Memories - Miró and Yoyo - Surrealism
So many memories in this photo. I am this little 7 year old girl who listens wisely to what the delicious Joan Miró tells me. It was in Saint-Paul, one day when Duke Ellington came, with his musicians, to play in the sun, no audience, just my grandfather, Miró and the children.
Image without time! I love Miró's tunic, with its double buttons at the collar. Mom had a knack for dressing us, rather soberly for the time, white T-shirt that she brought from the USA and moccasins. At school we were made fun of, the others wore orange and brown stripes and big strappy sandals. Today, I am even more delighted with Mom's choice.
Joan Miró was like my favorite “uncle” to me.
I am 7 years old in this photo and we are at the Maeght Foundation where Duke Ellington came one afternoon. The gentleness, the kindness, the attention are readable in the look that Miró casts on me. His kindness allowed me to ask him a thousand questions, without fear, without hesitation. He guided me in the adventure of art and encouraged the development of my passion for all forms of creation.
After 14 years on the bench, I held my very last hearing at the Paris Commercial Court as President of the 12th Chamber, the “Treatment of business difficulties” chamber, i.e. in charge of receiverships and judicial liquidations. . Memories memories… I admit having succeeded in restructuring and therefore saving many companies. It was a challenge for me as well as for the judges in my chamber to whom I entrusted the cases.
Every week for 14 years, I devoted a day to hearings, a night to analyzing files and writing judgments, all on a voluntary basis. I learned a lot about business management, employees and the difficulties of doing business, but also about human nature.
The Surrealists group, Paris, 1930.
From left to right Tristan Tzara, Paul Éluard, André Breton, Hans Arp, Salvador Dali, Yves Tanguy, Max Ernst, Rene Crevel, Man Ray.
I love it, because their eccentricity is in their works, in their thinking, while they are all very clean, shirt, tie. Dali and Ernst are really two very handsome guys, that doesn't spoil anything, right?
From left to right Tristan Tzara, Paul Éluard, André Breton, Hans Arp, Salvador Dali, Yves Tanguy, Max Ernst, Rene Crevel, Man Ray.
I love it, because their eccentricity is in their works, in their thinking, while they are all very clean, shirt, tie. Dali and Ernst are really two very handsome guys, that doesn't spoil anything, right?
Miró at work, intensity! Excerpt from “The Maeght Saga”
"For Miró, my father designed the top floor of the printing house, under the roof. The artist made it his Parisian studio. He was the most prolific of artists: all techniques interested him, all formats, all supports . Dad introduces him to carborundum engraving, Miró is thrilled…/… With this technique, the paper is as if sculpted and finds a third dimension. It will take several volumes of the catalog raisonné of Miró’s original engravings and lithographs to compile all of them. wonders coming out of the Arte presses, more than a thousand titles of prints by the Catalan genius…/… I love hanging out there [in the ARTE printing works], the workers like me, little, I collect scraps of paper to make folds or draw. I watch, amazed, as the immense blank sheets are rushed into the oversized litho presses, the sheet is as if sucked up by these enormous metal cylinders, quickly, I run to the end of the machine, the leaf comes out rich with a sublime red Miró, to be swallowed up again, another pass through the machine, the blue is added, then the yellow... It's magical! The workers are perched several meters above the ground, like proud ship captains. Always vigilant, they take care that I don't get my hand caught by these monstrous mechanisms."
"For Miró, my father designed the top floor of the printing house, under the roof. The artist made it his Parisian studio. He was the most prolific of artists: all techniques interested him, all formats, all supports . Dad introduces him to carborundum engraving, Miró is thrilled…/… With this technique, the paper is as if sculpted and finds a third dimension. It will take several volumes of the catalog raisonné of Miró’s original engravings and lithographs to compile all of them. wonders coming out of the Arte presses, more than a thousand titles of prints by the Catalan genius…/… I love hanging out there [in the ARTE printing works], the workers like me, little, I collect scraps of paper to make folds or draw. I watch, amazed, as the immense blank sheets are rushed into the oversized litho presses, the sheet is as if sucked up by these enormous metal cylinders, quickly, I run to the end of the machine, the leaf comes out rich with a sublime red Miró, to be swallowed up again, another pass through the machine, the blue is added, then the yellow... It's magical! The workers are perched several meters above the ground, like proud ship captains. Always vigilant, they take care that I don't get my hand caught by these monstrous mechanisms."