I have never quite gotten surrealist, post-modern art. (Left to my own devices I happily spend my museum visits floating around the impressionist era.) I look at abstract symbolic paintings and feel that I miss the intended emotion or meaning—as if the painters and their devotees speak a language I cannot understand.
That changed when I stumbled upon an ephemeral relationship between the art of Miró and fertilization research from the early 1980s to mid 1990s. This connection provided me with a whole new way to view, understand, and appreciate Miró. His art was no longer a remote, confusing abstraction, but rather an artistic reflection of the same questions about life, reproduction, and behavior I think about as a scientist.
It all started with a magazine article written by two incredible scientists, Gerald and Heidi Schatten in 1983.[i] (Fun fact, Gerald Schatten and I both attended Stuyvesant High School…
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