Perception and reality. Gombrich and Antoni Miró between the lines
If we consider a possible drift in the theory of Gestalt "the whole is greater than the sum of the parts", we can understand, or interpret, that in the creative work of Antoni Miró, the arguments are frank when a general analysis of his artistic production is carried out. The adding in his constructive parts is generous, but the totality of his work (certainly imperial), makes possible the unanimous contemplation of his attributes.
One thing is the assumption that we can practice through the study of the artist's global pictorial discourse-wide information through perception and memory-and other the embrace of the truth that the whole thematic corpus implies.
The psychological mechanisms, when carrying out a rigorous analysi1s, favour the encounter with the obligation, on the part of the receiver, to take positions, and maybe also decisions of individual reach. The reality that floods the physics of the proposals, interpellates in favour of the necessary objectives in the discourse of vital events.
A cultural fact? "Simplicity and naturalness are the supreme and ultimate purpose of culture," says Nietzsche. A reality concerned by the universal vocation of the painter?
We perceive the instrumental force as a paradigm. But we listen to the voice of reality incorporated into the verses of his painting.