The iconic canvas fascinated both the author and the American writer; the first is regarded as his masterpiece, the second bent over backwards to buy
It is one of the most celebrated works of Joan Miró and considered one of the most important in his career. An iconic painting that fascinated both its author and Ernest Hemingway; the first is considered his masterpiece and the second bent over backwards to buy. He succeeded, but not without first gamble dice and beg all your friends. A feat almost as daunting as the one occupied Miró in its realization: nine months of intense work that began in Mont-Roig, his personal paradise and ended in Paris in 1922. ‘The Farm’. The oil in which Miró wanted to demonstrate their connection with Catalonia: “From a large tree on a small snail, I wanted to put everything I wanted,” he said in 1928. And the oil that paradoxically represented Spain for Hemingway: “Contains everything you feel about Spain when you are there and all you feel when you are away and you can not go, “wrote the US in 1934, the same year that said:” no change ‘La Masía’ by any other picture of the world ” . And the same year that he recovered after having lost in 1926.
In consequence, the voyages of the canvas and the relationship that held two such disparate personalities as Hemingway and Miró writes, after five years of research, Professor Alex Fernandez de Castro in the book ‘La Masía. One looked to Mrs. Hemingway ‘(Publicacions of the University of Valencia). “Rarely has there been a more friendship between different artists,” says the author. “Hemingway was tall and strong, outgoing, careless way of dressing, swashbuckling, charismatic, tireless traveler, compulsive drinker. Miró was shy and short, neat in form, sedentary dump inland, very moderate and occasional drinker” but “there was a mutual respect and admiration, and cordiality”.
They agreed in Paris in the 20s and kept epistolary relationship to the tragic death of the US, although they are rarely reunited. And both, in addition to his love for ‘The Farm’, their shared passion for boxing. Agreed Cercle Americain and more than once Miró made ‘sparring’ Hemingway.. “Sometimes we saw face to face in the ring Face is a manner of speaking he was a giant, a colossus, and I very quietly. it was pretty funny, “noted painter in 1978. it is not clear who carried the author of ‘the old Man and the sea to study Miró’, but what is certain is that when in 1925 the picture was exhibited in Paris, Hemingway had already seen, and when he learned that his colleague Evan Shipman had it booked paled with envy.
About what happened to the oil end up in the hands of Hemingway there are two versions: the novelist that it diced and won; and the poet who said it was a coin toss that decided the fate of the painting. Either way, the fact is that the fabric is led Nobel Literature and it required the help of their colleagues lost generation. Dos Passos and Shipman accompanied him to beg loans from bar to bar in a strange night that the artistic delirium could only ethyl delirium. Some also said that Hemingway got some of the money for the purchase of ‘The Farm’ making ‘sparring’ professional and waiter at Les Halles.
“The wind blew up the canvas like a candle, and made the cabbie lead slowly. At home we hung and everyone looked and felt very happy.” So Hemingway narrated the arrival of the precious piece to your home. Although happiness by the oil lasted the same as that of his marriage to Hadley Richardson. In 1926 they separated and ‘La Masia’ was left to her. That is, until the writer asked in 1934 that lent it a while. It was an indefinite loan because he never returned. Since 1986 he looks at the National Gallery in Washington. And it is because Miró disregarded the advice of the almighty Léonce Rosenberg: this suggested cut into nine pieces because it was too large to sell. The rest of the book.
Courtesy Car Service Barcelona