COMENIUS PROJECT 2009-2011EUROPEAN AWARENES THROUGH ART

WORK TO DO TRIP TO MALLORCA

Create your own works of art in the manner of the mallorcan painters Hermen Anglada-Camarassa, Joan Miró & Miquel Barceló.

• First of all, try to find information about the lives and the works of these painters.

• Analyse and study how they worked, • study their paintings : colors, drawings, and especially textures (organic,

geometric and tactil)• Try to outline the main characteristics of each artist• Choose one painting for each artist• Try to do your own artistic work in the same manner of the choosen

artist • you can use the tecnique that you want or which represent better the

manner of the artist: pen, marker, collage, watercolor, print, clay, frottage, …

HERMEN ANGLADA CAMARASSA

Hermenegildo Anglada Camarasa (1872 – 1959) Born in Barcelona, he studied there at the Llotja School. His early work had the clear academic imprint of his teacher, Modest Urgell. In 1894, he moved to Paris where he adopted a more personal style, after that of Degas and Toulouse-Lautrec, with their depictions of nocturnal and interior subjects. But his work was also marked by the intense colors which presaged the arrival of Fauvism. Lively brushwork reveals strong Oriental and Arabic influences. Allied with the Vienna Secession movement, his decorative style draws comparison to Gustav Klimt. One of his most important works is a portrait of Sonia Klamery. He died in Pollença, on the island of Majorca

JOAN MIRÓ

Joan Miró i Ferrà (1893- 1983) Spanish painter, whose surrealist works, with their subject matter drawn from the realm of memory and imaginative fantasy, are some of the most original of the 20th century.Miró was born April 20, 1893, in Barcelona and studied at the Barcelona School of Fine Arts and the Academia Galí. His work before 1920 shows wide-ranging influences, including the bright colors of the Fauves, the broken forms of cubism, and the powerful, flat two-dimensionality of Catalan folk art and Romanesque church frescoes of his native Spain. He moved to Paris in 1920, where, under the influence of surrealist poets and writers, he evolved his mature style. Miró drew on memory, fantasy, and the irrational to create works of art that are visual analogues of surrealist poetry. These dreamlike visions, such as Harlequin's Carnival or Dutch Interior, often have a whimsical or humorous quality, containing images of playfully distorted animal forms, twisted organic shapes, and odd geometric constructions. The forms of his paintings are organized against flat neutral backgrounds and are painted in a limited range of bright colors, especially blue, red, yellow, green, and black. Amorphous amoebic shapes alternate with sharply drawn lines, spots, and curlicues, all positioned on the canvas with seeming nonchalance. Miró later produced highly generalized, ethereal works in which his organic forms and figures are reduced to abstract spots, lines, and bursts of colors.Miró also experimented in a wide array of other media, devoting himself to etchings and lithographs for several years in the 1950s and also working in watercolor, pastel, collage, and paint on copper and masonite. His ceramic sculptures are especially notable, in particular his two large ceramic murals for the UNESCO building in Paris (Wall of the Moon and Wall of the Sun, 1957-59). Miró died in Majorca, Spain, on December 25, 1983

MIQUEL BARCELÓ

Miquel Barceló i Adrover, born in 1957, in Felanitx. Throughout the 1980ies, he travelled extensively across Europe, the United States and West Africa – always returning to Paris which became a second home and where he set up a second studio. Extremely fascinated by Mali, a third studio was installed in Segou. The time Barceló spent in different countries, his nomadism or peripatetic habits essentially influenced and inspired his work, most strongly the impressions of West Africa: the power of its light, the scorching sun, the rocky landscape, the sea and rivers – visual experiences that may have reminded him of his native Mallorca.Within the impressions and influences of various cultures and multifaceted landscapes, his treatment of some of the great themes of classical painting, like landscape, still life, the artist's studio or the portrait, and technical challenges, like perspective, colour and the treatment of light and the composition, is recurrent. His painting from memory includes autobiographical quotations in a boundless exploration of new forms of expression, in which he extensively experiments with a wide range of materials, textures, light, colour and pictorial procedures, with the mutation of the elements, liquefaction of objects and their transitoriness by fading away, metamorphisis and death. He therefore experiments with anorganic as well as with organic material or elements. Alongside the exploration of new motifs, an always recurring motif – suggesting that Mallorca is always with him – is the sea which he approached from changing perspectives. His work on paper, paintings, modelled work, sculptures and ceramics seem to be interconnected in a way that transcends time and space, even tough they are always linked to certain spatial and temporal coordinates. An unconcious link between his preoccupations, fantasies and disclosures give his art a narrative and aesthetical unity and coherence.18 November 2008 the Spanish government officially presented Miquel Barceló’s latest immense work of art in the UN’s Palace of Nations in Geneva. The work of art is a massive sculptural installation located on the domed ceiling of the building’s newly created Chamber XX of Human rights and Alliance of Civilizations. The work consists of 1500 m2 of multi-coloured stalactite forms for which the artist uses 100 tons of paint, that appear to be dripping from the ceiling.