MIRÓ AND DEMATERIALIZATION
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“Silence is a negation of noise, but it happens that the smallest noise in a silence takes on an enormous resonance.”  -Joan Miró-
Miró wanted to reach the highest purity; he wanted to strip and remove all descriptive details in order to explain things from their essential traits. His language moves towards nudity and towards the enhancement of the void. A dynamic void as important as the space occupied by the leading element, and that serves as a receptacle for the line, which attains its highest expressivity.
CHILLIDA AND MIRÓ
Chillida was able to transform the deepest thoughts into the simplest forms in a sublime aspiration for the purity.
In the case of Miró, the energy of the voids and the silences becomes the beat of his works. He paints many black fields, limited and enclosed by very simple outlines, and over them shine little colour fields that are counterbalanced by the white of the paper.
MIRÓ IS TERRESTRIAL AND COSMIC
“The breaking up with the values of the Renaissance was rather instinctive. Even today, when I walk, I look at the sky and the earth; not at the landscape.”  -Joan Miró-
In Miró’s work, there are two sets of elements which represent the connection between the terrestrial and the cosmic world: there are birds, flies or mosquitoes; and there are the firmament and the celestial bodies. Stars, constellations, the sun and the moon… embody the higher stage and are the expression of a spiritual universe, dematerialized, and non-contaminated by the human personality, by human thoughts and desires.
TÀPIES AND MIRÓ
Antoni Tàpies had a strong fascination for art books created in collaboration with great literary figures. Bibliophile books are directly related to his desire to create magical objects, real talismans which convey ideas and cause certain effects on the spectator. For Tàpies and Miró, books serve to spread knowledge and are objects capable of transmitting ideas from their own materiality
BARCELÓ AND MIRÓ
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With ceramics, Barceló ends the process of materiality and physicality of his paintings. This absolute bond with the earth as an ancestral metaphor that life emerges from mud, is totally shared by Miró, who considers it the most transcendent and eternal element.