Auto-Impression: Miró @ Tate Modern, The Ladder of Escape [Visit 2]
Writing without a brief is liberating, but I wonder if it's not also indulgent. By 'Auto-Impression' I meant a sketch of my reactions to the Ladder of Escape , seeing it a second time round. But the value of that is questionable: if I want readers to derive something other than my opinions from this blog, it has to be my opinions framed within intentions . To this end, I shall write about the growing sense of liberation one can discern in the Miró exhibition's paintings. The precision of the architectural depiction in Mont-roig, the Church and the Village and The Farm became startlingly apparent to me today. Having woken up to this, I think I started to find Miró's attention to detail and meticulousness more prominent, especially with regard to the Constellations series, but the pastel drawings and 'neons' on copper are also treated with an artistic exactitude of some force. If one considers The Ladder of Escape (1940), the way the figures' eye...