Pingapa ▌PLUS▼

Il mondo non è banale? ░ Il linguaggio conveniente del Sublime Prefetto

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¨ Sutta  (vedico: s ū tra; letteralmente: filo * ) del linguaggio conveniente del Sublime Prefetto ** Mia Nonna dello Zen così ha udito: una volta dimorava il Sublime Prefetto presso la Basilica di Sant’Antonio, nel codice catastale di Padua. E il Sublime così parlò: “Quattro caratteristiche, o mio bhikkh ū *** , dirigente dell’area del decreto di espulsione e dell’accoglienza e dirigente anche dell’area degli enti locali e delle cartelle esattoriali e dei fuochi d’artificio fatti come Buddho vuole ogni qualvolta che ad esempio si dica “cazzo di Buddha” o anche “alla madosca” o “gaudiosissimo pelo”, deve avere il linguaggio conveniente, non sconveniente, irreprensibile, incensurabile dagli intercettatori; quali quattro? Ecco, o mio dirigente che ha distrutto le macchie: un dirigente d’area parla proprio un linguaggio conveniente, non sconveniente, un linguaggio conforme alla Dottrina del Governo, non in contrasto con essa, un linguaggio gradevole, non sgradevole, un linguag

Joan Miró │ At Philadelphia Museum of Art

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Man, Woman, and Child (detail), 1931, by Joan Miró (Spanish, 1893–1983), 1950-134-144. © Artists Rights Society (ARS), New York / ADAGP, Paris
EXHIBITION

Joan Miró


“I want to assassinate painting.” With this radical declaration, Spanish painter Joan Miró revolted against traditional painting. Explore some of his most aggressively experimental works—or as he called them, “anti-paintings”—in this installation.
Working in Catalonia (in northeast Spain) and in Paris, Joan Miró established himself as a leading painter of the Surrealist movement by 1925. His paintings and “anti-paintings” were a focus for American collectors A. E. Gallatin and Walter and Louise Arensberg. Their gifts form the core of the museum’s collection of fourteen major canvases by the artist.
Miró staged his revolt against traditional painting in a variety of ways. Sometimes he took away recognizable subject matter and exposed raw canvas. At other times he painted in a wild and expressive way, using vigorous brushwork and vibrant color to render forms evoking both the dream and natural worlds.
Miró had studied under a traditional landscape painter as a teenager and, despite his antipathy to perspective and other established painting techniques, he continued to imaginatively portray the Spanish countryside in works.
Gallery 181
Main Building
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Free with museum admission 
Pay What You Wish admission on the first Sunday of the month and every Wednesday night

Preview the Exhibition

Get a sneak peek at works in this gallery.