The farm miro12/27/2022 ![]() Ernest Hemingway wrote in a 1934 article that Shipman made Galerie Pierre put a price on the painting and agree to sell it to him (Shipman), but that Shipman reconsidered the same day, thought Hemingway should have the painting, and the two rolled dice for it. Although Evan Shipman's name is included here in the provenance, it is not certain that he ever actually owned the painting. cat., Museum of Modern Art, New York, 1993: no. Provenance from Carolyn Lanchner, Joan Miró, Exh. Elements from The Farm continued to appear in his work, however, and the intensity of vision found in this painting remained a standard for all of his later art. Moreover, space in The Farm is defined by a ground plane that tilts sharply upward, while individual forms are similarly tilted, so that they sit silhouetted, parallel to the picture plane.īy the mid-1920s, Miró had abandoned the realist manner of The Farm and had created a surrealist style of automatism and abstraction. This detailed realism, however, is matched by a tendency to simplify forms into abstract, geometric shapes. The painting is a compendium of separate details, each carefully observed and precisely described. The Farm represents a brilliant amalgamation of an intense, even primitive realism with the formal vocabulary of cubism. In 1921, he determined to make a painting of this farm, a painting that he came to regard as one of the key works in his career. Nevertheless, he remained deeply attached to his native Catalonia, and returned each summer to his family's farm in the village of Montroig. Miró moved from Barcelona to Paris in 1920, determined to participate in the artistic vanguard of the French capital. The artist signed and dated the lower left corner, "Miro. A disk-like moon hangs in the sky to the right of the tree. A covered wagon, a round mill, trees, and plants fill the rest of the space between the buildings. A tiny stylized person, perhaps a baby, appears in the distance between the buildings near a well where a woman works. Watering cans, buckets and pails, a hoe, newspaper, lizard, and snail are spaced around the buildings. A goat, rooster, birds, and several rabbits occupy the pen. That wood-frame building has a triangular peaked roof, and the left half is open, like a lean-to. A pen protected by netting stretches out in front of the second structure, to our right of center. ![]() Horizontal bands in front of the building suggest furrows in plowed earth, and a single stalk of corn grows up into the scene, seeming close to us. The back end of a horse is visible through an open door at the bottom center. ![]() The façade is pierced by two small rectangular windows and an arched hatch at the top under a winch. ![]() The far edge of the whitewashed structure to our left is cropped. The long, spindly branches of the central tree nearly reach the top edge of the painting and abstracted, sickle-shaped leaves are silhouetted against the sky so no leaves overlap. About a third of the way up the composition, the horizon is lined with trees and mountains in the deep distance. We look straight onto the buildings and slightly down onto the earth in front of us. Two angular, cream-white buildings flanking a central, stylized tree are surrounded by brown soil, small animals, and farmhouse objects like watering cans and buckets beneath a clear, azure-blue sky in this square landscape painting. ![]()
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