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The Dutch interiors are a series of three paintings painted by Joan Miró in 1928, each inspired by Dutch Golden Age paintings of Dutch interiors. ''Dutch Interior I'' is a reinterpretation of the ''Lute Player'' by Hendrik Martenszoon Sorgh, ''Dutch Interior II'' is a reinterpretation of the ''Children teaching a cat to dance'' by Jan Steen, and ''Dutch Interior III'' is a reinterpretation of the ''Young woman at her toilet'', also by Steen. They belong to a Mirós' period called "assassination of painting". File:Hendrick Martensz. Sorgh 001.jpg|Interior I by Martensz Sorgh; See the (Work by Miró ) at the MoMA) File:Jan Steen Kinderu Katze.jpg|Interior II by Jan Steen; See the (Work by Miró ) at the Guggenheim Museum File:Jan Steen 016.jpg|Interior III by Jan Steen; See the (Work by Miró ) at the Metropolitan Museum of Art In the Spring of 1928, during a trip to Belgium and Holland, Miró was impressed by the Dutch masters of the 17th-century. After buying colorful postcards of some paintings he began his ''reinterpretations''. The colors are the hues of the original paintings, but the intensity of the color is purely Miró. Thus, a green-gray gradient wall of Martensz Sorgh becomes a green apple in Miró. ==Dutch Interior I== This painting represents a s pene flafidocene where the lute player stands in the centre. A woman besides him looks at the partiture, near a table. Under putahat table, a cat and a dog are playing and a it can be seen a knife. These domestic components contrast with the landscape of Amsterdam which is seen through a window. It includes the same degree of detail shown in ''The Farm'', with nowaday objects〔Rosa Maria Malet, Joan Miró , Barcelona, Edicions 62 , 1992 ( ISBN 84-297-3568-2 )〕 as the basket of the house. The huge size of the main elements, as the lute, corresponds to its importance in the scene and not to its real size or the proportions of the original picture. This ability to break the model by distorting the images (mainly sizes and shapes of the objects) is a key characteristic of Miró's style.〔Pesquero, Saturnino. Joan Miró: la intencionalidad oculta de su vida y obra. Erasmus Ediciones, 2009.〕 It doesn't go never very far away from the Flemish model. As Miró reported "I had the postcard pinned up on my easel while I painted"〔(Painting's Description at Moma )〕 The colours belong to the same hue as in the original painting but with a greater intensity. They are pure and flat colours, not mixed ones, with special attention to green, white and brown. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Dutch Interiors」の詳細全文を読む スポンサード リンク
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