In thisCatalan name, the first or paternal surname is Miró and the second or maternal family name is Ferrà; both are generally joined by the conjunction "i".
Earning international acclaim, his work has been interpreted asSurrealism but with a personal style, sometimes also veering intoFauvism andExpressionism.[4] He was notable for his interest in the unconscious or thesubconscious mind, reflected in his re-creation of the childlike. His difficult-to-classify works also had a manifestation ofCatalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supportingbourgeois society, and declared an "assassination of painting" in favour of upsetting the visual elements of established painting.[5]
Born into a family of agoldsmith and watchmaker, Miquel Miró Adzerias, and mother Dolores Ferrà.,[6] Miró grew up in theBarri Gòtic neighborhood of Barcelona.[7] TheMiró surname indicates some possible Jewish roots (in terms ofmarrano orconverso Iberian Jews who converted toChristianity).[8][9] He began drawing classes at the age of seven at a private school at Carrer del Regomir 13, a medieval mansion. To the dismay of his father, he enrolled at the fine art academy atLa Llotja in 1907. He studied at theCercle Artístic de Sant Lluc[10] and he had his first solo show in 1918 at theGaleries Dalmau,[11] where his work was ridiculed and defaced.[12] Inspired byFauve andCubist exhibitions in Barcelona and abroad, Miró was drawn towards the arts community that was gathering inMontparnasse and in 1920 moved to Paris, but continued to spend his summers inCatalonia.[7][13][14][15]
Miró initially went to business school as well as art school. He began his working career as a clerk when he was a teenager, although he abandoned the business world completely for art after suffering a nervous breakdown.[18] His early art, like that of the similarly influenced Fauves and Cubists, was inspired byVincent van Gogh andPaul Cézanne. The resemblance of Miró's work to that of the intermediate generation of the avant-garde has led scholars to dub this period his Catalan Fauvist period.[19]
A few years after Miró's 1918 Barcelona solo exhibition,[11] he settled in Paris where he finished a number of paintings that he had begun on his parents' summer home and farm inMont-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, 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."[20] 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) andThe Tilled Field,[21] employ the symbolic language that was to dominate the art of the next decade.[22]
Josep Dalmau arranged Miró's first Parisian solo exhibition, at Galerie la Licorne in 1921.[13][23][24]
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-likeautomatism 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 friendMichel Leiris.[25] The paintings that came out of this period were eventually dubbed Miró's dream paintings.
Miró did not completely abandon subject matter, though. 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 repeatedHead of a Catalan Peasant series of 1924 to 1925. In 1926, he collaborated withMax Ernst on designs for balletimpresarioSergei Diaghilev.
Miró returned to a more representational form of painting withThe Dutch Interiors of 1928. Crafted after works byHendrik Martenszoon Sorgh andJan Steen seen as postcard reproductions, the paintings reveal the influence of a trip to Holland taken by the artist.[27] These paintings share more in common withTilled Field orHarlequin's Carnival than with the minimalistic dream paintings produced a few years earlier.
Miró married Pilar Juncosa in Palma, Mallorca on 12 October 1929. Their daughter,María Dolores Miró, was born on 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 theModern 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.[28][29]
Until the outbreak of theSpanish 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 andHead of a Catalan Peasant, it was not until Spain's Republican government commissioned him to paint the muralThe Reaper, for the Spanish Republican Pavilion at the1937 Paris Exhibition, that Miró's work took on a politically charged meaning.[30]
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.[31] In Varengeville, Palma, and Mont-roig, between 1940 and 1941, Miró created the twenty-threegouache seriesConstellations. Revolving aroundcelestial symbolism,Constellations earned the artist praise fromAndré Breton, who seventeen years later wrote a series of poems, named after and inspired by Miró's series.[32] 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 theMourlot Studios and theAtelier 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 theWorld Trade Center in New York City together with the Catalan artistJosep Royo. He had initially refused to do a tapestry, then he learned the craft from Royo and the two artists produced several works together. HisWorld Trade Center Tapestry was displayed at the building[33] and was one of the most expensive works of art lost during theSeptember 11 attacks.[34][35]
In 1981, Miró'sThe Sun, the Moon and One Star—later renamedMiró's Chicago—was unveiled. This large, mixed media sculpture is situated outdoors in the downtownLoop area of Chicago, across the street from another large public sculpture, theChicago Picasso. Miró had created a bronze model ofThe Sun, the Moon and One Star in 1967. Themaquette now resides in theMilwaukee Art Museum.
Miró had many episodes of depression throughout his life.[39] He experienced his first depression when he was 18 in 1911.[40]: 116 [40]: 110n1 Miró said,I was demoralized and suffered from a serious depression. I fell really ill, and stayed three months in bed.[41] He used painting as a way of dealing with depression, and it supposedly made him calmer and his thoughts less dark. Miró said that without painting he becamevery depressed, gloomy and I get 'black ideas', and I do not know what to do with myself.[42]
His mental state is visible in his paintingCarnival of the Harlequin. He tried to paint the chaos he experienced in his mind, the desperation of wanting to leave that chaos behind and the pain created because of that. Miró painted the symbol of the ladder here which is also visible in multiple other paintings after this painting. It is supposed to symbolize escaping.[40]: 117–8
The relation between creativity and mental illness is very well studied.[40]: 6 It has been argued that creative people have a higher chance of suffering from a manic depressive illness or schizophrenia, as well as higher chance of transmitting this genetically.[40]: 7 Even though we know Miró suffered from episodic depression, it is uncertain whether he also experienced manic episodes, which is often referred to as bipolar disorder.[43]
His early modernist works includePortrait of Vincent Nubiola (1917),Siurana (the path),Nord-Sud (1917) andPainting of Toledo. These works show the influence ofCézanne, and fill the canvas with a colorful surface and a more painterly treatment than the hard-edge style of most of his later works. InNord-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.[44]
Starting in 1920, Miró developed a very precise style, picking out every element in isolation and detail and arranging them in deliberate composition. These works, includingHouse with Palm Tree (1918),Nude with a Mirror (1919),Horse, Pipe and Red Flower (1920), andThe Table – Still Life with Rabbit (1920), show the clear influence ofCubism, although in a restrained way, being applied to only a portion of the subject. For example,The Farmer's Wife (1922–23), is realistic, but some sections are stylized or deformed, such as the treatment of the woman's feet, which are enlarged and flattened.[45]
The culmination of this style wasThe 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.[46]
In 1922, Miró explored abstracted, strongly coloured surrealism in at least one painting.[47] From the summer of 1923 in Mont-roig, Miró began a key set of paintings where abstracted pictorial signs, rather than the realistic representations used in The Farm, are predominant. InThe Tilled Field,Catalan Landscape (The Hunter) andPastoral (1923–24), these flat shapes and lines (mostly black or strongly coloured) suggest the subjects, sometimes quite cryptically. ForCatalan Landscape (The Hunter), Miró represents the hunter with a combination of signs: a triangle for the head, curved lines for the moustache, angular lines for the body. So encoded is this work that at a later time Miró provided a precise explanation of the signs used.[48]
Dona i Ocell (Woman and Bird), 1982, Barcelona, Spain
Through the mid-1920s Miró developed the pictorial sign language which would be central throughout the rest of his career. InHarlequin's Carnival (1924–1925), there is a clear continuation of the line begun withThe Tilled Field. But in subsequent works, such asThe Happiness of Loving My Brunette (1925) andPainting (Fratellini) (1927), there are far fewer foreground figures, and those that remain are simplified.
Soon after, Miró also began hisSpanish Dancer series of works. These simple collages, were like a conceptual counterpoint to his paintings. InSpanish Dancer (1928) he combines a cork, a feather and a hatpin onto a blank sheet of paper.[46]
Miró created over 250 illustrated books.[49] These were known as "Livres d'Artiste". One such work was published in 1974, at the urging of the widow of the French poetRobert Desnos, titledLes 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 with these collected lithos was displayed in "Joan Miró, Illustrated Books" at the Vero Beach Museum of Art. One critic described it as "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 alivre d'artist[e]. Those plans were put on hold because of theSpanish Civil War andWorld War II. Desnos' bold criticism of the latter led to his imprisonment in concentration camps [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."[50]
In Paris, under the influence of poets and writers, he developed his unique style:organic forms and flattened picture planes drawn with a sharp line. Generally thought of as a Surrealist because of his interest inautomatism and the use of sexual symbols (for example, ovoids with wavy lines emanating from them), Miró's style was influenced in varying degrees by Surrealism andDada,[18] yet he rejected membership in any artistic movement in the interwar European years. André Breton described him as "the most Surrealist of us all." Miró confessed to creating one of his most famous works,Harlequin's Carnival, under similar circumstances:
How did I think up my drawings and my ideas for painting? Well I'd come home to my Paris studio in Rue Blomet at night, I'd go to bed, and sometimes I hadn't any supper. I saw things, and I jotted them down in a notebook. I saw shapes on the ceiling...[51]
Miró's surrealist origins evolved out of "repression" much like all Spanish surrealist and magic realist work, especially because of hisCatalan ethnicity, which was subject to special persecution by the Franco regime. He drew on Catalan folk art such assiurells, which he claimed to "observe constantly."[52] Also, Joan Miró was influenced byHaitian Vodou art and CubanSantería religion, which he encountered while he was in exile in theCaribbean. These movements shaped his own style of painting.[53][54]
Joan Miró was among the first artists to developautomatic drawing as a way to undo previous established techniques in painting, and thus, withAndré Masson, represented the beginning ofSurrealism as an art movement. However, Miró chose not to become an official member of the Surrealists to be free to experiment with other artistic styles without compromising his position within the group. He pursued his own interests in the art world, ranging from automatic drawing andsurrealism, toexpressionism,Lyrical Abstraction, andColor Field painting. Four-dimensional painting was a theoretical type of painting Miró proposed in which painting would transcend its two-dimensionality and even the three-dimensionality of sculpture.[55]
Miró's oft-quoted interest in theassassination of painting is derived from a dislike ofbourgeois art, which he believed was used as a way to promote propaganda and cultural identity among the wealthy. Specifically, Miró responded to Cubism in this way, which by the time of his quote had become an established art form in France. He is quoted as saying "I will break their guitar," referring toPicasso's paintings, with the intent to attack the popularity and appropriation of Picasso's art by politics.[56]
The spectacle of the sky overwhelms me. I'm overwhelmed when I see, in an immense sky, the crescent of the moon, or the sun. There, in my pictures, tiny forms in huge empty spaces. Empty spaces, empty horizons, empty plains – everything which is bare has always greatly impressed me. —Joan Miró, 1958, quoted inTwentieth-Century Artists on Art
In an interview with biographerWalter Erben, Miró expressed his dislike forart critics, saying, they "are more concerned with being philosophers than anything else. They form a preconceived opinion, then they look at the work of art. Painting merely serves as a cloak in which to wrap their emaciated philosophical systems."[52]
In the final decades of his life Miró accelerated his work in different media, producing hundreds of ceramics, including theWall of the Moon andWall of the Sun at theUNESCO building in Paris. He also made temporary window paintings (on glass) for an exhibit. In the last years of his life Miró wrote his most radical and least known ideas, exploring the possibilities ofgas sculpture and four-dimensional painting.
Throughout the 1960s, Miró was a featured artist in many salon shows assembled by the Maeght Foundation that also included works byMarc Chagall,Giacometti, Brach, Cesar,Ubac, andTal-Coat.
The large retrospectives devoted to Miró in his old age in places like New York (1972), London (1972), Saint-Paul-de-Vence (1973) and Paris (1974) were a good indication of the international acclaim that had grown steadily over the previous half-century; further major retrospectives took place posthumously. Political changes in his native country led in 1978 to the first full exhibition of his painting and graphic work, at theMuseo Nacional Centro de Arte Reina Sofía in Madrid.
In 2010, the Metropolitan Museum of Art exhibitedMiró: The Dutch Interiors that showed 3 Miró paintings with Dutch Golden Age works that inspired them.[58]
Joan Miró, Printmaking was exhibited at Fundación Joan Miró (2013). In 2014 there were two exhibitionsMiró: From Earth to Sky at Albertina Museum, andMasterpieces from the Kunsthaus Zürich, National Art Center, Tokyo.
In Spring 2019, the Museum of Modern Art, New York, launchedJoan Miró: Birth of the World.[70] Running until July 2019, the exhibit showcased 60 pieces of work from the inception of Miró's career, and including the influence of the World Wars. The exhibit featured 60-foot canvasses as well as smaller 8-foot paintings, and the influences ranged from cubism to abstraction.[71]
In 2018–19, the Philadelphia Museum of Art exhibited his work inJoan Miró which showcased his paintings and “anti-paintings.”[72]
One ofMan Ray's 1930s photographs,Miró with Rope, depicts the painter with an arranged rope pinned to a wall, and was published in the single-issue surrealist workMinotaure.
In 2002, American percussionist/composerBobby Previte released the albumThe 23 Constellations of Joan Miró onTzadik Records. Inspired by Miró'sConstellations series, Previte composed a series of short pieces (none longer than about 3 minutes) to parallel the small size of Miró's paintings. Previte's compositions for an ensemble of up to ten musicians was described by critics as "unconventionally light, ethereal, and dreamlike".[78]
In 1954 he was given theVenice Biennale print making prize, in 1958 the Guggenheim International Award.[18][79]
In 1981, the Palma City Council (Mallorca) established theFundació Pilar i Joan Miró a Mallorca, housed in the four studios that Miró had donated for the purpose.[80]
In October 2018, the Grand Palais in Paris opened the largest retrospective devoted to the artist until this date. The exhibition included nearly 150 works and was curated by Jean Louis Prat.[81]
Today, Miró's paintings sell for between US$250,000 and US$26 million; US$17 million at a U.S. auction for theLa Caresse des étoiles (1938) on 6 May 2008, at the time the highest amount paid for one of his works.[82] In 2012,Painting-Poem ("le corps de ma brune puisque je l'aime comme ma chatte habillée en vert salade comme de la grêle c'est pareil") (1925) was sold atChristie's London for $26.6 million.[83] Later that year atSotheby's in London,Peinture (Etoile Bleue) (1927) brought nearly 23.6 million pounds with fees, more than twice what it had sold for at a Paris auction in 2007 and a record price for the artist at auction.[84][85] On 21 June 2017, the workFemme et Oiseaux (1940), one of hisConstellations, sold at Sotheby's London for 24,571,250 GBP.[86]
^Umland, Anne. "A Challenge to Painting: Miró and Collage in the 1920s."Joan Miró. Ed. Agnes De la Beaumelle. London: Paul Holberton Publishing, 2004. pp. 61–69.
^abcdeSchildkraut, Joseph J.; Otero, Aurora, eds. (1996).Depression and the spiritual in modern art: homage to Miró. Chichester, UK: John Wiley & Sons.ISBN0-471-95403-9.OCLC33897959.
^Gibson, M (1980). "Miró: When I see a tree ... I can feel that tree talking to me".ARTnews.79:52–56.
^Miró, Joan (August 1947). "In Francis Lee Interview with Miró".Possibilities. New York.
^Stephan von WiesePainting as Universal Poetry – the connection of painting and word in Miró. InJoan Miró – Snail Woman Flower Star Prestel, 2006
^Christa LichtensteinFrom the Playful to a Denunciation of Violence: Miró's deformations of the 1920s and 1930s. InJoan Miró – Snail Woman Flower Star Prestel, 2006
^abVictoria Combalia,Miró's Strategies – Rebellious in Barcelona, Reticent in Paris InJoan Miró – Snail Woman Flower Star Prestel, 2006
^Stephan von WiesePainting as Universal Poetry – the connection of painting and word in Miró., p. 58. InJoan Miró – Snail Woman Flower Star Prestel, 2008
^"The Beginning of Painting and Drawing",Drawing and Painting: Children and Visual Representation, SAGE Publications Ltd, 2003, pp. 51–60,doi:10.4135/9781446216521.n4,ISBN9780761947868
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