William Degouve de Nuncquet’s work was to have a lasting influence on the work of Rusiñol’s friend Mir. As Rusiñol’s daughter María explained in her Mallorcan memoirs:
Mir always said he had something inside him that would undoubtedly come out some day. I believe that Mallorca and Degouve were the two elements that, converging at the same time, caused the painter to flower and create some of the most captivating landscapes in Spanish painting.
Light and Color
Mir’s works from this period are an exaltation of unrestrained nature, brimming with bold ranges of color. He demonstrated that nature need not be portrayed accurately but was merely a starting point to construct one’s own view of the world.
Feeling he couldn’t live with the expansive personality of his gregarious friend Rusiñol any longer, he became a wild hermit at the remote Sa Calobra beach. Here, he tried obsessively to capture the colors and textures of the desolate landscapes of the Torrent de Pareis by clambering over the rocks and swinging down the precipices on ropes.
More Mystic; More Abstract
After a mysterious fall from a cliff, Mir was admitted to the psychiatric hospital back on the mainland. He re-emerged and continued to paint. From around 1913, his paintings tended to become more mystic, more abstract, and highly colored evocations of nature rather than topographical scenes.
Color and light meant everything to Mir, and he used them to build a personal idiom in which he created a surprisingly modern oeuvre, beyond the art movements like Impressionism or Symbolism with which critics have often sought to associate him.
Although his artistic development varied between realism and abstraction, two features crop up throughout his entire output: the urge to establish a new vision of nature and an unremitting search for beauty marked by genuine creative tension.
Mir Trinxet’s landscapes from Mallorca are the ones that contributed most to create the myth of the artist who merged with nature and lost himself in a delirium of light and color.
He is still considered the most gifted landscape painter of his generation and the key to understanding modern Catalan painting.
It is a blur of colored vision, a haze of dots that travel across the eye. In the house, Mir Trinxet use a technique that gives the painting a mysticism, an almost magical luminosity, as flowers glow as orange and yellow lamps on a bed of lush green. Here we have all the warmth and freshness of a garden, intensity provided in colored blooms, and dew that clings to leaves and grass seeped into a crisp pale green. It is a painting that transports its viewer, absorbs them into an atmosphere, fitting for a mural, which has the power to change the room it commands. (source?)
An impressionist, with an Inner Need
It is true that the range of colours in his palette coincided with the one the Impressionists used; he also coincided with them in excluding the colour black, using a host of combinations to paint shadow. But Mir used these technical resources to create a world of his own, a new landscape. Rather than assimilate and reproduce the theories predominating at the time, his work developed more out of an inner need brought into being by his idiosyncratic way of looking at nature and light.
Essentially, Mir was a landscape artist who took the landscape into a new, as yet unknown dimension. To do so, he played with and revamped a broad range of complementary colors. This is the key to the power of color in Mir’s painting and the tool that enabled him to structure his works on color rather than form, imbuing his landscapes with genuine soul.
“All I want is for my works to lighten the heart and flood the eyes and the soul with light.”
This was how Mir Trinxet summed up his private art manifesto in 1928.
Recommended link with more art by Mir
Juaquin Mir Trinxet (1873 – 1940)