Route The emotional landscape of Joan Miró in Mont-roig del Camp
"The emotional landscape of Joan Miró" is a tour of the places of Mont-roig del Camp that Joan Miró painted in his paintings, identified locations, which can be visited following the directions of the Miró itinerary.
On this tour you will pass through several important points for the artist, such as the Mas Miró where Joan Miró used to spend the summer . From the driveway we see first the workshop of the painter. To touch, after him, there is transversally the most, and then, frontally, the house of the landlords. The latter will be the theme of La Masia (1921-1922), the famous painting that Hemingway bought . We know that Joan Miró began the painting to Mont-roig and that he finished it in Paris painting it barefoot, stepping on earth and herbs of the Mas. It is an inventory of the life of the farmers of Montroig, with their vessels and animals.
We also find the Virgen de la Roca Hermitage. Above the white set stands out, almost hanging in the vacuum the chapel of San Ramón. The painting Montroig, San Ramon (1916) is the view from the last section of the old road that comes from the town. This mountain of great devotion to that dark-faced Virgin in one of those caves is where ancient stories of a "Moorish king" converge and the very plausible theory that the shapes of these caves (of sandstone) were the inspiration for Antoni Gaudí.
Throughout the tour, the spaces will be complemented with quotes from the artist and proceeds in the environment.
As we said, "The emotional landscape of Joan Miró" is a tour of six locations of the Mironian places of Montroig. The spaces are identified by a panel (a red mountain) and we will divide them into two parts: the one closest to the beach and located to the south of the highway and the town of Mont-roig.
1. The Masía
We arrived at the "Mas Miró". From the driveway we see first the workshop of the painter. To play behind him there is the "Mas" transversely, and then, frontally, the house of the landlords. The latter will be the theme of "La Masía" (1921-1922), the famous painting that Hemingway bought . We know that Miró began the painting to Mont-roig and that he finished it in Paris painting it barefoot, stepping on earth and herbs of the Mas. It is an inventory of the life of the farmers of Montroig, with their vessels and animals. Through these fields ran a girl with blond hair and a look immortalized in "La Vailet" (1918). She is the red-colored Consuelo Boquera when she was four years old; his parents were the mediators of those lands. The fields behind Mas, are those that were reflected in the painting "Viñas y olivos" (1919).
And it is the painting of "La Masía" that makes Miró say that:
"Nine months of constant and heavy work!" It was the summary of all my life in the field, from a big tree in a small screw, I wanted to put everything I wanted in the field... "(to Francisco Trabal, 1928).
Joan Miró liked to go down to the beach of La Pixerota to swim and exercise. It was the beach where he drew his well-known Miró stars and that later would become one of the most representative symbols of his work. The beach of the Pixerota served as inspiration to create one of his first paintings "Playa de Mont-rojo" (1916).
"In autumn, on the beach of Mont-roig, where nobody goes, the traces of men and sheep are like constellations..." (to Sebastià Gasch, 1963).
3. Montroig, San Ramon
After the hermitage of Peiró we will arrive at the red mountain, where is the hermitage of the Virgin of the Rock; Above the white set stands out, almost hanging in the vacuum the Chapel of San Ramón. The painting "Montroig, San Ramón" (1916) is the view from the last section of the old road that comes from the town. This mountain of great devotion to that dark Virgin encounter in one of those caves, is where ancient stories of a "Moorish king" converge, and the very plausible theory that the shapes of these caves (sandstone) will serve as an inspiration to Gaudí.
The natural forms of the Natural Space of the Ermita de la Roca motivated a young Miró to let his Cezannian influence enjoy. Miró said that the secret of his work was balance. The position of the hermitage of San Ramón, the cubic forms of the red rock and the whole complex, defying the laws of equilibrium, captured the attention of the genius.
And Miró said of "Mont-roig, San Ramon" that:
"The hermitage of the Virgin of the Rock has always been a great impact for me, that red color that gave name to the town..." (Miró in the film "De un rojo ignito: Miró y Mont-roig" by Martí Rom, 19179).
The Montroig fields are also the scene of that "Tierra labrada" (1923-1924), a point of rupture in the Miró painting, where the previous poetic detail, closer to reality, gave way to an imaginary irruption, exploding in a singular world of signs. Signs always rooted the places of Mont-roig. It's the "Dancer's Stick".
4. Montroig, the village
The painting "Mont-roig, the people" is one of the visions of the people Miró paints. The painting is the view seen from the Crosses and highlights the majesty of the New Church and tight houses that let glimpse longitudinal streets overlooking the sea. The work is part of the first pictorial part of genius.
And "Mont-roig, the people" leads him to affirm that:
"Montroig was very heavy for me, Mallorca is poetry, it is light, and until I have established the balance between Montroig and Mallorca I have not entered into maturity..." (to Sebastià Gasch, 1963).
5. Town and Church of Montroig
Already in the town we find "Town and church of Mont-rojo" (1919) and "Mont-roig, el pueblo" (1916). The first is the view from the "First Bridge", together with the Agricultural Cooperative.
There are some significant elements: the farmer digging, the Catalan flag (added by Miró) on the roof of a house on the main street (in the foreground), the simplification of some crossbreeds that form almost Miró stars, and a "173" measuring out. He looked at that book / interview of Georges Raillard will say: "if I do a series of things, they are always in odd numbers...", and when the author asks about the disproportion of "173", he will reply: "it was not a plastic interest, it was for the figures themselves. " The other perspective of the town is lateral, from the hill of "Las Cruces". You can sense those streets that cross it longitudinally towards the sea, and the coasts that link them step by step and a little abruptly.
But it is the "Village and church of Mont-roig" that make him say that:
"When I travel I always carry a Mont-roig carob in my bag, I have never lost that contact with Montroig, it has given me a tree strength..." (He looked at the movie "From a red glow: Miró and Mont-roig "by Martí Rom, 19179).
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