DURING A TRIP TO THE NETHERLANDS IN SPRING 1928, THE CATALAN PAINTER JOAN MIRO (1893–1983) PURCHASED POSTCARDS FROM THE MUSEUMS HE VISITED. TWO 17th CENTURY DUTCH GENRE SCENES PARTICULARLY CAUGHT HIS ATTENTION AND SERVED AS THE INSPIRATION FOR A SERIES OF PAINTINGS HE CREATED THAT SUMMER. THE TRAVELING EXHIBITION 'MIRO: THE DUTCH INTERIORS', WHICH OPENS AT THE RIJKSMUSEUM, AMSTERDAM, AND WILL BE ON VIEW AT THE METROPOLITAN MUSEUM OF ART BEGINNING 5.OCTOBER, FEATURES MIRO'S THREE 'DUTCH INTERIORS' AND TWO OLD MASTER PAINTINGS ON WHICH THEY ARE BASED. THE NEW YORK VENUE WILL ALSO SHOW PREPARATORY DRAWINGS AND ADDITIONAL PAINTINGS BY MIRO IN THE METROPOLITAN'S COLLECTION. THE EXHIBITION IS THE FIRST IN WHICH MIRO'S PAINTINGS HAVE BEEN HUNG ALONGSIDE THE DUTCH GOLDEN AGE PICTURES THAT INSPIRED THEM. THE EXHIBITION BRINGS TOGETHER THREE PAINTINGS BY MIRO, DUTCH INTERIOR I, DUTCH INTERIOR II AND DUTCH INTERIOR III, THAT ARE BASED ON TWO 17th CENTURY WORKS IN AMSTERDAM'S RIJKMUSUEM. THE DUTCH PAINTINGS, THE LUTE PLAYER BY HENDRICK SORGH AND CHILDREN TEACHING A CAT TO DANCE BY JAN STEEN, BOTH FEATURE A MUSICIAN, AN AUDIENCE OF ONE OR MORE PEOPLE, AND A CAT AND A DOG. WHEN REINTERPRETED BY MIRO, THE SCENES UNDERGO A COMPLETE METAMORPHOSIS. WHEN STEEN'S HUMOROUS GENRE SCENE WAS TRANSFORMED INTO THE IMAGINATIVE DUTCH INTERIOR II, MIRO ENLARGED AND FOCUSED ON THE ANIMATE FIGURES, BOTH HUMAN AND ANIMAL, WHILE DE-EMPHASIZING THE INANIMATE OBJECTS. THE CAT IS AT THE SWIRLING CENTER OF MIRO'S COMPOSITION, AND THE NOISE AND CHAOS OF THE DANCING LESSON ARE COMMUNICATED THROUGH MOTION AND RHYTHM.
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