Quote

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

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Joan Miro
Age: 90 †
Born: 1893
Born: January 1
Died: 1983
Died: December 25
Artist
Ceramicist
Designer
Graphic Artist
Lithographer
Painter
Postage Stamp Designer
Scenographer
Sculptor
Tapestry Designer
Barcelona
Spain
Joan Miró i Ferrà
Joan Mir
Z'uʼan Miro
Joan Miró Ferra
Joan Miro
Z'uán Miró
Joán Miró
Miluo
Joan Miró Ferrà
Joan Miro i Ferra
Joan Miro Ferra
Miro
Jean Miró
Grows
Vegetables
Water
Studio
Natural
Studios
Things
Garden
Think
Follow
Thinking
Grow
Graft
Courses
Ripen
Course
Vegetable

More quotes by Joan Miro

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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.
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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.
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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.
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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.
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For me, a painting must give off sparks. It must dazzle like the beauty of a woman or a poem.
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Painting must be fertile. It must give birth to a world.. ..it must fertilize the imagination.
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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.
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I try to apply colors like words that shape poems, like notes that shape music.
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If you have any notion of where you are going, you will never get anywhere.
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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.
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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.
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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.
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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
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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
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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.
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I make no distinction between poetry and painting.
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To gain freedom is to gain simplicity.
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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.
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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.
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The more I work, the more I want to work.
Joan Miro