Dancer, 1925 by Joan Miro. Miro's Dancer of 1925 is one of his sparsest but at the same time most poetic pictures. Having primed the canvas with brown paint, the artist then applied a layer of ultramarine blue in such a way that the brown color was still visible in the form of an edge.

In this witty, fanciful painting, Surrealist Joan Miró combines vivid symbols of Spanish dance—a colorful mantilla, a flared skirt, and a pointed shoe—to convey the rhythm and subtle provocativeness of the dancer.

Flamenco, Avant-garde and Popular Culture. Natural heirs to the spirit of Dada, some of the “women” in Joan Miró’s 1928 series of Spanish dancers were written about by Paul Éluard, and collected by André Breton.

Flamenco's sensuous display of the upper torso, articulate hand gestures, and percussive footwork inspired Joan Miró (1893–1983) to produce more than 30 sketches, drawings, paintings, and collages of Spanish dancers between 1921 and 1981.

The artwork “Dancer” by Joan Miró, created in 1925, is an oil on canvas that belongs to the Surrealism movement. It measures 115.5 by 88.5 cm and is classified within the figurative genre.

2015年1月19日 · The Spanish Dancer painted by Joan Miró was categorized as a Surrealist painting. The dimensions of it is 1.46 X 1.14m and it was made in 1945. The piece’s present location is in the collection Beyeler of Basle.

“DANSEUSE ESPAGNOLE” is a piece created by Joan Miró in 1928. This textile artwork measures 235 x 180 cm – 92 x 70 in and is hand-woven with high-quality wool threads. The composition of the dancer is simple and expressive, with bold geometric shapes and vibrant colors typical of Miro’s style.

2018年2月14日 · Two years later, Spanish Dancer I (1928) saw Miró expand into collage (with grease pencil and steel nails on card) while reducing his forms. The sparseness of his mark-making forces the viewer to complete the dancer from very limited visual information, a further rejection of traditional painting.

Spanish Dancer Miro’s style became increasingly abstract, and he used fewer subjects in later art. He developed his own “pictorial language” where he would repeat simplified symbols and shapes as representations.

Danseuse espagnole makes use of the silhouetted head seen in Portrait de Mme K., crowned in this instance with the dancer's elaborate headdress. Miró also used the cut breast seen in three-quarter view on the left side of Mme K.