted with the brush can lead to freedom and happiness.
Joan Miro / Painter
Drawing
Freedom And Happiness
Simple
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If you have any notion of where you are going, you will never get anywhere.
Joan Miro / Painter
Notion
Where You Are
Where You Are Going
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I try to apply colors like words that shape poems, like notes that shape music.
Joan Miro / Painter
Art
Music
Smile
Color
Notes
Shapes
Trying
Words
Apply
Try
Colors
Poems
Shape
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What I will no longer accept is the mediocre life of a modest little gentleman.
Joan Miro / Painter
Gentleman
Littles
Mediocre Life
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The works must be conceived with fire in the soul but executed with clinical coolness.
Joan Miro / Painter
Art
Inspirational
Motivational
Coolness
Fire
Soul
Works
Clinical
Conceived
Executed
Must
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For me, a painting must give off sparks. It must dazzle like the beauty of a woman or a poem.
Joan Miro / Painter
Dazzle
Giving
Sparks
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Painting must be fertile. It must give birth to a world.. ..it must fertilize the imagination.
Joan Miro / Painter
Imagination
Giving
World
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The painting rises from the brushstrokes as a poem rises from the words. The meaning comes later.
Joan Miro / Painter
Artist
Painting
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When I stand before a canvas, I never know what I'll do, and I am the first one surprised at what comes out.
Joan Miro / Painter
Canvas
Firsts
Painting
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What I am seeking... is a motionless movement, something equivalent to what is called the eloquence of silence.
Joan Miro / Painter
Eloquence
Movement
Silence
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Painting or poetry is made as one makes love - a total embrace, prudence thrown to the winds, nothing held back.
Joan Miro / Painter
Art
Smile
Making Love
Painting
Wind
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I start from something considered dead and arrive at a world. And when I put a title on it, it becomes even more alive.
Joan Miro / Painter
Alive
Titles
World
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More important than a work of art itself is what it will sow. Art can die, a painting can disappear. What counts is the seed.
Joan Miro / Painter
Art
Important
Painting
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The more ignoble I find life, the more strongly I react by contradiction, in humour and in an outburst of liberty and expansion.
Joan Miro / Painter
Contradiction
Expansion
Liberty
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My tendency towards bareness and simplification has been practiced in three fields: modeling, colors, and the figuration of the personages.
Joan Miro / Painter
Color
Simplicity
Three
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You can look at a picture for a week and never think of it again. You can also look at the picture for a second and think of it all your life.
Joan Miro / Painter
Inspirational
Photography
Thinking
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I think of my studio as a vegetable garden, where things follow their natural course. They grow, they ripen. You have to graft. You have to water.
Joan Miro / Painter
Garden
Thinking
Vegetables
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Throughout the time in which I am working on a canvas I can feel how I am beginning to love it, with that love which is born of slow comprehension.
Joan Miro / Painter
Born
Canvas
Comprehension
Emotion
Love Time I Am
Beginning
Slow
Throughout
To Love
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For me an object is something living. This cigarette or this box of matches contains a secret life much more intense than that of certain human beings.
Joan Miro / Painter
Certain
Cigarette
Human Beings
Intense
Secret
Living
Life Me Living
Box
Beings
Contains
Matches
Object
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That which interests me above all else is the calligraphy of a tree or the tiles of a roof, and I mean leaf by leaf, branch by branch, blade by blade of grass.
Joan Miro / Painter
Branches
Mean
Tree
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Art class was like a religious ceremony to me. I would wash my hands carefully before touching paper or pencils. The instruments of work were sacred objects to me.
Joan Miro / Painter
Art
Hands
Religious
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Poetry and painting are done in the same way you make love; it's an exchange of blood, a total embrace - without caution, without any thought of protecting yourself.
Joan Miro / Painter
Blood
Done
Making Love
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I feel the need of attaining the maximum of intensity with the minimum of means. It is this which has led me to give my painting a character of even greater bareness.
Joan Miro / Painter
Art
Smile
Character
Giving
Greater
Intensity
Maximum
Mean
Minimum
Painting
Character Me Feel
Attaining
Led
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I believe that to do anything in this world one needs a love for risk and adventure, and above all, to be able to do without what middle-class families call "future."
Joan Miro / Painter
Courage
Adventure
Believe
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I throw down the gauntlet to chance. For example, I prepare the ground for a picture by cleaning my brush over the canvas. Spilling a little turpentine can also be helpful.
Joan Miro / Painter
Chance
Example
Littles
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I begin my pictures under the effect of a shock which I feel and which makes me escape from reality... I need a point of departure, even if it's only a speck of dust or a flash of light.
Joan Miro / Painter
Dust
Light
Reality
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For me, a picture should be like sparks. It must dazzle like the beauty of a woman or a poem. It must have radiance; it must be like those stones which Pyrenean shepherds use to light their pipes.
Joan Miro / Painter
Dazzle
Light
Sparks
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As regards my means of expression, I try my hardest to achieve the maximum of clarity, power, and plastic aggressiveness; a physical sensation to begin with, followed up by an impact on the psyche.
Joan Miro / Painter
Expression
Impact
Mean
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My characters have undergone the same process of simplification as the colors. Now that they have been simplified, they appear more human and alive than if they had been represented in all their details.
Joan Miro / Painter
Alive
Artist
Character
Color
Details
Simplification
Appear
Characters
Colors
Undergone
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My way is to seize an image the moment it has formed in my mind, to trap it as a bird and to pin it at once to canvas. Afterward I start to tame it, to master it. I bring it under control and I develop it.
Joan Miro / Painter
Bird
Mind
Way
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A modeled form is less striking than one which is not. Modeling prevents shock and limits movement to the visual depth. Without modeling or chiaroscuro depth is limitless: movement can stretch to infinity.
Joan Miro / Painter
Depth
Limits
Movement
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What I am looking for... is an immobile movement, something which would be the equivalent of what is called the eloquence of silence, or what St. John of the Cross, I think it was, described with the term 'mute music'.
Joan Miro / Painter
Eloquence
Movement
Mute
Silence
Swag
Term
Thinking
Cross
Equivalent
Immobile
John
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I begin painting and as I paint the picture begins to assert itself, or suggest itself, under my brush. The form becomes a sign for a woman or a bird as I work... The first stage is free, unconscious... the second stage is carefully calculated.
Joan Miro / Painter
Bird
Firsts
Painting
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I work like a labourer on a farm or in a vineyard. Things come to me slowly. My vocabulary of forms, for instance, has not been the discovery of a day. It took shape in spite of myself... That is why I am always working on a hundred different things at the same time.
Joan Miro / Painter
Different
Discovery
Vocabulary
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Little by little, I've reached the stage of using only a small number of forms and colors. It's not the first time that painting has been done with a very narrow range of colors. The frescoes of the tenth century are painted like this. For me, they are magnificent things.
Joan Miro / Painter
Color
Done
Small Numbers
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The spectacle of the sky overwhelms me. Im overwhelmed when I see, in an immense sky, the crescent of the moon, or the sun. There, in my pictures, tiny forms in huge empty spaces. Empty spaces, empty horizons, empty plains - everything which is bare has always greatly impressed me.
Joan Miro / Painter
Space
Moon
Sky
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Never, never do I set to work on a canvas in the state it comes in from the shop. I provoke accidents - a form, a splotch of color. Any accident is good enough. I let the matiere decide. Then I prepare a ground by, for example, wiping my brushes on the canvas. Letting fall some drops of turpentine on it would do just as well. If I want to make a drawing I crumple the sheet of paper or I wet it; the flowing water traces a line and this line may suggest what is to come next.
Joan Miro / Painter
Color
Drawing
Fall
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Joan Miro Quotes - Page 1

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