{"id":993,"date":"2018-06-12T14:44:40","date_gmt":"2018-06-12T13:44:40","guid":{"rendered":"https:\/\/www.fmirobcn.org\/blog\/?p=993"},"modified":"2018-06-13T08:55:49","modified_gmt":"2018-06-13T07:55:49","slug":"the-farm-at-mont-roig-joan-miros-philosophy-and-religion","status":"publish","type":"post","link":"https:\/\/www.fmirobcn.org\/blog\/en\/2018\/06\/12\/the-farm-at-mont-roig-joan-miros-philosophy-and-religion\/","title":{"rendered":"The Farm at Mont-Roig. Joan Mir\u00f3\u2019s Philosophy and Religion"},"content":{"rendered":"

Human beings draw ideas from the forms that our environment offers up, based on each person’s sensory and mental qualities, in the context of our affinities with the visions and feelings towards the surrounding culture. This perceptual aptitude and attitude is by no means a modern discovery; it can be found since antiquity. But we can express it in clear, simple, everyday terms by looking at what the empirical, sensualist philosopher George Berkeley<\/strong> thought in the eighteenth century.<\/p>\n

There is such a thing as reality, the actual world that our senses perceive moment by moment. Focusing on sight, Berkeley said, when we are disengaged nothing exists. Concrete reality only exists when the senses are active, when we are alert and awake. And although we may think that this concrete reality disappears when we are not actively conscious<\/strong>, there is a \u201cgrand sensor\u201d who is always awake, maintaining physical reality even when we are not active. This grand sensor is the Creator, creation itself. Berkeley, and later Mir\u00f3, believed that the qualities of what we call reality<\/strong> (the world that each of us creates for ourselves, we would say now) reside in the spirit, and that their existence is thus realer and more objective than culture would have us think.<\/p>\n

\"\"<\/p>\n

Joan Mir\u00f3. Vegetable Garden with Donkey<\/em>, 1918. Oil on canvas. Moderna Museet, Stockholm \u00a9 Successi\u00f3 Mir\u00f3, 2018<\/p>\n

This was precisely Joan Mir\u00f3\u2019s attitude at Mont-roig del Camp<\/strong>. A highly sensitive man by nature, Mir\u00f3 saw that the cultural reality was not in tune with his essential, basic spirit. The social forms by which reality circulated lacked a personal, emotional dimension, they lacked intimate vision, elective affinities. When Mir\u00f3 looked around he did not see any of the things that he experienced or that he felt the need to possess, not just spiritually but also materially<\/strong>, physically. Like Berkeley, Mir\u00f3 wanted his beloved world, he wanted to draw it towards himself or else to fight it. Mir\u00f3 either gave himself over or pushed away. He was only interested in the vitality that splendid reality constantly offers up. What is more, Mir\u00f3 himself extracted the reality that he observed and made it real<\/strong>. Without his gaze, this world of other sensations, of sensibility, attachments, and fellowship would not exist. At Mont-roig, Mir\u00f3 became the \u201cgreat sensor\u201d. He was truly a creator of new reality for his own and others\u2019 enjoyment<\/strong>. The artist, first a philosopher, questioned what was offered to him. He realised that each of us creates the world according to our feelings, desires, and plans. All that which has been called poetics<\/strong>. The reality that each person should be able to create from within.<\/p>\n

Once found, this personal world (shareable at will \u2013 in his unique, personal way \u2013 with anybody who wants to identify or live with it) may be called religion or philosophy (life as a whole, integrating one\u2019s own convictions and the considerations of one\u2019s fellows). Thus, as Joan Mir\u00f3 saw and practised it, Mont-roig del Camp<\/strong> was the artist\u2019s creative tangibility<\/strong>, the poetic geography created by the grand sensor. The entirety became a visual creation. Seeing it, one is persuaded.<\/p>\n

\"\"<\/p>\n

Village and church of Mont-roig<\/em>, 1919. Oil on canvas. Fundaci\u00f3 Joan Mir\u00f3, Barcelona. On loan from a private collection \u00a9 Successi\u00f3 Mir\u00f3, 2018<\/p>\n

In short, we could say that culture is the the same as ideology and is determined by productive forces and relations of production<\/strong> (not in the determinism of the relationship, but in the ambivalence of the functional compensations), which establish what Francis Bacon called idola<\/em> <\/strong>(or cultural perceptual determinants).<\/p>\n

Even though sensations, sensibility, and emotions \u2013 in biophysiological terms (individual DNA) \u2013 are radically individual, they nonetheless act on the basis of the underlying idola<\/em>. We are what we perceive, and our perception is determined by idiosyncrasy and ideology. As Berkeley (and Mir\u00f3), would say, we pick up the sensations, the feelings and the emotions that we project. Reality (objectivity) is our own projection<\/strong>.<\/p>\n

\"\"<\/p>\n

Modest Urgell (1839 – 1919). Cemetery<\/em>. Colecci\u00f3n Fons d’Art Caixa Sabadell<\/p>\n

All of them looked at the same landscapes: Modest Urgell<\/strong> (any of the cemetery landscapes); Joaquim Mir<\/strong>, Vista de l\u2019Aleixar <\/em>(View of l’Aleixar, 1907-1913); Joan Mir\u00f3<\/strong>, Mont-roig<\/em>, esgl\u00e9sia i poble <\/em><\/a>(Mont-roig, Church and Village, 1919), Mont-roig,<\/em> Sant Ramon<\/em> (Mont-roig, Sant Ramon, 1916), La terra llaurada<\/em>, (The Tilled Field<\/a>, 1923-1924), Paisatge de Mont-roig <\/em><\/a>(Landscape, Mont-roig, 1914) and Hort amb ase <\/em>(Vegetable Garden with Donkey<\/a>, 1918). They each offered up the landscape filtered through the lens of their own emotional-spiritual and social-perceptual qualities. Apparently, as Joan Mir\u00f3 still remembered into old age, his art teacher Modest Urgell<\/strong> once said to him, ‘listen boy, everything ultimately boils down to a horizon line, an above and a below. The horizon is the gaze; below is the harsh everyday reality; above is what you see of this reality.’<\/strong><\/p>\n

\"\"<\/p>\n

Joaquim Mir. Vista de l\u2019Aleixar <\/em>(View of l’Aleixar), 1907-1913<\/p>\n

We can follow Mir\u00f3’s process: first, reality as outline, then as the projection of one’s own affects and culture. And then the poetics (creation) through which each creates his own objectivity. The apse at Mont-roig is as important as the blades of grass that the donkey is grazing on. Each perceives the rugged geography of Siurana and projects it through the filter of his own conception of the world: tactile, sensual, sensitive, and social.<\/p>\n","protected":false},"excerpt":{"rendered":"

Human beings draw ideas from the forms that our environment offers up, based on each person’s sensory and mental qualities, in the context of our affinities with the visions and feelings towards the surrounding culture. This perceptual aptitude and attitude is by no means a modern discovery; it can be found since antiquity. But we … Continue reading The Farm at Mont-Roig. Joan Mir\u00f3\u2019s Philosophy and Religion<\/span><\/a><\/p>\n","protected":false},"author":33,"featured_media":978,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[290,53,298],"tags":[],"class_list":["post-993","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-land","category-miro-en","category-philosophy"],"acf":[],"yoast_head":"\nThe Farm at Mont-Roig. 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