Der Übergang von der realistischen

Der Übergang von der realistischen Sehweise zu bildnerischen Traumvisionen kündigt sich in seinem programmatischen Werk "Der Bauernhof" an. Die Bekanntschaft mit surrealistischen Künstlern wie S.Dalí und A.Breton zeigt wiederum ihre Spuren in Mirós Werk, der zu den Mitunterzeichnern des Manifests gehörte und mit den Surrealisten ausstellte.
Seine Malerei wandelte sich noch einmal zu Hieroglyphenlandschaften, die stellenweise an kindliche Zeichnungen erinnern mit amorphen Figurationen. Die geistige Verbundenheit zu W.Kandinsky, P.Klee und H.Arp offenbart sich hier.

Results (English) 1:

The transition from the realistic way to artistic visions of dream announces in his programmatic work "The farm". The acquaintance with surrealist artists such as S. shows in turn traces in Mirós factory, which belonged to the co-signatories of the manifest and exhibited with the surrealists Dalí and A.Breton.His painting again changed to hieroglyph landscapes, at times reminiscent of childlike drawings with amorphous figurations. The spiritual affinity to W.Kandinsky, P.Klee and H.Arp is revealed here.

Results (English) 2:

The transition from the realistic way of seeing to artistic dream visions announces itself in his programmatic work "The farm". The acquaintance with surrealist artists such S.Dalí and A.Breton again shows its mark in Miró's work, which was one of the signatories of the manifesto and exhibited with the Surrealists.
His painting was transformed again to hieroglyphics landscapes that remind of childlike drawings amorphous figurations. The spiritual connectedness to W.Kandinsky, P.Klee and H.Arp here revealed.

Results (English) 3:

The transition from the realistic perspective pictorial surrounded such announces in his programmatic work "The Farm". The acquaintance with surrealist artists such as P. A. Breton shows in turn Dali and their traces in Miró's to the signatories of the manifesto was issued with the Surrealists and.
His painting was transformed to Hieroglyphenlandschaften once again, remember the sometimes amorphous figurations of childlike drawings. The closeness to W. Kandinsky, Klee, and P. H. Arp revealed here.