Joan Miró i Ferrà (Catalan: [ʒuˈan miˈɾo]; 20 April 1893 – 25 December 1983) was a Spanish painter, sculptor, andceramicist born in Barcelona. A museum dedicated to his work, the Fundació Joan Miró, was established in his native city of Barcelona in 1975, and another, the Fundació Pilar i Joan Miró, was established in his adoptive city of Palma de Mallorca in 1981.
Earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supporting bourgeois society, and famously declared an "assassination of painting" in favour of upsetting the visual elements of established painting.
Born into the family of a goldsmith and a watchmaker, Miró grew up in the Barri Gòtic neighborhood of Barcelona. His father was Miquel Miró Adzerias and his mother was Dolors Ferrà. He began drawing classes at the age of seven at a private school at Carrer del Regomir 13, a medieval mansion. In 1907 he enrolled at the fine art academy at La Llotja, to the dismay of his father. He studied at the Cercle Artístic de Sant Lluc and he had his first solo show in 1918 at the Dalmau Gallery, where his work was ridiculed and defaced. Inspired by Cubist and surrealist exhibitions from abroad, Miró was drawn towards the arts community that was gathering in Montparnasse and in 1920 moved to Paris, but continued to spend his summers in Catalonia.
A few years after Miró’s 1918 Barcelona solo exhibition, he settled in Paris where he finished a number of paintings that he had begun on his parents’ summer home and farm in Mont-roig del Camp. One such painting, The Farm, showed a transition to a more individual style of painting and certain nationalistic qualities. Ernest Hemingway, who later purchased the piece, compared the artistic accomplishment to James Joyce’s Ulysses and described it by saying, “It has in it all that you feel about Spain when you are there and all that you feel when you are away and cannot go there. No one else has been able to paint these two very opposing things.” Miró annually returned to Mont-roig and developed a symbolism and nationalism that would stick with him throughout his career. Two of Miró’s first works classified as Surrealist, Catalan Landscape (The Hunter) and The Tilled Field, employ the symbolic language that was to dominate the art of the next decade.
In 1924, Miró joined the Surrealist group. The already symbolic and poetic nature of Miró’s work, as well as the dualities and contradictions inherent to it, fit well within the context of dream-like automatism espoused by the group. Much of Miró’s work lost the cluttered chaotic lack of focus that had defined his work thus far, and he experimented with collage and the process of painting within his work so as to reject the framing that traditional painting provided. This antagonistic attitude towards painting manifested itself when Miró referred to his work in 1924 ambiguously as “x” in a letter to poet friend Michel Leiris. The paintings that came out of this period were eventually dubbed Miró’s dream paintings.
Miró did not completely abandon subject matter. Despite the Surrealist automatic techniques that he employed extensively in the 1920s, sketches show that his work was often the result of a methodical process. Miró’s work rarely dipped into non-objectivity, maintaining a symbolic, schematic language. This was perhaps most prominent in the repeated Head of a Catalan Peasant series of 1924 to 1925. In 1926, he collaborated with Max Ernst on designs for ballet impresario Sergei Diaghilev. With Miró's help, Ernst pioneered the technique of grattage, in which he troweled pigment onto his canvases.
Miró returned to a more representational form of painting with The Dutch Interiors of 1928. Crafted after works by Hendrik Martenszoon Sorgh and Jan Steen seen as postcard reproductions, the paintings reveal the influence of a trip to Holland taken by the artist. These paintings share more in common with Tilled Field orHarlequin’s Carnival than with the minimalistic dream paintings produced a few years earlier.
Miró married Pilar Juncosa in Palma (Majorca) on 12 October 1929; their daughter, María Dolores Miró, was born 17 July 1930. In 1931, Pierre Matisse opened an art gallery in New York City. The Pierre Matisse Gallery (which existed until Matisse's death in 1989) became an influential part of the Modern art movement in America. From the outset Matisse represented Joan Miró and introduced his work to the United States market by frequently exhibiting Miró's work in New York.
Until the outbreak of the Spanish Civil War, Miró habitually returned to Spain in the summers. Once the war began, he was unable to return home. Unlike many of his surrealist contemporaries, Miró had previously preferred to stay away from explicitly political commentary in his work. Though a sense of (Catalan) nationalism pervaded his earliest surreal landscapes and Head of a Catalan Peasant, it wasn’t until Spain’s Republican government commissioned him to paint the mural, The Reaper, for the Spanish Republican Pavilion at the 1937 Paris Exhibition, that Miró’s work took on a politically charged meaning.
In 1939, with Germany’s invasion of France looming, Miró relocated to Varengeville in Normandy, and on 20 May of the following year, as Germans invaded Paris, he narrowly fled to Spain (now controlled by Francisco Franco) for the duration of the Vichy Regime’s rule. In Varengeville, Palma, and Mont-roig, between 1940 and 1941, Miró created the twenty-three gouache series Constellations. Revolving around celestial symbolism, Constellations earned the artist praise from André Breton, who seventeen years later wrote a series of poems, named after and inspired by Miró's series. Features of this work revealed a shifting focus to the subjects of women, birds, and the moon, which would dominate his iconography for much of the rest of his career.Shuzo Takiguchi published the first monograph on Miró in 1940. In 1948–49 Miró lived in Barcelona and made frequent visits to Paris to work on printing techniques at the Mourlot Studios and the Atelier Lacourière. He developed a close relationship withFernand Mourlot and that resulted in the production of over one thousand different lithographic editions.
In 1974, Miró created a tapestry for the World Trade Center in New York City together with the Catalan artist Josep Royo. He had initially refused to do a tapestry, then he learned the craft from Royo and the two artists produced several works together. His World Trade Center Tapestry was displayed at the building and was one of the most expensive works of art lost during the September 11 attacks.
In 1977, Miró and Royo finished a tapestry to be exhibited in the National Gallery in Washington, USA.
In 1981, Miró's The Sun, the Moon and One Star—later renamed Miró's Chicago—was unveiled. This large, mixed media sculpture is situated outdoors in the downtown Loop area of Chicago, across the street from another large public sculpture, theChicago Picasso. Miró had created a bronze model of The Sun, the Moon and One Star in 1967. The maquette now resides in the Milwaukee Art Museum.
His early modernist works include Portrait of Vincent Nubiola (1917), Siurana - the Path, Nord-Sud (1917) and Painting of Toledo. These works show the influence of Cézanne, and fill the canvas with a colourful surface and a more painterly treatment than the hard-edge style of most of his later works. In Nord-Sud, the literary newspaper of that name appears in the still life, a compositional device common in cubist compositions, but also a reference to the literary and avant-garde interests of the painter.
The culmination of this style was The Farm (1921–22). The rural Catalan scene it depicts is augmented by an avant-garde French newspaper in the center, showing Miró sees this work transformed by the Modernist theories he had been exposed to in Paris. The concentration on each element as equally important was a key step towards generating a pictorial sign for each element. The background is rendered in flat or patterned in simple areas, highlighting the separation of figure and ground, which would become important in his mature style.
Miró made many attempts to promote this work, but his surrealist colleagues found it too realistic and apparently conventional, and so he soon turned to a more explicitly surrealist approach.
Soon after Miró also began his Spanish Dancer series of works. These simple collages, were like a conceptual counterpoint to his paintings. In Spanish Dancer (1928) he combines a cork, a feather and a hatpin onto a blank sheet of paper.
Miró created over 250 illustrated books. These were known as "Livres d' Artiste." One such work was published in 1974, at the urging of the widow of the French poet Robert Desnos, titled "Les pénalités de l'enfer ou les nouvelles Hébrides" ("The Penalties of Hell or The New Hebrides"). It was a set of 25 lithographs, five in black, and the others in colors.
In 2006 the book was displayed in "Joan Miró, Illustrated Books" at the Vero Beach Museum of Art. One critic said it is "an especially powerful set, not only for the rich imagery but also for the story behind the book's creation. The lithographs are long, narrow verticals, and while they feature Miró's familiar shapes, there's an unusual emphasis on texture." The critic continued, "I was instantly attracted to these four prints, to an emotional lushness, that's in contrast with the cool surfaces of so much of Miró's work. Their poignancy is even greater, I think, when you read how they came to be. The artist met and became friends with Desnos, perhaps the most beloved and influential surrealist writer, in 1925, and before long, they made plans to collaborate on a livre d'artiste. Those plans were put on hold because of the Spanish Civil War and World War II. Desnos' bold criticism of the latter led to his imprisonment in Auschwitz, and he died at age 45 shortly after his release in 1945. Nearly three decades later, at the suggestion of Desnos' widow, Miró set out to illustrate the poet's manuscript. It was his first work in prose, which was written in Morocco in 1922 but remained unpublished until this posthumous collaboration."