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Important Art by Joan Miró
A dramatically tilted picture plane presents a view of the artist's masia or "family farm," thronging with animals, farm implements, plants, and evidence of human activity. Miró explained, "The Farm was a résumé of my entire life in the country. I wanted to put everything I loved about the country into that canvas - from a huge tree to a tiny snail." The intensity of vision and almost maniacal attention to detail gives the work the quality of an eidetic memory, reconfigured in a dream, and prefigures his later Surrealist work.
As art critic Laura Cummings wrote, "every entity is given its own autonomous space in the picture, separately praised but connected by rhyming shapes," due to the "quasi-cubist space, tilted upright; and presumably because Miró is celebrating the thriving upward growth of home."
The work illustrates important innovations signature to the artist as it includes various abstracted elements, like the black circle where the eucalyptus tree rises in the center, symbols like the two ladders, one with a goat standing on top, and the other with a rooster. Furthermore, as Cummings notes, in "his new way of painting... objects have a double life as letters - the E of a crate, the A of a ladder, the O of wheel, pail and sun - and everything is simultaneously inside the scene and written on its surface. The Farm is both picture and poem."
The artist considered this work among his most important, marking a turning point. While reflecting a number of influences, including Catalan folk art, a Romanesque sense of hierarchy where scale reflects importance, and a Cubist vocabulary, the work resisted settling into a style, exemplifying the artist's restless and iconoclastic approach.
After completing the work, Miró struggled to find a buyer in a Parisian modern art market that preferred Cubism. One dealer suggested cutting it into several smaller paintings for ease of sale. Fortunately, the artist had become friends with the writer Ernest Hemingway, then a struggling unknown, and, after hours of working the two would meet for boxing sessions to unwind. Hemingway was determined to buy The Farm and, after borrowing money and working as a grocery clerk, was able to purchase it and kept it throughout his life. As he wrote, "I would not trade it for any picture in the world. It has in it all that you feel about Spain when you are there and all that you feel when you are away and cannot go there."
This painting depicts a festive and crowded scene where quixotic biomorphs seem to be caught up in a lively celebration. Every form both evokes resemblances and refuses them, as at center left, the harlequin, identified by the black and white checks of the costume of the Italian commedia dell'arte's stock figure, has a body shaped like a distorted guitar. The cat, at lower right, stands up on its hind legs, as if dancing, its "arms" held out to the scene, while its red and yellow face turns to look at the viewer. A yellow and black fish lies on the table, an ear and an eye grow out of the ladder on the left, music notes appear on the wall, black and white snakelike tubes cross in the center, and many of the forms are connected by thin scrolling lines, as the black and yellow creature dancing in the lower center grasps a thread that extends to the cat's whiskers. The viewer is caught up in this imagined world, intrigued by the dissonance between identification and meaning.
An early example of the artist's turn toward Surrealism, this work also pioneered his use of biomorphic forms, as most of the objects evoke living organisms. He explained some of the painting's symbolic meaning, saying that the black triangle symbolized the Eiffel Tower and the ladder stood for both elevation and evasion. Yet the merging and melding forms overturn the certainties of the conscious world, including those of art, as the artist said, "I'm only interested in anonymous art, the kind that springs from the collective unconscious." Miró never wanted to settle into a particular artistic style and strove to overturn aesthetic hierarchies. In this work he created his own pictorial idiom. As art critic Laura Cummings wrote, "When Miró died in 1983, at the age of 90, he had long been cherished as the last of the modernist stars. His pictorial language was singular, instantly recognizable and - quite rightly - no longer perceived as some Catalan dialect of Surrealism."
In a spare landscape that is both Surrealistic and humorously cartoonish, divided between rich chocolate earth and a black night sky, a whimsically distorted dog, depicted in bright colors, barks up at the moon above him. On the left, a ladder, depicted in white and yellow with red rungs, extends into the sky. The distortions of the moon and the dog, along with the improbability of the ladder, create a sense of play where everything both is and is not what it seems, while the white, red, and yellow, used for the four forms, creates some mysterious sense of connection between them.
As art critic Laura Cummings wrote, "On the ground, a multicoloured critter with something like paws and jaws barks at the moon with all the energy implicit in its tightly sprung form. The moon is not quite immune to this absurd display: it has a painted heart. But it also wears a satirical red nose." Yet the vast space, filled by the dark background, also evokes a sense of deep loneliness and mystery, as art critic Judith Flanders wrote, "At his best, in works like Dog Barking at the Moon, he created a mysteriously floating, unanchored world where his standard lexicon of symbols - here the ladder, symbolising not only individuality and escape, but also futility and an exit into the void of death - become potent."
In the period preceding this work, the artist had begun sometimes including words in his paintings, creating what he called "painting poems." The original sketch included the moon's response to the dog in Catalan, "You know, I don't give a damn." Though Miró left the text out of the painting, a feeling of implicit communication remains, created by the dog's insistence, its body lifting with its unheard voice, and by the moon, visually, seeming to turn away in rejection. As Cummings noted, the work famous "as a work of surrealism...has equally been interpreted a personal manifesto. Here is the young artist as a pup, trying to find his voice in the international avant-garde. The beautiful ladder must therefore be his art, by which he will ascend."