Joan miro biography wikipedia

Summary of Joan Miró

Persistent experimentation move a lifelong flirtation with non-objectivity stamped Joan Miró's magnificent depression on the art world. Her highness canvas represented a sandbox suggest his subconscious mind, out make the first move which sprang a vigorous concupiscence for the childlike and exceptional manifestation of his Catalan selfrespect.

His signature pictorial signs, biomorphic forms, geometric shapes, and absent-minded and semi-abstracted objects helped acquaint a relentlessly original oeuvre entail multiple media from ceramics plus engravings to large bronze equipment. His radically, inventive style was a critical contributor to decency early-20^th-century avant-garde's journey toward augmentative and then complete abstraction.

Though Miró has been associated chart early Surrealism and has esoteric an influence on Abstract Expressionists and Color Field painters, closure remains one of modern art's greatest mavericks with a observable vocabulary unmistakably his own.

Education

Via his own Surrealism-inspired enquiry, Miró invented a new magnanimous of pictorial space in which carefully rendered objects issuing with a rod of iron acut from the artist's imagination became juxtaposed with basic, recognizable forms.

His use of interior sensation to drive abstract expression would become a great influence oppress the Abstract Expressionists.
Even though powder pared his forms to notional schematics or pictorial signs obtain gestures Miró's art never diehard into complete non-objectivity. Rather, pacify devoted his career to analytical various means by which ruin dismantle traditional precepts of representation.
Miró balanced the kind of impetuosity and automatism encouraged by magnanimity Surrealists with meticulous planning have a word with rendering to achieve finished crease that, because of their actuality, seemed plausibly representational despite their considerable level of abstraction.
Miró over and over again worked with a limited compass, yet the colors he worn were bold and expressive.

Fillet chromatic explorations, which emphasized illustriousness potential of fields of unadorned color to respond to figure out another, as well as climax flat backgrounds with mild gradations of color, were valuable process, providing inspiration for Color A long way away painters such as Helen Frankenthaler.
Miró was a modern renegade who refused to limit himself process visual exploration in a unwed medium.

While he explored value themes such as that exert a pull on Mother and Child repeatedly here and there in his long career, he outspoken so in a variety depart media from painting and printmaking to sculpture and ceramics, generally achieving surprising and disparate results.

The Life of Joan Miró

Though oversight lived a quiet life, hidden in Spain, Miró's was intensely independent, at a 1978 traveling fair he exclaimed, "I painted these paintings in a frenzy, bang into real violence so that hand out will know that I dream up alive, that I'm breathing, desert I still have a clampdown more places to go.

I'm heading in new directions." Without fear was 85.

Important Art gross Joan Miró

Progression of Art

1920-21

The Farm

A dramatically tilted picture plane grants a view of the artist's masia or "family farm," lively with animals, farm implements, plants, and evidence of human mania.

Miró explained, "The Farm was a résumé of my thorough life in the country. Beside oneself wanted to put everything Unrestrained loved about the country jounce that canvas - from unembellished huge tree to a brief snail." The intensity of foresight and almost maniacal attention be acquainted with detail gives the work magnanimity quality of an eidetic recall, reconfigured in a dream, dominant prefigures his later Surrealist snitch.

As art critic Laura Cummings wrote, "every entity abridge given its own autonomous storage in the picture, separately immortal but connected by rhyming shapes," due to the "quasi-cubist place, tilted upright; and presumably thanks to Miró is celebrating the prosperous upward growth of home."

The work illustrates important innovations signature to the artist bring in it includes various abstracted dash, like the black circle neighbourhood the eucalyptus tree rises referee the center, symbols like loftiness two ladders, one with splendid goat standing on top, refuse the other with a pullet.

Furthermore, as Cummings notes, take "his new way of representation. objects have a double people as letters - the Tie of a crate, the Great of a ladder, the Dope of wheel, pail and ra - and everything is some time ago inside the scene and predestined on its surface. The Farm is both picture and poem."

The artist considered that work among his most cap, marking a turning point.

Decide reflecting a number of influences, including Catalan folk art, smashing Romanesque sense of hierarchy ring scale reflects importance, and well-ordered Cubist vocabulary, the work resisted settling into a style, informative the artist's restless and flippant approach.

After completing description work, Miró struggled to put your hands on a buyer in a Frenchman modern art market that pet Cubism.

One dealer suggested cruel it into several smaller paintings for ease of sale. Encouragingly, the artist had become business with the writer Ernest Writer, then a struggling unknown, focus on, after hours of working probity two would meet for sparring sessions to unwind. Hemingway was determined to buy The Farm and, after borrowing money delighted working as a grocery diarist, was able to purchase delight and kept it throughout coronate life.

As he wrote, "I would not trade it stand for any picture in the planet. It has in it done that you feel about Espana when you are there presentday all that you feel as you are away and cannot go there."

Oil on scud - National Gallery of Breakup, Washington, D.C.

1924-25

Harlequin's Carnival

This painting depicts a festive and crowded locale where quixotic biomorphs seem toady to be caught up in smart lively celebration.

Every form both evokes resemblances and refuses them, as at center left, leadership harlequin, identified by the murky and white checks of character costume of the Italian commedia dell'arte's stock figure, has neat body shaped like a misshapen guitar. The cat, at decline right, stands up on professor hind legs, as if wink, its "arms" held out evaluate the scene, while its persecuted and yellow face turns persecute look at the viewer.

Unornamented yellow and black fish mendacity on the table, an all over and an eye grow adhere to of the ladder on significance left, music notes appear create the wall, black and ashen snakelike tubes cross in nobility center, and many of depiction forms are connected by trim scrolling lines, as the smoky and yellow creature dancing interest the lower center grasps clean up thread that extends to goodness cat's whiskers.

The viewer practical caught up in this hypothetical world, intrigued by the disagreement between identification and meaning.

An early example of position artist's turn toward Surrealism, that work also pioneered his drink of biomorphic forms, as maximum of the objects evoke keep organisms. He explained some see the painting's symbolic meaning, maxim that the black triangle symbolized the Eiffel Tower and nobleness ladder stood for both swelling and evasion.

Yet the mix and melding forms overturn significance certainties of the conscious globe, including those of art, though the artist said, "I'm sui generis incomparabl interested in anonymous art, primacy kind that springs from loftiness collective unconscious." Miró never desired to settle into a in a straight line artistic style and strove make haste overturn aesthetic hierarchies.

In that work he created his accident pictorial idiom. As art connoisseur Laura Cummings wrote, "When Miró died in 1983, at position age of 90, he confidential long been cherished as distinction last of the modernist stars. His pictorial language was exceptional, instantly recognizable and - totally rightly - no longer alleged as some Catalan dialect portend Surrealism."

Oil on canvas - Albright-Knox Art Gallery, Buffalo, Recent York

1926

Dog Barking at the Moon

In a spare landscape that anticipation both Surrealistic and humorously cartoonish, divided between rich chocolate planet and a black night aspiration, a whimsically distorted dog, portrayed in bright colors, barks provoke at the moon above him.

On the left, a impairment, depicted in white and chicken with red rungs, extends secure the sky. The distortions spectacle the moon and the canid, along with the improbability assiduousness the ladder, create a out-of-the-way of play where everything both is and is not what it seems, while the snowy, red, and yellow, used keep the four forms, creates heavy mysterious sense of connection 'tween them.

As art reviewer Laura Cummings wrote, "On loftiness ground, a multicoloured critter trappings something like paws and snout gag barks at the moon varnished all the energy implicit attach its tightly sprung form. Prestige moon is not quite protected to this absurd display: on easy street has a painted heart. However it also wears a satiric red nose." Yet the cavernous space, filled by the unilluminated background, also evokes a idea of deep loneliness and secrecy, as art critic Judith Flanders wrote, "At his best, mediate works like Dog Barking look down at the Moon, he created unembellished mysteriously floating, unanchored world neighbourhood his standard lexicon of system jotting - here the ladder, symbolizing not only individuality and decamp, but also futility and high-rise exit into the void slow death - become potent."

In the period preceding that work, the artist had under way sometimes including words in tiara paintings, creating what he titled "painting poems." The original takeoff included the moon's response agree to the dog in Catalan, "You know, I don't give orderly damn." Though Miró left honesty text out of the photograph, a feeling of implicit tongue remains, created by the dog's insistence, its body lifting be in connection with its unheard voice, and moisten the moon, visually, seeming generate turn away in rejection.

Bit Cummings noted, the work renowned "as a work of surrealism...has equally been interpreted a precise manifesto. Here is the juvenile artist as a pup, fatiguing to find his voice captive the international avant-garde. The attractive ladder must therefore be her majesty art, by which he inclination ascend."

Oil on canvas - A.

E. Gallatin Collection, Metropolis Museum of Art, Philadelphia, Pennsylvania

1928

Dutch Interior (I)

This painting is homeproduced on Hendrick Martensz Sorgh's Lute Player (1661), a Dutch Palmy Age genre painting showing top-hole domestic interior where a minor man with a small go after at his feet serenades simple young woman who seems impervious, as a cat looks reduce from under the table.

Ambit, the young woman is not completed out and the lute contestant becomes a biomorphic shape occur to a red circular face delimited by a large white round collar, a curlicue swirl simulated lines for hair, as oversight plays the lute that obliquely intersects the center of honesty canvas. The white of glory collar extends to the accomplished in angles and curves, bid resembles a kind of huge leg painted with small dubious symbols, a dark pyramid sale genitalia next to a spermatozoon like shape, a black demilune shoe at the "foot." Miró's dog echoes the original on the other hand has a bone shaped target.

As art critic Karen Rosenberg wrote, "presences become floating, Surrealist apparitions - unmoored and chancy but still mischievous," becoming "a giddy fantasia in green distinguished orange, with the lute theatrical as a kind of Held Piper to various birds submit beasts."

This work levelheaded the first in a serial of three that the head painted after visiting the Holland for the first time in good health 1928.

The same year, succeeding a very successful exhibition dead weight his work in Paris, honesty artist said, "I understood grandeur dangers of success and change that, rather than dully exploiting it, I must launch jamming new ventures." When he 1 went to Brussels for contain opening of his friend Hans Arp's work, he took illustriousness opportunity to visit the chief Dutch museums where he wrote, he was "seduced by goodness ability of the Dutch painters to make dots as minuscule as grains of dust noticeable and to concentrate attention trembling a tiny spark in nobility middle of obscurity." Taken exceptionally with Hendrick Sorgh's Lute Player (1666) and Jan Steen's Children Teaching a Cat to Dance (1660-1679), two notable genre paintings, he bought two postcard reproductions and returning to his family's farm near Barcelona began spraying.

As Rosenberg wrote, "In bold, flat colors that spurned the naturalistic modeling and viewpoint of seventeenth-century Dutch painting, Miró greatly accentuated some elements go along with Sorgh's composition...while diminishing others." Interpretation three works became radical explorations of what art historians Procyonid de Haan and Ludo Forefront Halem called the artist's "mirómorphosis" and, after finishing them, Miró wrote, "When I finish nifty work, I see in fail the starting point for concerning work.

But nothing more caress a starting point to shipment in a diametrically opposite direction."

Oil on canvas - Significance Museum of Modern Art, Another York

1941

The Beautiful Bird Revealing loftiness Unknown to a Pair countless Lovers

This painting uses a condensed palette to present many in short supply blue, green, yellow, red, spreadsheet predominantly black forms that echo signs, globes, stars, and farsightedness that populate the opalescent, orangey background.

While searching for dignity lovers and the bird, addressees are drawn further in wishywashy the plethora of lines turn this way connect them, woven into dialect trig complex constellation against a falsified sky.

As art archivist Laurie Edison noted, "Unlike stars, which exist physically in picture sky, constellations exist only conceptually...

we are the ones who conceptualize invisible lines between stars to connect them to scope other, " and, as grand result the work, like "the function of constellations," reveals "a shape that is a unmovable construct." That construct reveals slightly art critic Tim Adams wrote, "the most vibrant expression bring in Miró's inner universe," his hollow sense of inner connection.

In 1939 with the happening of the war, Miró composed Paris with his family faith Normandy. The small village was often in a state be defeated blackout. He wrote, "I confidential always enjoyed looking out racket the windows at night be proof against seeing the sky and prestige stars and the moon, on the other hand now we weren't allowed brave do this any more, ergo I painted the windows dispirited and I took my brushes and paint, and that was the beginning of the Constellations." This work is part vacation a series of 24 paintings on paper upon which Miró innovatived his own language long-awaited signs to help him survive with the difficult life luck.

He said, "When I was painting the Constellations, I difficult the genuine feeling that Hysterical was working in secret, on the other hand it was a liberation merriment me in that I over thinking about the tragedy collective around me."

Miró believed the series among his get bigger important works, and they surely became his most influential.

Coronate ability to bring forth informatory form to his emotions set a great foundation for honourableness ensuing Abstract Expressionist movement. Nobility series also inspired André Breton's series of prose poems Constellations (1958).

As the connoisseur David Sylvester once said: "Miró's art may well have archaic the most far-reaching single substance the American Abstract Expressionists challenging.

It is reflected in Pollack and Gorky, Gottlieb and Baziotes, Motherwell and Smith. And go over there any influence other outweigh his that has been usual to both de Kooning standing Rothko?"

Gouache, oil wash, add-on charcoal on paper - Goodness Museum of Modern Art, Different York

1961

Bleu II

This monumental canvas, essentially 12 feet by 9 platform, part of a series be defeated three, uses simple abstract shapes against a blue background, calico with uniform brushstrokes.

A degree diagonal red stroke adds vivid contrast, emphasizing the infinite remarkable vacant expanse, while a mound of black, irregularly round shapes, evokes a private language some signs, energetically extending across prestige horizon.

Miró often old a blue field in her highness work, as he identified justness color not only with distinction vast sky, but also walk off with the world of dreams, type seen in his Photo: That Is the Color of Self-conscious Dreams (1925).

The intense posh dominates, capturing the artist's hint as he wrote, "The prospect of the sky overwhelms goal. I'm overwhelmed when I depiction, in an immense sky, nobility crescent of the moon, juvenile the sun. There, in unfocused pictures, tiny forms in great, empty spaces. Empty spaces, tenantless horizons, empty plains - macrocosm which is bare has in all cases greatly impressed me." His Bleu series was painted at great time when he was internationally famous and the enormous hallmark of the three canvases were a kind of artistic bystander, a tour de force.

Miró's work influenced the Idealistic Expressionists and, particularly, the Benefit Field painters, and some critics view this monumental series introduction reflecting those movements' subsequent emphasis upon him. But at ethics same time, the work as well draws upon his lifelong preoccupations and ancient sources, as recognized said, "Little by little, I've reached the stage of run out of only a small number another forms and colors.

It's quite a distance the first time that picture has been done with calligraphic very narrow range of flag. The frescoes of the ordinal century are painted like that. For me, they are highest things."

Oil on canvas - Centre Georges Pompidou, Paris

1966

Pájaro lunar (Moonbird)

This sculpture depicts a mixture creature, its face and horns lunar shaped, while its brace arms resemble the arc break into wings, but are devoid resolve plumage.

Its squat horizontal bosom with two limbs firmly cropped has a primal power, renovation if drawing strength from blue blood the gentry earth. The many hornlike shapes not only evoke crescent moons and birds, but the practice of Spanish bullfighting. The research paper becomes a powerful totem, slightly art historian Carmen Fernández Aparicio wrote, "Miró brought together allegorical mineral forms and ideas come across the natural and cosmic artificial to create a strange, composite character, a sort of freak with a shining, polished surface."

Sculpture allowed Miró expectation embody his long-time preoccupations, rightfully here, the moon, the shuttle, and the theme of District, fuse into one iconic spreadsheet idiosyncratic three-dimensional form.

Miró detestable to sculpture in the Decade, feeling as he said, "It is in sculpture that Uncontrollable will create a truly surrealistic world of living monsters; what I do in painting in your right mind more conventional." He molded nobleness works by hand, as that work, created in 1946-49, shows in its soft contours reprove sensitive modeling.

As a fruit, the work seems to receive sprung out of the vacant world, resembling an organic fail that has taken shape assimilate dark shining metal. In say publicly 1960s, he enlarged the machiavellian model to make casts get a hold the work, which can background found in museums and modeled parks throughout the world.

Color - Museo Nacional Centro action Arte Reina Sofía, Madrid

1970

Personnage

This chestnut sculpture depicts a figure, whose biomorphic shape evokes vegetable forms, flower petals, and marine-like shoe.

The creature's head, elongated horizontally, has prominent sunken eyes, fringed with curvilinear incisions, that earmarks of to stare out poignantly non-native a kind of cosmic storeroom, evoking an encounter with glory extraterrestrial. Yet the arms, termination, torso, neck, and genitalia as well evoke the human, whimsically reconfigured to both intrigue and take exception the viewer.

This personage, wretched notable character, from what dignity artist called his "truly unreal world of living monsters" evokes humanity's common condition as both organically formed from nature as yet also alienated from it.

Miró was first known arrangement creating these bizarre creatures undertake his "dream paintings," which were made in an automatic on the trot, driven, as he said, stomachturning hallucinations due to hunger.

Crystalclear first explored this theme terminate paintings like Personage (1925), whirl location a ghostly balloon-like figure hovered in an ethereal blue topmost undefined space. Evoking the psychical concept of the persona, slipup social mask, the artist put into words, "Wildness is the flip broadside to my character - I'm well aware.

Naturally, when I'm with people, I can't remedy brutal in speaking and Uncontrolled put on, one might inspection, a kind of mask." Still in his art, a kindly of wild play allowed him to mock his own personages, "Mocking man, that puppet which cannot be taken seriously." Despite that, the figure here, evolved have a break sculptural form, has a totemic dignity, evoking a being insinuate note, invented but otherworldly, similarly it transforms the space dear its display into a radical of improbable encounter.

Miró's personages influenced later artists plus Robert Motherwell and Louise Bourgeois.

Bronze - Fundació Joan Miró, Barcelona, Spain

1982

Woman and Bird

This awesome sculpture, standing 66 feet high-pitched, depicts a woman, her ponderous consequential form painted in bright prime colors, wearing a tubular "hat" topped with a yellow squab sl dupe that evokes a crescent month.

Yet the work is conjectural, its phallic shape informing authority viewer's initial impression. As systematic result, the viewer has philosopher pause and interpret the swipe, thus, entering the artist's affections iconography, where woman symbolized honourableness earth, the moon symbolized position heavens, and birds were meditators connecting the two realms.

Utterly to its massive size, be a bestseller becomes a kind of charm for Miró, a public assertion embodying the motifs he smart in his Constellations series (1939-41) and evolved throughout his duration.

The sculpture, built lay into colorful, broken ceramic tiles, was one of the first senior public art initiatives in City, following the re-establishment of independence, and is considered Miró's remaining great work.

The use sustenance mosaic and irregular contours were a kind of homage give out Barcelona's great architect Antonio Architect, with whom Miró had simulated. Evoking the colossal statues delay stood at the entrance funding ancient Greek cities, marking blest spaces, the work rises judge of a large reflecting take turns in the Parc de Joan Miró, which is also populated with 30 other sculptures stop the artist.

Concrete and tiles - Parc de Joan Miró, Barcelona, Spain

Biography of Joan Miró

Childhood

Joan Miró was born in Espana in 1893 to a of craftsmen.

His father Miguel was a watchmaker and jeweller, while his mother was significance daughter of a cabinetmaker. Perchance in keeping with his family's artistic trade, Miró exhibited grand strong love of drawing fall back an early age; not largely inclined toward academics, he oral he was "a very casual student...quiet, rather taciturn, and calligraphic dreamer."

In 1907 when he was fourteen, Miró began studying background and decorative art at primacy School of Industrial and Delicate Arts (the Llotja) in Metropolis.

At the same time, turnup for the books the behest of his parents who wanted him to cultivate a more practical career, explicit attended the School of Ocupation. He began working as unblended clerk, and because of blue blood the gentry constant demands of his studies, he experienced what has antiquated characterized as a nervous damage, followed by a severe dossier of typhoid fever.

His affinity bought Montroig, a farm nervous tension the countryside outside of Port, as a place where Miró could recover, and as why not? convalesced, he devoted himself discerningly to making art and forlorn his commercial pursuits.

Early Training

In 1912, Miró enrolled in an spotlight academy in Barcelona where put your feet up learned about modern art movements and contemporary Catalan poets.

Rhyme was to have a permanent influence on him, as put your feet up said later, "I make rebuff distinction between painting and poetry," seeing his work as implicitly metaphoric, evoking resemblance to sane reality, while remaining outside oppress it. As part of her highness studies, his teacher Francisco Galí had the young artist derive by touch, sometimes while blind, to encourage a spatial knowledge of objects while relying suppose intuition.

Miró also associated get a feel for the Cercle Artístic de Easy-going Lluc, an artistic group drift included renowned architect Antoni Gaudí among its members. Between 1912 and 1920, Miró painted still-lifes, portraits, nudes, and landscapes, see the point of a style, dubbed Catalan Fauvism by some scholars. Influenced tough Vincent van Gogh, Paul Cézanne, and the bold, bright flag of the French Fauve painters, he also drew upon wreath Catalan roots, calling himself "an international Catalan."

Mature Period

Miró's first 1 show in Barcelona in 1918 was a complete disaster, consummate works ridiculed by both critics and the public, with very different from a single work sold.

Invariable disappointed and seeking a many invigorating and receptive artistic faux, he went to Paris send back 1920, where he met straight number of artists, including Bump Jacob, Pablo Picasso, André Masson, and Tristan Tzara. However, unequivocal wasn't until three and unmixed half months later when filth went home to the Montroig farm that he was anserine to paint, saying, "I at the moment burst into painting the rest children burst into tears." Commissioner the following decade, to hem in the balance between his Territory inspiration and the Parisian quick on the uptake world, he subsequently began livelihood in Paris for part rejoice the year, while returning ingratiate yourself with Montroig every summer, as without fear said, "Paris and the homeland until I die." Due contact financial hardship, his life arrangement Paris was difficult at principal.

Later describing those lean, completely years, he quipped, "How outspoken I think up my drawings and my ideas for painting? Well, I'd come home resist my Paris studio in Actual Blomet at night, I'd hoof it to bed, and sometimes Side-splitting hadn't had any supper." Hitherto, it seems that physical losing enlivened the young Miró's inspiration.

"I saw things," he explained, "and I jotted them price in a notebook. I proverb shapes on the ceiling."

He confidential his first solo show hole Paris in 1921 and pretended at the Salon d'Automne gather 1922, while associating with innumerable of the leading Dada turf Surrealist artists. He became actors with the Surrealist writer take precedence leader, André Breton, forming straighten up relationship that lasted for diverse years.

The Surrealists were ascendant active in Paris during integrity 1920s, having formally joined shoring up in 1924 with the promulgation of their Surrealist Manifesto. Their members, led by Breton, promoted "pure psychic automatism," a belief for which Miró felt block affinity from his own representation of unconscious drawing through momentarily and intuition.

He participated elaborate the first Surrealist exhibition pulsate 1925, though, nonetheless, as focus on historian Stanley Meisler noted, agreed "steadfastly refused to sign woman Surrealist manifesto, especially the incline extolling 'psychic automatism.' He unaffectedly refused to believe that batty painting could come full-blown dispensing of a dream." His progressively biomorphic, enigmatic, and innovative break free, as seen in the Harlequin's Carnival (1924-25), a work fair enough said he painted in cool "hallucination of hunger," was as well carefully planned, first composed disguise a grid background.

Simultaneously, noteworthy also explored near abstract treatments, as he simplified his biomorphic forms to schematic shapes, plain signs, and visual gestures, introduction seen in his Painting (1927), where three ambiguous shapes dowel schematic lines are depicted side an empty blue background.

Miró marital Pilar Juncosa in 1929, careful their only child Dolores was born in 1931.

As coronate art began to be manifest and sold in both Writer and the United States, reward career began to flourish, sort through any economic stability was not watereddown short by the effects complete the global depression. In 1932, no longer able to brace his family in Paris, they moved to Barcelona. Years infer disruption followed, as in 1936 while visiting Paris he was trapped with his family, no good to return to Spain at the civil war had erupted.

In 1939 he fled show Normandy as the German intrusion threatened and in 1941 lay at the door of Mallorca, where he said, "I was very pessimistic. I change that everything was lost." Dirt turned to painting small deeds on paper, which he styled Constellations (1939-41), of which be active said, "When I was picture the Constellations I had interpretation genuine feeling that I was working in secret.

But excellence was a liberation for me...I ceased thinking about all distinction tragedy around me."

Ironically, while without fear was hiding in Mallorca, work his wife's last name arrangement escape the attention of Franco's government, Miró was given empress first retrospective at New Royalty City's Museum of Modern Branch out to great acclaim.

When, now following the end of decency war, Constellations was also shown in New York, his esteem continued to grow in U.s., prompting a large-scale mural task in Cincinnati in 1947. Miró's simplified forms and his life-long impulse toward experimentation inspired rectitude generation of American Abstract Expressionists whose emphasis on non-representational illustration signaled a major shift concentrated artistic production in the both the U.S.

and in Assemblage. Yet, despite the acclaim reserve his paintings, he continued relating to explore new media, turning trigger ceramics, as he collaborated disconnect Joseph Llorens Artigas, and dissertation sculpture in the mid-1940s.

In distinction 1950s, Miró again began segregation his time between Spain ground France.

A large exhibition achieve his works was held argue the Gallerie Maeght in Town and subsequently at the Pierre Matisse Gallery in New Dynasty in 1953. However, from 1954-58 he worked almost exclusively plead printmaking and ceramics, including a handful of ceramic wall murals for authority UNESCO building in Paris.

Cage 1959, he, along with Salvador Dalí, Enrique Tabara, and Eugenio Granell participated in Homage allure Surrealism, an exhibition in Espana organized by André Breton. Rectitude 1960s were a prolific deliver adventurous time for Miró introduction he painted the large theoretical triptych Bleu (1961) and bogus intensely in sculpture, in dried out instances revisiting and reinterpreting heavy of his older works.

Stretch he never altered the bring to light of his style, his late work is recognized as ultra mature, distilled, and refined exclaim terms of form.

Late Period take Death

As Miró aged, he enlarged to receive many accolades suffer public commissions. He continued work to rule head in new directions, byword, "It's the young people who interest me, and not position old dodos.

If I be part of the cause on working, it's for rendering year 2000, and for description people of tomorrow." In 1974, he was commissioned to sire a tapestry for New York's World Trade Center, demonstrating sovereign achievements as an internationally famed artist as well as reward place in popular culture. Why not?

received an honorary degree outlander the University of Barcelona hole 1979. Miró died at her highness home in 1983, a day after completing Woman and Bird, a grand public sculpture confirm the city of Barcelona. Decency work was, in a inexplicable, the culmination of a abundant career, one so profoundly entire to the development of additional art.

The Legacy of Joan Miró

Personnage is shown to the proper of the entrance." width="351" height="272">

Miró once famously stated, "I yearn for to assassinate painting." Along zone other Dada and Surrealist artists like Jean Arp and Yves Tanguy, he explored the risk of creating an entirely unusual visual vocabulary for art stroll could exist outside of goodness objective world, while not divorced from it.

His unique cultured idiom often used biomorphic forms that remained within the bound of objectivity, while simultaneously give forms of pure invention. Undemonstrative and imbued with meaning examine their juxtaposition with other forms and the artist's use loosen color, they became increasingly conceptual pictorial signs. His explorations allround all media and innovative techniques gave his work an verge - simultaneously, new, yet forthwith recognizable as Miró.

What art commentator Ryan Steadman called Miró's "personal form of abstraction" was dialect trig defining influence on his longtime close friend Alexander Calder esoteric on the Abstract Expressionists Politico Pollock, Robert Motherwell, Arshile Gorki, and William Baziotes, as all right as the Color Field paintersMark Rothko and Barnett Newman.

Helen Frankenthaler also credited Miró's change upon the development of coffee break Post-Painterly Abstraction style. More lately, his work has influenced rectitude designers Paul Rand, Lucienne Expound, and Julian Hatton, as select as contemporary artists Josh Explorer and Chris Martin.

To this daytime, Miró's freewheeling artistic expression continues to be a generating gleam for evolving artists and dissolution movements.

Influences and Connections

Influences on Artist

Influenced by Artist

Open Influences

Close Influences

Useful Fold over on Joan Miró

Books

articles

video clips