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The Religious Affiliation of Painter
From: Robert S. Lubar, "Miro's Mediterranean: Conceptions of a Cultural Identity", in Joan Miro: 1893-1993 (produced by Fundacio Joan Miro), Little, Brown and Company/Bulfinch Press: Boston, Massachusetts (1993), page 25:
In one of his most revealing letters, Joan Miro expressed a sentiment that would form the emotional nucleus of his art for the next seven decades: deep attachment to the land, people, and traditions of his native Catalonia. Writing in August 1917 to his friend and studiomate Enric Cristofol Ricart from Ciurana, a remote village in the Tarragona countryside south of Barcelona, Miro described his introspective state of mind:
"The solitary life at Ciurana, the primitivism of these admirable people, my intensive work, and especially, my spiritual retreat and the chance to live in a world created by my spirit and my soul, removed, like Dante, from all reality. . . . I have withdrawn inside myself, and the more skeptical I have become about the things around me the closer I have become to God, the trees, the mountains, and to friendship. A primitive like the people of Ciurana and a lover of Dante." 1
Contrasting the volatility of modern urban life with an ideal pastoral existence in the Catalan countryside, Miro advanced his archetypal vision of a primitive Catalonia unaltered by time, industrialization, and political transformations. Miro's retreat to Ciurana signaled a return to mythic Catalonia, in which the symbiosis of the peasant with the land evoked images of stability, continuity, and cyclical renewal.
1 Miro to Ricart, correspondence of August 1917; translated in Margit Rowell, ed., Joan Miro: Selected Writings and Interviews (Boston, 1986), 50.