... all the times I hurried past Miró to get to Picasso and Kandinsky? I've been 'blessed' in my career with the opportunity to visit most of the world's great fine arts museums. I've blundered past dozens of paintings by Joan Miró (1893-1983), including possibly the majority of those reproduced in this large-format Taschen treasure. But it took just one thoughtful pause in front of his three "Dutch Interior" paintings, currently (October, 2010) on special exhibit at the Metropolitan in New York, to make an exuberant Miró fan out of me. Luckily, the Met has other excellent Miró paintings, as does New York's MoMA. the Met exhibit pairs the Dutch Interiors with the 17th C Dutch Master paintings that inspired them; don't miss it if you pass anywhere near the east side of Central Park in the near future.
I selected this book from the many that are available about Miró on the basis of the quality of reproductions of those three paintings. The colors are true, the printing is good enough so that canvas and paint textures can be perceived, and the large format is adequate to give an idea at least of the originals. I've also ordered a full-size art-print reproduction of Dutch Interior I, which I'll frame and hand near my desk. I'm completely happy with the visuals of this Taschen book.
The text doesn't thrill me as much. The notes on the prints and the essay on Miro's late works by Hajo Düchting are concisely informative and amusing, but the extended essay by Walter Erben is a disappointment -- too much Erben in it and too little Miró. I eventually lost my place in the text and just feasted on the reproductions. The single insight I got from Erben was the concept of Miró, especially early Miró, as a "rococo' painter.
Miró had a very long career. The earliest painting reproduced in this book dates from 1914, and the last from 1979. Over those decades, Miró went through as many phases as Picasso or Kandinsky, yet the 'personality' of his work remained distinctly his own. And despite a life spanning most of the ugliest, stupidest, cruelest century of human history, Miró's art is joyful, witty, brightly intelligent, and beauty-conscious.