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Joan Miro - From the Accidents category:
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)
Joan Miro - From the Colour category:
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)
Joan Miro - From the Colour category:
I try to apply colors like words that shape poems, like notes that shape music. (Joan Miro)
Joan Miro - From the Discovery category:
In a picture, it should be possible to discover new things every time you see it. But you can look at a picture for a week together and never think of it again. You can also look at a picture for a second and think of it all your life. (Joan Miro)
Joan Miro - From the Expression category:
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)
Joan Miro - From the Fire category:
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)
Joan Miro - From the Fire category:
The works must be conceived with fire in the soul but executed with clinical coolness. (Joan Miro)
Joan Miro - From the Interest category:
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)
Joan Miro - From the Life category:
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)
Joan Miro - From the Life category:
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. When I see a tree, I receive an impact as if it were somebody breathing, somebody speaking. A tree, too, is something human. (Joan Miro)
Joan Miro - From the Love category:
Throughout the time I am working on a canvas I can feel how I am beginning to love it, and with that love, which is born of slow comprehension... one of the great, concentrated wealth of shades that the earth offers. (Joan Miro)
Joan Miro - From the Love category:
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)
Joan Miro - From the Meaning category:
The painting rises from the brushstrokes as a poem rises from the words. The meaning comes later. (Joan Miro)
Joan Miro - From the Memory category:
You can look at a painting for a whole week and then never think about it again. You can also look at a painting for a second and think about it for the rest of your life. (Joan Miro)
Joan Miro - From the Methodology category:
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)
Joan Miro - From the Movement category:
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)
Joan Miro - From the Movement category:
What I am seeking... is a motionless movement, something equivalent to what is called the eloquence of silence... (Joan Miro)
Joan Miro - From the Production category:
The picture should be fecund. It must bring a world to birth. (Joan Miro)
Joan Miro - From the Religion category:
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)
Joan Miro - From the Shock category:
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)
Joan Miro - From the Simplicity category:
My tendency towards bareness and simplification has been practiced in three fields: modeling, colors, and the figuration of the personages. (Joan Miro)
Joan Miro - From the Simplicity category:
I always feel the need to achieve the maximum of intensity with the minimum of means. This is what has led me to give my painting an ever sparer character. (Joan Miro)
Joan Miro - From the Space category:
In my pictures there are tiny forms in vast empty spaces. Empty space, empty horizons, empty plains, everything that is stripped has always impressed me. (Joan Miro)
Joan Miro - From the Studio category:
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)
Joan Miro - From the Titles category:
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)
Joan Miro - From the Wonder category:
The spectacle of the sky overwhelms me. I'm overwhelmed when I see, in an immense sky, the crescent of the moon, or the sun. (Joan Miro)
Joan Miro - From the Work category:
I work like a gardener. (Joan Miro)
Joan Miro - From the Work category:
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)
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