Era como un caracol&rdquo;, dec&iacute;a de Joan Mir&oacute; Francesc Catal&agrave;-Roca, la &uacute;nica persona que tuvo el privilegio de fotografiar al artista en su estudio. &ldquo;Mientras lo dejas hacer, va bien, pero cuando intentas tocarlo, se esconde&rdquo;. Joan Mir&oacute; fue el m&aacute;s introvertido de los surrealistas, el m&aacute;s apacible y casero, pero tal vez, a su manera, el m&aacute;s radical. Dibuj&oacute; desde siempre, desde los siete a&ntilde;os, alentado por una madre que pintaba acuarelas como parte de su formaci&oacute;n de se&ntilde;orita. Sin embargo, a diferencia de Picasso, a quien admiraba y de quien acab&oacute; siendo protegido y amigo, nunca hizo gala de un talento precoz que maravillase a su familia o a sus maestros. Todo lo contrario. Se peleaba con las proporciones y la perspectiva, cada avance t&eacute;cnico le costaba aut&eacute;ntico sudor. El suyo era un talento t&aacute;ctil, intuitivo, que encajaba mal en el cors&eacute; academicista de la Llotja. A menudo necesitaba tocar los objetos que pintaba para comprenderlos. M&aacute;s adelante, viviendo ya en Par&iacute;s, har&aacute; lo mismo con alguna de sus modelos, con intenciones absolutamente castas, seg&uacute;n sus cartas. Con las manos aprehende la esencia de lo que pinta, que le interesa mucho m&aacute;s que su mera superficie. Los padres de Mir&oacute;, perfectos peque&ntilde;oburgueses, jam&aacute;s aprobaron la vocaci&oacute;n de su hijo. Ella era hija de un ebanista de Palma de Mallorca; &eacute;l, que hab&iacute;a hecho fortuna como orfebre y relojero, proced&iacute;a de Mont-roig, un peque&ntilde;o pueblo de Tarragona en el que el abuelo de Mir&oacute; trabajaba como herrero. Para cubrir sus or&iacute;genes humildes, Mir&oacute; padre cultivaba modales exquisitos, grueso bigote encerado y un sentido pr&aacute;ctico de la vida m&aacute;s inflexible a&uacute;n que el cuello almidonado de sus trajes. &ldquo;Todo lo que tienes me lo debes a m&iacute;&rdquo;, le grit&oacute;, en una ocasi&oacute;n, a aquel hijo extra&ntilde;o, en quien no reconoc&iacute;a ning&uacute;n talento. Siendo ya anciano, el artista a&uacute;n recordar&iacute;a con ira las interminables discusiones con su padre. Lo matricularon a la fuerza en la Escuela de Comercio y le obligaron a trabajar como contable en una droguer&iacute;a, ocupaciones que le hac&iacute;an profundamente infeliz. A los 19 a&ntilde;os, Mir&oacute; se arma de valor, anuncia su intenci&oacute;n de dedicarse exclusivamente a pintar, se matricula en la escuela de arte de Francesc Gal&iacute; y se une al Cercle Art&iacute;stic de Sant Lluc, donde se codea con las futuras promesas del movimiento Noucentista. Su familia lo da por imposible. Su madre, previendo que el ni&ntilde;o jam&aacute;s se ganar&aacute; la vida, redactar&aacute; un testamento que le garantice, al menos, una s&oacute;lida herencia. Mientras tanto, Joan conoce a Francis Picabia y Maurice Raynal, traba amistad con Josep Francesc R&agrave;fols, Joan Prats, Enric Crist&ograve;for Ricart (a quien da consejos sobre mujeres, disimulando su propia torpeza como seductor), lee sobre Cubismo, coquetea con el Fauvismo y se enamora de Lola Anglada, que no le corresponde. La pintora rechaza con sorna una petici&oacute;n de mano formal transmitida por el atildado Mir&oacute; padre: &ldquo;Mire, si su hijo me ve a m&iacute; de la misma manera que pinta, &iexcl;estoy bien apa&ntilde;ada!&rdquo;. El &eacute;xito internacional de Mir&oacute; en su madurez no har&aacute; mejorar un &aacute;pice la opini&oacute;n de la c&eacute;lebre ilustradora sobre su antiguo pretendiente: &ldquo;Dibuja y pinta con tanta sinceridad como lo hace el chimpanc&eacute; Congo del Zoo de Londres&rdquo;, declara en una rese&ntilde;a de finales de los setenta.<img src="http://magarticles.magzter.com/articles/13476/316066/5bfe719661b3f/1543401717089.jpg"" owidth=993 oheight=670" style="height:670px; width:993px" />Un introvertido en Par&iacute;s Anglada no es una excepci&oacute;n. La cultura catalana de principios del siglo xx acoge las Vanguardias con prudencia y las adapta a sus propios gustos. El viaje de iniciaci&oacute;n a Par&iacute;s resulta casi obligado, pero una cosa es pasear por Montparnasse, visitar museos, emborracharse en cabar&eacute;s y hacer contactos de los que presumir, y otra muy distinta exportar a Barcelona, o a cualquier otro rinc&oacute;n de Espa&ntilde;a, los osados experimentos parisinos. Mir&oacute; tiene ya veintisiete a&ntilde;os cuando baja del tren en la Gare d&rsquo;Orsay, con un aire de pueblerino endomingado que no contribuye a abrirle puertas. Su extrema timidez tampoco ayuda. Josep Pla la describe sin piedad: &ldquo;La primera tanda de silencio dur&oacute; muy bien diez minutos, durante los cuales Mir&oacute; observ&oacute; fijamente los vasos de caf&eacute; con leche vac&iacute;os que ten&iacute;a ante &eacute;l. [...] Enseguida comprend&iacute; que ten&iacute;a mucha pr&aacute;ctica y sospech&eacute; si este no ser&iacute;a el estado natural de su esp&iacute;ritu. Este chico, me dije, debe de haber pasado muchos a&ntilde;os sin decir nada&rdquo;. Mir&oacute; no habla, pero absorbe todo lo que ve y lo que oye como una esponja. El aluvi&oacute;n de novedades le provoca, incluso, un moment&aacute;neo bloqueo creativo, que solamente ser&aacute; capaz de romper durante su veraneo en Mont-roig. Atra&iacute;do por la radicalidad del movimiento dad&aacute;, concibe la idea de asesinar la pintura, no para escandalizar al p&uacute;blico, sino para encontrar un nuevo clasicismo, un arte perdurable que solo ser&aacute; posible tras haberse deshecho de clich&eacute;s y convenciones. De vuelta en Par&iacute;s, Mir&oacute; sigue siendo un pez fuera del agua. Sus amigos catalanes le toman el pelo. Le roban el sombrero y se lo pasan entre ellos, le dan recados para chicas desconocidas y se r&iacute;en de su apuro, se compinchan para convencerle de que su cabeza irradia, literalmente, un aura de santo. Su pintura, cada vez m&aacute;s osada y on&iacute;rica, le abre las puertas del c&iacute;rculo surrealista, pero la historia se repite. Sus silencios incomodan a todo el mundo.<img src="http://magarticles.magzter.com/articles/13476/316066/5bfe719661b3f/1543401765049.jpg"" owidth=742 oheight=1292" style="height:1292px; width:742px" />Man Ray lo recuerda as&iacute; en sus memorias: &ldquo;Era dif&iacute;cil conseguir que hablara. Surgi&oacute; una violenta discusi&oacute;n y fue presionado para que diera su opini&oacute;n, pero permaneci&oacute; obstinadamente mudo. Max [Ernst] cogi&oacute; un cabo de cuerda, lo lanz&oacute; a una viga e hizo un nudo corredizo en un extremo, mientras los otros sujetaban sus brazos, puso la soga alrededor de su cuello y amenaz&oacute; con colgarle si no hablaba. Mir&oacute; no luch&oacute;, sino que permaneci&oacute; en silencio&rdquo;. Entre los pocos que lo respetan desde sus inicios se cuentan Ernest Hemingway, que adquiere el cuadro La mas&iacute;a, y Pablo Picasso, que le dedica el mayor elogio posible: &ldquo;Despu&eacute;s de m&iacute;, eres t&uacute; el &uacute;nico que ha abierto una nueva puerta&rdquo;. Al principio, Mir&oacute; participa con gusto en las escandalosas algaradas surrealistas. &ldquo;&iexcl;Abajo el Mediterr&aacute;neo!&rdquo;, grita durante una de las famosas performances del grupo, que acaba, seg&uacute;n la costumbre, como el rosario de la aurora. Su talante, sin embargo, es opuesto al de Breton y sus m&aacute;s fieles ac&oacute;litos. El amor de estos por la provocaci&oacute;n le acaba pareciendo banal, y sus discusiones, triviales p&eacute;rdidas de tiempo. La revoluci&oacute;n que &eacute;l intenta gestar exige paciencia, trabajo y dedicaci&oacute;n. Por fuera, Mir&oacute; es un hombre met&oacute;dico y convencional. En palabras del poeta Jacques Dupin, &ldquo;estaba tan loco por dentro que necesitaba orden&rdquo;. Su estudio est&aacute; impoluto, sus colores y pinceles se alinean con mani&aacute;tica precisi&oacute;n. Hace ejercicio a diario en un gimnasio de boxeo, asiste a clases de baile, cuida su aspecto y respeta todos aquellos convencionalismos que no le incomodan. Dal&iacute;, al llegar a Par&iacute;s y ponerse bajo su protecci&oacute;n, recibe de &eacute;l, perplejo, el &uacute;nico consejo de comprarse un esmoquin. Tras un par de romances con mujeres de fuerte personalidad, Mir&oacute; acaba cas&aacute;ndose con su prima Pilar Juncosa, para alivio de toda su familia y del propio pintor, que se alegra de tener una esposa afable y casera, &ldquo;libre de todo intelectualismo&rdquo;.<img src="http://magarticles.magzter.com/articles/13476/316066/5bfe719661b3f/1543401843050.jpg"" owidth=742 oheight=1190" style="height:1190px; width:742px" />Calvario redentorLa disciplina y la sencillez le sirven para contener un esp&iacute;ritu turbulento, ambicioso, extremadamente autoexigente. Trabaja sin descanso, con la regularidad de un oficinista, para encontrar nuevos caminos expresivos. En sus pinturas hay violencia, deseo, asombro, imaginaci&oacute;n, impulsos profundos. No le inspiran los discursos, los manifiestos ni los &ldquo;ismos&rdquo;, de los que se aleja, esc&eacute;ptico, cada vez m&aacute;s, sino la belleza de peque&ntilde;os tesoros que, como &eacute;l mismo, parecen insignificantes a aquellos que no saben contemplarlos. Una piedra, un pu&ntilde;ado de tierra, una hormiga, una concha, una madera arrastrada por la marea son infinitamente m&aacute;s inspiradores que cualquier discurso o teor&iacute;a. Su arte bebe de influencias, s&iacute;, pero C&eacute;zanne, Picasso, los primitivos o los japoneses est&aacute;n ah&iacute; para ayudarle a hallar su propia voz, jam&aacute;s para imitarlos. Radicalmente introspectivo, Mir&oacute; bucea en su interior, juega, experimenta, corrige sin descanso y solo da una obra por buena cuando logra ver en ella aut&eacute;ntica poes&iacute;a. Poco sospechan quienes tildan su arte de infantil la dedicaci&oacute;n monacal que hay detr&aacute;s. &ldquo;Tard&eacute; mucho tiempo en hacerlas&rdquo;, confesar&iacute;a el artista en 1961, refiri&eacute;ndose a su tr&iacute;ptico Bleu I, II y III. &ldquo;No en pintarlas, pero s&iacute; en meditarlas. Tuve que hacer un gran esfuerzo, estar en gran tensi&oacute;n interior para alcanzar la deseada depuraci&oacute;n&rdquo;. El arte, para Mir&oacute;, es un calvario redentor. Esta capacidad de refugiarse en su propio mundo explica el famoso exilio interior que permiti&oacute; al artista vivir relativamente tranquilo en Mallorca y seguir creando durante los &aacute;ridos a&ntilde;os de la dictadura. Exiliado a Francia durante la Guerra Civil, tom&oacute; la decisi&oacute;n de regresar a Espa&ntilde;a en 1940 para huir de la amenaza nazi. Su filiaci&oacute;n republicana era bien conocida, as&iacute; como sus simpat&iacute;as catalanistas, pero su actitud siempre fue, por propia naturaleza, discreta. El franquismo, interesado en reconciliarse con los aliados en cuanto estuvo claro que estos ganar&iacute;an la Segunda Guerra Mundial, no habr&iacute;a ganado nada encarcelando a un artista de vida apacible y renombre internacional, cuya obra arrasaba ya en Nueva York.<img src="http://magarticles.magzter.com/articles/13476/316066/5bfe719661b3f/1543401823709.jpg"" owidth=1165 oheight=488" style="height:488px; width:1165px" />Jam&aacute;s dej&oacute; de innovar. Con 81 a&ntilde;os, exigi&oacute; que la mitad de una gran antol&oacute;gica celebrada en el Grand Palais de Par&iacute;s recogiera obra nueva, elaborada en parte con cartones ro&iacute;dos, telas quemadas y materia org&aacute;nica. El Grand Palais acoge, justamente, otra gran retrospectiva hasta febrero de 2019. Dos tapices, valorados en medio mill&oacute;n de euros cada uno, quedaron da&ntilde;ados en la inundaci&oacute;n de Venecia a finales de octubre, pero han sido restaurados en un tiempo r&eacute;cord y se exhiben de nuevo en el Palazzo Zaguri. Tal como pretend&iacute;a, el &ldquo;asesino de la pintura&rdquo; se ha convertido, indiscutiblemente, en un cl&aacute;sico.

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Bettany Hughes:&nbsp;&ldquo;Estambul Es Una Met&aacute;fora Del Encuentro&rdquo;

&iquest;El Tesoro Del Vita? 

Reuni&oacute;n En La Cumbre

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