It was a sunny Sunday afternoon; my friend and me had decided to explore a different part of Barcelona. We heard that the Miró foundation was one of the best places to go if you wanted to find out more about the variety of works done by the artist and be in a place to relax at once. It wasn't a lie! The most impressive part of the Miró Foundation, when we arrived for the first time was surely this large avenue of trees with almost no circulation. It surrounded the magnificent complex and settled the general tone of the visit. The whole place was just pleasant and very quiet. And it could be a real culture shock compare to the rest of the city.
The design of the building was modern and completely white and differentiated itself from the green environment.The gardens remained a great place to relax before or after visiting the foundation and had that amazing view of Barcelona. Those quiet spaces surrounded the foundation and offered us another option. When we came there, we thought it would be good to have lunch at the restaurant of the foundation and then maybe relax in one of the gardens.
We were a bit disappointed by the restaurant as it was really smoky and confined, and the service was a complete disaster. Nevertheless, we were so absorbed by the paintings on the walls and the view on the gardens, that we almost forgot those annoying details.Then, we realized that the inside of the foundation contained multiple subdivisions with different universes. For instance, the room next to the entrance allowed us to acknowledge the history of the building and the various steps of its construction. The whiteness of the walls evoked purity and perfectly stressed on the different parts of the exhibition. Indeed, the schemes, books or sculptures filled up this huge space.
But what also caught our attention was the room full of the density containing three major pieces of art made by Miró. The one, which made the kids want to touch, was called: "Hands flying off toward Constellations." (1974)And, the visit didn't stop there, with another room where we had a chance to admire a sculpture with its unique shape, colours and density. That sculpture truly embodied Miró's essence and enabled us to have different interpretations. I think that Miró always wanted to keep freedom, when he was painting a woman, a bird, or an eye. Those were the main symbols, which came back like an obsession in his permanent collection.
The brightness of the colours made the message contained in the paintings less dramatic. This message was often gloomy and darker than the perception we first had when looking at them.We also noticed that some sculptures made by Miró recalled the Tim Burton universe. Perhaps, the filmmaker got his inspiration in Miró's work.
We couldn't miss the recurrent theme about the phallic representation and the body representation of women who seemed objectified.Meanwhile, on the down floor, other artists who were either friends of Miró or inspired by him were exposed and their work contrasted with the rest of the exhibition. For example, Dorothea Tanning produced a piece of work entitled: "Everything is illusion, maybe." (1975) And then San Francis exposed his: "Untitled." (1985) painting. They both defined their own identity and emphasized messages, which also deserved to be highlighted.
That day at the Miró Foundation was a relaxing time and we really felt at home. Miró's space became our space and a sensation of peacefulness filled us up. Suddenly, we were no longer ourselves and were transformed into witnesses of the past.Don't miss the bookstore, which remains an excellent provider of books and other items dedicated to the major Spanish Modernists artists like: Dalí, Gaudí, Picasso and of course Miró.