A progression from realism to surrealism is the greatest experience an artist (and even an observer) can go through creatively. In Realism we see a focus on form, colour, composition, tone and aesthetics; these are the building blocks of any artist. Once an artist has mastered these he has complete control: he can abuse them and prompt them. This creates a creative and artistic power far greater than the pseudo-impressive photo realism which has taken the public spotlight as of late. True art abuses reality, true art establishes the viewer in the artists mind while considering the aesthetics. Both absolution and relativism must be consider in their own right and together in surrealism. Take this painting by Miro; it can be considered under both umbrella’s and be equally insightful. Firstly we can look at on it’s own, void of any contextual background: many would call this childish but in fact the only childish element is the animation of the figures and symbols, each simple image is seen in unison with each other as well as on its own. They can be observed as individuals and a community. On the other hand we can contextualise: Miro being poor was often very hungry and starved so would close his eyes and see these figures in a semi-hallucinative state. This allows us to consider this painting as the inner working of Miro’s mind, his deep inner conscious materialised; a simple state through a complex display. So in this painting we can see the techniques Miro developed in his early works and their affect on this work; all key artistic elements are paramount (form, colour etc etc) but so is a surrealist content and this leads to two considerations of the painting one contextualised, one not but both insightful into Miro. In sum what must not be forget is that as Paul Klee says – Art is a Genesis.
(“Yesterday is but today’s memory, and tomorrow is today’s dream”-Khalil Gibran)
Dreams, are both a synthesis
Of my memory