Surrealism and Cubism: A Comparative Analysis of Miro and Braque
Outside Dutchman
Joan Miró
1928
Surrealism
Oil on canvas, 92 cm x 73 cm
Museum of Modern Art (MOMA), New York
Technical Elements
The painting is an oil on canvas characterized by vibrant primary and secondary colors, creating a sense of brightness and joy. The brushstrokes are not prominent, with emphasis placed on the contours of the figures. Linework is crucial in defining forms. The lighting is bright, reminiscent of a comic book. The combination of colors creates a sense of three-dimensional space, giving the impression of being in a room.
Formal Elements
The composition is inspired by Dutch Baroque paintings of the 17th century, particularly genre scenes. Miró incorporates elements like a musician, a window, a dog, a table, and a cat, all within a room setting. The central figure of a woman seated in a chair appears to dissolve into the table, creating an ambiguity between the two forms. The animals and objects seem to dance around the space. Some objects are identifiable, while others are not, reflecting Miró’s intention to draw inspiration rather than directly copy the Dutch Baroque style.
Style
Miró’s style blurs the boundaries between reality and dream, reality and imagination. He creates a unique world that exists on this border, showcasing his ability to construct a personal visual language.
Evolution of Miró’s Style
- Initial Period: Representative style, exploring a personal language through the depiction of objects.
- Second Period: Contact with Paris and the Surrealists. “Outside Dutchman” belongs to this period.
- Third Period: Experimental phase with unconventional techniques.
- Fourth Period: Spanish Civil War and isolation. Focus on still life and later, celestial themes.
Function
“Outside Dutchman” represents Miró’s search for a unique artistic language. He continually experimented and pushed boundaries throughout his career.
Historical Context
The painting was created during a time of rising totalitarianism. Many Surrealist artists, including Miró, fled to America to escape oppressive regimes. Miró later sought refuge in France to avoid the Franco dictatorship and the Nazi threat.
Artistic Context
The early 20th century was a period of artistic experimentation and the emergence of various “isms.” Miró’s work stands out as a unique exploration within this context.
Influences
Miró was inspired by Dutch Baroque painting, particularly the genre scenes of the 17th century. “The Lute Player” by Hendrick Martensz Sorgh is a notable influence on “Outside Dutchman.”
Content
In 1928, Miró traveled to Holland and was deeply impressed by Dutch painters of the 17th century. He created a series of paintings inspired by their work, but interpreted through his own Surrealist lens. “Outside Dutchman” draws on the theme of genre scenes, but with a dreamlike and humorous twist.
Significance
The painting’s significance lies in Miró’s exploration of the boundary between reality and unreality. It represents a step towards his fully developed Surrealist style.
Landscape of Estaque
Georges Braque
1908
Analytic Cubism
Oil on canvas, 81 cm x 65 cm
Kunstmuseum, Bern
Technical Elements
The painting is an oil on canvas with a limited color palette. Warm tones, such as greens, dominate the lower part, while grays, purples, and dark colors appear in the middle and upper sections. The brushstrokes are broad and strong, creating a sense of dynamism. Geometric shapes and prisms are prominent, reflecting the Cubist emphasis on form over color. The lighting is unrealistic, with each prism seemingly illuminated from a different source.
Formal Elements
The composition is structured using geometric shapes and prisms, creating a fragmented and crystalline effect. The brushwork contributes to a chaotic rhythm, particularly in the middle and upper sections. The vertical orientation adds to the sense of structure.
Style
“Landscape of Estaque” belongs to the Pre-Cubist phase (1908-1909), the first stage of Cubism. During this period, objects are not entirely recognizable but underlying geometric forms begin to emerge. The influence of Paul Cézanne is evident in Braque’s work.
Cubist Trends
- Pre-Cubism (1907/1908-1910): Elements are not fully abstracted, but underlying geometric forms are emphasized. Strong influence of Cézanne.
- Analytic Cubism (1910-1912): Objects are dissected and fragmented, becoming nearly unrecognizable. Highly intellectual approach.
- Synthetic Cubism (1912-1916): Objects become more recognizable through the use of larger areas of color and collage elements.
Function
“Landscape of Estaque” reflects Braque’s exploration of new forms of expression and his break from traditional artistic conventions. It represents a pivotal moment in the development of Cubism.
Historical Context
The painting was created in the early 20th century, a time of colonialism, scientific advancements (Einstein’s theory of relativity), and the lead-up to World War I. These factors contributed to a sense of upheaval and a questioning of traditional perspectives.
Influences
Braque was influenced by Cézanne, considered the father of Cubism, as well as by primitive art, particularly African masks and sculptures. The 1907 Cézanne retrospective had a profound impact on Braque and other artists, inspiring them to explore new avenues of representation.
Content
The subject matter of the work is a landscape, specifically the village of Estaque near Marseille, a frequent subject for both Braque and Cézanne. However, the landscape is depicted through a Cubist lens, with fragmented forms and an emphasis on geometric structure.
Significance
“Landscape of Estaque” marks a significant step in the development of Cubism. It demonstrates Braque’s commitment to exploring new forms of visual language and his role as a pioneer of the movement. The painting’s significance lies in its contribution to the evolution of modern art and its challenge to traditional notions of representation.