{"id":19320,"date":"2018-07-23T12:33:32","date_gmt":"2018-07-23T10:33:32","guid":{"rendered":"http:\/\/www.centrobotin.org\/los-herederos-joan-miro-ceden-cuatro-esculturas-del-artista-al-centro-botin-al-ayuntamiento-santander\/"},"modified":"2018-07-30T12:30:49","modified_gmt":"2018-07-30T10:30:49","slug":"the-heirs-of-joan-miro-cede-four-of-the-artists-sculptures-to-the-centro-botin-and-the-city-council-of-santander","status":"publish","type":"post","link":"https:\/\/www.centrobotin.org\/en\/the-heirs-of-joan-miro-cede-four-of-the-artists-sculptures-to-the-centro-botin-and-the-city-council-of-santander\/","title":{"rendered":"THE HEIRS OF JOAN MIR\u00d3 CEDE FOUR OF THE ARTIST\u2019S SCULPTURES TO THE CENTRO BOT\u00cdN AND THE CITY COUNCIL OF SANTANDER"},"content":{"rendered":"<ul>\n<li>These works, which form part of the family\u2019s private collection, shall remain in Santander once the exhibition <a href=\"\/en\/exposicion\/joan-miro-sculptures-1928-1982\/\"><em>Joan Mir\u00f3: Sculptures 1928-1982<\/em><\/a> comes to an end on 2 September.<\/li>\n<\/ul>\n<ul>\n<li>Joan Mir\u00f3\u2019s family is ceding these works to fulfil the artist\u2019s wish for his large pieces to be in public spaces accessible to all.<\/li>\n<\/ul>\n<p>The heirs of Joan Mir\u00f3, represented today in Santander by Joan Punyet Mir\u00f3, grandson of the artists and figurehead of the Successi\u00f3 Mir\u00f3, have decided to arrange a temporary five-year renewable cession of four sculptures by the famous artist currently on display as part of the <a href=\"\/en\/exposicion\/joan-miro-sculptures-1928-1982\/\">exhibition <em>Joan Mir\u00f3: Sculptures 1928-1982<\/em><\/a>, which will remain open to the public on the second floor of the Centro Bot\u00edn until 2 September.<\/p>\n<p>The family of Joan Mir\u00f3 thus fulfils in Santander the artist\u2019s wish to have his larger works displayed in public places and accessible to everyone. This was confirmed at this morning\u2019s press conference by Joan Punyet Mir\u00f3, who mentioned he was amazed at the popularity of his grandfather\u2019s exhibition at the Centro Bot\u00edn and the cultural projects planned for the city of Santander, such as the transfer of the Banco Santander art collection to its renovated corporate headquarters on Paseo Pereda or the scheduled opening of the centre associated with the Reina Sof\u00eda museum connected with the Lafuente Archive, which has undoubtedly spurred the family on towards this generous gesture.<\/p>\n<p>Also present at this event was the executive director of the Centro Bot\u00edn, F\u00e1tima S\u00e1nchez, and the mayor of Santander, Gema Igual, who publicly thanked the heirs of Joan Mir\u00f3 for this invaluable gesture. S\u00e1nchez stated she was delighted \u201cbecause Santander will continue to enjoy, both in the exhibition spaces in the Centro Bot\u00edn and those in the Pereda, these magnificent works by Joan Mir\u00f3. A truly generous gesture of the artista`s heirs with this city that once again proves how our staunch support for collaboration between public and private institutions, if well managed, can yield very positive results\u201d.<\/p>\n<p>On her part, the mayor mentioned that the Pereda Gardens are thus becoming a true outdoor museum, with the wells of Cristina Iglesias, the monuments to the fire victims, to Jos\u00e9 Mar\u00eda de Pereda, to Concha Espina\u2026 and a veritable cultural epicentre surrounded by first rate cultural, historical and heritage resources, such as the Centro Bot\u00edn, the MUPAC, the future Reina Sof\u00eda affiliated centre, the exhibition area planned by Banco Santander at its main headquarters, the Cathedral, the medieval wall interpretation centre and the Spanish Civil War air-raid shelter.<\/p>\n<p>Three of the ceded works have been made with objets trouv\u00e9s, one of the artist\u2019s usual practices and a hallmark of his work, whereas the fourth one is one of the many homages paid by Mir\u00f3 to women. Moreover, they all hail from Palma de Mallorca to be relocated, via this cession, in public and busy location, thus fulfilling the artist\u2019s wish to show his works to as many people as possible. Thus, <em>Femme Monument<\/em>, 1970, and <em>Souvenir de la Tour Eiffel<\/em>, 1977, are sculptures that the family has ceded to the Centro Bot\u00edn for display in gallery E on the first floor, that will become an area dedicated to the artist. The first is one of the artist\u2019s first sculptures made in the Fonderia Art\u00edstica Bonvicini, in Verona, where he created mostly large pieces, with polished and smooth surfaces. The second is a three metre-high work made of objects of no initial artistic value, but which, for Mir\u00f3, seemed to irradiate a certain magic or positive energy; the poetic freedom so characteristic of Mir\u00f3 prevails in this work, making us momentarily forget its true meaning and origin. On the other hand, <em>T\u00eate (T\u00eate sur socle)<\/em>, 1978, and <em>Femme (Femme debout)<\/em>, 1969, are the monumental works destined for the City Council of Santander for display in the Pereda Gardens.<\/p>\n<p><strong>ON THE CEDED WORKS<\/strong><\/p>\n<p>These four pieces are an excellent selection of the sculptural work of Mir\u00f3, not only because they represent his work in three different foundries (in Barcelona, Paris and Verona), but also because of the chronological range they offer as a whole, clearly depicting the evolution of his work.<\/p>\n<p><strong><em>Femme, monument<\/em>, 1970<\/strong><\/p>\n<p>The origin of this sculpture is a bar of soap Mir\u00f3 used to use to clean his brushes; its harder edges caused the centre to be slowly eroded until it became a hole, as shown in the sculpture. The move towards the monumentality of this piece, as is the case in many others, involved successive enlargements of plaster models.<\/p>\n<p>The work is crowned by a strategically placed egg in equilibrium. The assembly of two humble elements united by bronze renders a dance of empty and full spaces, a playful spin that makes this sculpture ideal for display in a public area.<\/p>\n<p><strong><em>Souvenir de la Tour Eiffel<\/em>, 1977<\/strong><\/p>\n<p>This sculpture is built around a vertical structure which was originally a wicker lamp stand with four feet, whose shade has been replaced by a large head, specifically that of Groucho Marx. By placing this big head in a horizontal position, the figure begins to take on the appearance of facial features A large opening in the front like a mouth, and other exaggerated features, modelled by Mir\u00f3 himself. A large pitchfork slightly leaning forwards crowns the piece, which is finished off by other items such as a piece of Damask draped around the head and the suspended electrical cables tied at the top. As final touch, halfway up the piece and protruding outwards, a box full of used tubes of paint.<\/p>\n<p><strong><em>T\u00eate sur socle<\/em>, 1978<\/strong><\/p>\n<p>The origin of this sculpture is a small piece of wooden furniture that gradually increased in size (several plaster models enlarged using a pantograph) until its current dimensions. The title highlights the plinth, by way of a body, used as a base for the large irregular shaped head with lines suggesting features. Mir\u00f3 does not forget the back, with designs suggestive of hair, a recurring iconographic mark in much of this work. Many times \u2013 we are not sure in this instance, but may well have been the case \u2013 the heads of his scupltures are stones that Mir\u00f3 has found and kept, attracted by their shape.<\/p>\n<p><strong><em>Femme debout<\/em>, 1969<\/strong><\/p>\n<p>This is a solid and imposing figure. Its origin lies in a small 31 cm high sculpture dating back to 1949. As on other occasions, Mir\u00f3 returned to it and expanded it to almost two metres high, most likely with this exhibition in public places in mind.<\/p>\n<p>Its black bronze patina is polished, a smooth surface suggesting the shapes of the eyes, nose, mouth, arms, breasts and a large vagina in the middle. Mir\u00f3 was not a stranger, as was the case with many other artists, to the influence of primitive cultures. The references are everywhere. In his preliminary sketches, often accompanied by brief notes, the word goddess appears associated with woman. In 1057, for example, he visited Altamira with ceramist Josep Llorens Artigas, while working on the UNESCO murals.<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>These works, which form part of the family\u2019s private collection, shall remain in Santander once the exhibition Joan Mir\u00f3: Sculptures 1928-1982 comes to an end on 2 September. Joan Mir\u00f3\u2019s family is ceding these works to fulfil the artist\u2019s wish for his large pieces to be in public spaces accessible to all. The heirs of [&hellip;]<\/p>\n","protected":false},"author":156,"featured_media":19179,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[17],"tags":[],"class_list":["post-19320","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-corporate"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>THE HEIRS OF JOAN MIR\u00d3 CEDE FOUR OF THE ARTIST\u2019S SCULPTURES TO THE CENTRO BOT\u00cdN AND THE CITY COUNCIL OF SANTANDER - Centro Botin<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.centrobotin.org\/en\/the-heirs-of-joan-miro-cede-four-of-the-artists-sculptures-to-the-centro-botin-and-the-city-council-of-santander\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"THE HEIRS OF JOAN MIR\u00d3 CEDE FOUR OF THE ARTIST\u2019S SCULPTURES TO THE CENTRO BOT\u00cdN AND THE CITY COUNCIL OF SANTANDER - Centro Botin\" \/>\n<meta property=\"og:description\" content=\"These works, which form part of the family\u2019s private collection, shall remain in Santander once the exhibition Joan Mir\u00f3: Sculptures 1928-1982 comes to an end on 2 September. Joan Mir\u00f3\u2019s family is ceding these works to fulfil the artist\u2019s wish for his large pieces to be in public spaces accessible to all. The heirs of [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.centrobotin.org\/en\/the-heirs-of-joan-miro-cede-four-of-the-artists-sculptures-to-the-centro-botin-and-the-city-council-of-santander\/\" \/>\n<meta property=\"og:site_name\" content=\"Centro Botin\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/CentroBotin\/\" \/>\n<meta property=\"article:published_time\" content=\"2018-07-23T10:33:32+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2018-07-30T10:30:49+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.centrobotin.org\/wp-content\/uploads\/2018\/07\/23072018_cesionmiro_1200.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"400\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Cristina Fern\u00e1ndez Isla\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@centrobotin\" \/>\n<meta name=\"twitter:site\" content=\"@centrobotin\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Cristina Fern\u00e1ndez Isla\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.centrobotin.org\/en\/the-heirs-of-joan-miro-cede-four-of-the-artists-sculptures-to-the-centro-botin-and-the-city-council-of-santander\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.centrobotin.org\/en\/the-heirs-of-joan-miro-cede-four-of-the-artists-sculptures-to-the-centro-botin-and-the-city-council-of-santander\/\"},\"author\":{\"name\":\"Cristina Fern\u00e1ndez Isla\",\"@id\":\"https:\/\/www.centrobotin.org\/en\/#\/schema\/person\/5583676e61f053e7f20413f17ba4fecd\"},\"headline\":\"THE HEIRS OF JOAN MIR\u00d3 CEDE FOUR OF THE ARTIST\u2019S SCULPTURES TO THE CENTRO BOT\u00cdN AND THE CITY COUNCIL OF SANTANDER\",\"datePublished\":\"2018-07-23T10:33:32+00:00\",\"dateModified\":\"2018-07-30T10:30:49+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.centrobotin.org\/en\/the-heirs-of-joan-miro-cede-four-of-the-artists-sculptures-to-the-centro-botin-and-the-city-council-of-santander\/\"},\"wordCount\":1202,\"publisher\":{\"@id\":\"https:\/\/www.centrobotin.org\/en\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.centrobotin.org\/en\/the-heirs-of-joan-miro-cede-four-of-the-artists-sculptures-to-the-centro-botin-and-the-city-council-of-santander\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.centrobotin.org\/wp-content\/uploads\/2018\/07\/23072018_cesionmiro_1200.jpg\",\"articleSection\":[\"Corporate\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.centrobotin.org\/en\/the-heirs-of-joan-miro-cede-four-of-the-artists-sculptures-to-the-centro-botin-and-the-city-council-of-santander\/\",\"url\":\"https:\/\/www.centrobotin.org\/en\/the-heirs-of-joan-miro-cede-four-of-the-artists-sculptures-to-the-centro-botin-and-the-city-council-of-santander\/\",\"name\":\"THE HEIRS OF JOAN MIR\u00d3 CEDE FOUR OF THE ARTIST\u2019S SCULPTURES TO THE CENTRO BOT\u00cdN AND THE CITY COUNCIL OF SANTANDER - 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