The Baudelairian tools in the pictorial testimony of Antoni Miró
When we visit again and again the depth in the pictorial treatment of the artist Antoni Miró, we are fortunate to find, work after work, and series after series, the synesthetic analysis of reality. The capacity for observation that the painter establishes through the never conventional signs of his pictorial objects, demonstrates the fine sensitivity of his particular sense of social truth. As E. Zola shows in the treatment of the epic temperament of his characters, by the way of very short imprint, so the painter establishes a measured bias in the psychology of his own, since the recourse of the denunciation has a lot to do with the position of the receiver and his capacity to recognize the signs that reach him.
Perhaps the perception of a convulsive society or of a reality marked by disproportion, and the need for full freedom, are shown even in the existence of a collective spirit. As Zola affirms in his definition of art: "A coin de la création vu à travers un tempérament", summarizes, and perfectly analyzes, the character of example of the compositional strategies, in order to homologate the behaviour of the societies dominated by the empire of the powerful. Therefore, from a naturalistic romanticism and from the passion for writing to the dictation of the social masses in their union behaviour, Zola establishes a liturgical canon in his work. In the same way, of the group of men, the artist Antoni Miró extracts the pertinent value that exalts social behaviour in the rebellion of just and always discontented causes. Or, perhaps, it is a final recourse to the hope of emancipation in the prosopopoeia of the human condition.