Revisiting Miro's art and life on a Spanish island
A bronze Miro sculpture interrupts the sidewalk below the grand Cathedral of Palma de Mallorca. It stretches up, the height of two men, a hollowed concave rectangle topped by a large egg-shaped nugget tilted toward the Mediterranean. Day after day, tourists rush past it in a hustle, descending from the steep side street that winds down to the shaded Passeig de Born, a busy thoroughfare filled with clothing stores and mopeds.
No fanfare announces the sculpture's presence. It would be easy simply to glide past "Femme," as the bronze is called, without pausing to appreciate this work by one of Spain's, indeed one of the world's, most renowned artists. But spend a little time in the Spanish island of Majorca and the casual, almost offhand, placement of the artwork reveals itself as part of a much larger story — about an artist who was sheltered and inspired by this island, but who, surprisingly, only posthumously received the kind of recognition here that he did elsewhere.
I had arrived in Palma at the end of May in anticipation of viewing the major Miro retrospective at the Tate Modern in London, which will be on display into September before moving on to Barcelona and then, next May, to the National Gallery of Art in Washington, D.C. I hoped to understand the story of Miro's Majorca, to see and feel the island's rugged landscape for myself — the scrubby trees, mountains and the sea that surrounds it; to watch the way the early morning light filters down into the Gothic quarter and glances off the tops of centuries-old buildings.
Joan Miro was born in Barcelona in 1893, and although his work had already earned an international audience when he settled in Palma in the mid-1950s, few here, it seemed, had heard of him. Miro embraced this anonymity, setting up his studios well outside the city where he would create some of his most important works, including the triptych "Bleu I, II, III" (1961), which was, according to the German art critic Barbara Catoir, a paean to the color of Majorca's sky and the sea that surrounds the island.
Like the Catalan landscape of his childhood, the white plaster walls of the fisherman's cottages, the gourd-like urns often found in Majorcan courtyards and the brightly painted folk-art figures in the tourist shops all found their way into Miro's paintings. So, too, did the crescent-shaped vestiges of the Moors and the rhythms of the Santa Catalina market, with its fishmongers and rough-handed fishermen drinking coffee out of tiny glass tumblers.
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