Art Print
24 x 18 inches / 61 x 46 cm
First Edition Joan Miro Quote Art Print on 100% Archival Cotton Rag
Artist: First Edition Joan Miro Quote Art Print
Buy this framed and matted print of “First Edition Joan Miro Quote” for your home, office or gift. This beautiful art piece features the text “Art does not reproduce the visible; rather, it makes visible” from the artist.
This art piece is a fine example of an impressionistic print, which has been hand-signed by the artist. It is part of our exclusive collection of Joan Miro prints, which you won’t find anywhere else. The frame and mat are made out of solid wood and give this print visual depth.
Our framed prints are made to order, just for you, using acid-free mats and premium grade materials. They are meticulously assembled, packaged, and shipped especially for you. You can be assured that when you order a framed print from us, it will look beautiful for generations.
Set-up is quick and easy – just insert the print into the frame and secure it with a few screws! You don’t need any special tools or hardware to hang your picture frame on the wall.
Set includes:
✓ Frame color (black)✓ Premium matte✓ Acrylite front protector✓ Hanging hardware**Artwork Details**:Title: First Edition Joan Miro QuoteArtist: Joan M
Famous Quotes by Joan Miro
Miro’s art is a significant part of his overall contribution to the arts world. While he was not the first person to utilize cubism, Miro did master the medium and brought it to new levels of brilliance. He utilized the color palettes and shapes of cubism to create works that were both intellectual and intuitive.
He also realized that the movement was in danger of being relegated to purely academic status and strove to keep it relevant by utilizing collage elements in many of his works. This combination helped bring cubism into a more pop culture setting.
Miro also developed the concept of “supercubism,” which sought to move beyond the limitations of traditional perspective in a more three-dimensional way, by incorporating more fluid and organic forms into his compositions.
The prolific nature of Miro’s output was also notable, as he created over 1,500 paintings and completed hundreds of sculptures during his lifetime. His works can be found in nearly every major museum around the world, as well as many private collections.”
Professional artists are as likely as anyone to be interested in art that looks like it’s been created by a machine. Some of them, indeed, use computers to help them create their work. But the difference is that they know how to take the output of a computer and turn it into a picture people will want to look at.
Trying to get a computer to do the whole job would make no sense. A machine can do some things better than any human can, like adding up large numbers quickly. But machines are not good at choosing which colors go well together, or finding shapes that are both simple and pleasing. It would also be hard for a machine to find the right words for its pictures**
Modern painters know about this. They understand that selecting colors is very difficult. So when I say “modern painters,” I mean those who have been exposed to computers their whole life and still have careers in painting.*
In one respect modern painters have an advantage over previous generations: they know more about color theory—how different colors interact and what kinds of combinations look good together.* The same goes for composition: since you can see what your picture looks like on different kinds of walls, you’ll know whether it’s good or not when you’re done.*
How can we do this without becoming a slave to our passions?
How can we hold on to the freshness and spontaneity of our early ideas while still giving them their due care and attention?
This is one of the hardest challenges in the art of painting.
We must find a balance between thought and action, between intellect and intuition.
If we are too intellectual, too preoccupied with technique, everything will become sterile, cold, lifeless. If we are too much in tune with our instincts and emotions, we will never learn anything about structure or design.
What is the solution?
Try to develop an inner vision that is spontaneous yet thoughtful. We need to be able to feel deeply and think clearly at the same time, so that our intelligence becomes intuition and our intuition becomes intelligence.
Smart art is art that can be understood by a machine. The type of machine doesn’t matter. It could be a mechanical Turk, it could be a trained neural network, it could be a computer program that generates pictures out of random noise. The only thing that matters is whether the method used to produce the art can be reverse-engineered, so that someone else could produce similar work without having to go through the mind of the artist.
The idea of smart art was first proposed by my former colleague at Microsoft Research, Gordon Cook. Cook’s analogy is to imagine an art museum containing many pieces of smart art and one piece of non-smart art. The smart art would be produced by various programs designed to generate or recognize aesthetic patterns; these programs would take as input things like the size and shape of a canvas, basic instructions on how to mix colors, etc., and they would output either paintings or lists of instructions for producing paintings indistinguishable from those they were given as input.
In other words, you’d see a painting done in bright reds and oranges on a black background, and you’d say: “Wow! What a crazy artist! What was he thinking?” And then you’d read the list of instructions for generating an almost identical painting, and you
