Miro

Why did Miró dislike the teachings of the art academy La Llotja?

MIRÓ FOUND THE RIGID ACADEMIC APPROACH STIFLING AND UNINSPIRING. The academy taught traditional techniques that clashed with Miro’s emerging artistic and creative sensibilities. He wanted to approach a more personal and expressive form of art.

Why did Miró enroll at the Art School of Francesc Galí?

Because he wanted to do experimental training, it was avant-garde. MIRÓ WAS ATTRACTED TO GALÍ'S EMPHASIS ON INDIVIDUAL EXPRESSION AND EXPLORATION OF NEW ARTISTIC IDEAS.

What were the artists and artistic movements that influenced Miró in his formative period?

Fauvism, Cubism, Post-impressionism

When did Miró decide to give his work a new direction and start his first distinctive style?

In 1918. His first distinctive style was the Period of Details, which was a lot of realistic but simple landscapes

What are the stylistic characteristics of the works from the period of details?

He combined realism and abstraction with great attention to detail. He focused on landscapes and created paintings like The Farm (1921-1922)

What were Miró’s influences during the period of details?

His Catalan Heritage, Cubism, Post-Impressionist Art, Primitive cultures, Japanese culture

What are the main subject matters of the works of this period of details?

Nature. His family’s farmhouse in Montroig.

When did Miró travel to Paris for the first time?

In 1920, MIRÓ SETS OUT ON HIS FIRST JOURNEY TO PARIS, SEARCHING FOR ITS FREEDOM AND DEVELOPED CULTURAL ATMOSPHERE AND MORE COMPREHENSION OF THE PUBLIC. MIRÓ LOVED PARIS, A MELTING POT OF CULTURES. PARIS, DOMINATED BY THE DADA MOVEMENT, WAS MIRÓ’S FIRST CONTACT WITH THE AVANT-GARDE ART. HE ALSO VISITED THE LOUVRE MUSEUM. BESIDES, ONE OF HIS GOALS WAS TO VISIT PICASSO, RECOGNIZED AS A MAJOR PAINTER AND LEADER OF THE AVANT-GARDE, AND WHOM HE SAW AS A TEACHER. LATER THAT YEAR, HE RETURNED TO PARIS AS A PARTICIPANT IN THE ARTISTIC MILIEU. FROM THEN UNTIL THE OUTBREAK OF THE SPANISH CIVIL WAR IN 1936, HE LIVED IN PARIS, RETURNING TO MONTROIG AND BARCELONA EACH YEAR FOR THE SUMMER AND EARLY FALL.

How were Miró’s beginnings in Paris?

• This period was a time when Miró experimented with his artwork and where he improved the most. HE FOUND INSPIRATION IN THE CITY'S CULTURAL RICHNESS AND DIVERSITY.

• Struggled financially

• Critics did not give him positive reviews

• Wanted to find his voice and be more commercially successful

When was Miró’s first exhibition in Paris? Was it a success?

1920 (right before he did farm painting). It was a failure, but he persevered.

Which work is considered Miró’s masterpiece from this period and the key to his future work? Briefly analyze the formal and iconographic characteristics of this painting.

The Farmhouse. THIS PAINTING IS KEY TO HIS FUTURE WORK AS IT SHOWCASES HIS UNIQUE BLEND OF SIMPLIFICATION AND ATTENTION TO DETAIL, AS WELL AS HIS FASCINATION WITH HIS CATALAN ROOTS AND THE NATURAL WORLD.

When did Miró start leaving behind realism to embrace the world of imagination and fantasy?

• 1922 - Between the real and the imagination with attention to details

• The period right before surrealism

What are the stylistic characteristics of the works of the period between the real and the imagination with attention to detail?

Dreamlike realism and Fauvism.

Catalan Landscape or the Hunter (1923)

SHOWS A SIMPLIFICATION PROCESS. THE TREE PRESENTS THE UTMOST IN REDUCTION TO THE IMAGINARY: IT IS A CIRCLE WITH A LEAF HANGING FROM A LINE THAT REPRESENTS A BRANCH. THE FORMS ARE RENDERED SCHEMATICALLY, EITHER USING GEOMETRICAL SHAPES OR THROUGH REDUCTION TO A SIMPLE LINE, STRAIGHT OR SINUOUS. THE TREE ALSO HAS HUMAN ATTRIBUTES. THE MAN IS A HUNTER WITH A PIPE, A HAT, A MOUSTACHE BEARD, AND WEARING A BARRETINA. IN ONE HAND HE HOLDS A RIFLE AND IN THE OTHER A RABBIT. HE ALSO PAINTED THE LETTERS SARD, REFERRING TO THE DEAD SARDINE WITH RABBIT EARS, MOUSTACHE, AND TONGUE. THIS PAINTING IS AN EXAMPLE OF THE CREATIVE GENIUS OF MIRÓ, CAPABLE OF INVENTING HIS LANGUAGE OF SIGNS. IT IS ABSTRACTION INFLUENCED BY POETRY.

The Tilled Field (1923-1924)

This painting marks a pivotal shift in Miró's style towards Surrealism. It depicts a seemingly simple tilled field, yet the familiar landscape is transformed. Biomorphic shapes sprout from the ground, and an oversized eye gazes down from above. The familiar and unfamiliar co-exist, creating a dreamlike and unsettling atmosphere.

Harlequin’s Carnival (1924-1925)

This vibrant and dynamic painting portrays a festive scene, yet one devoid of human presence. Instead, the central stage is occupied by Miró's signature biomorphic forms, some resembling fantastical creatures, others geometric shapes exploding with color. The title references the commedia dell'arte character Harlequin, known for his playful, mischievous nature, reflecting the scene's overall joyous atmosphere.

When did Miró’s work become surrealist?

AROUND 1925. WHEN HE STARTED HIS SERIES OF DREAM PAINTINGS AND STARTED EXPLORING AUTOMATISM AND SUBCONSCIOUS IMAGERY IN HIS PAINTINGS.

When did Miró start getting recognition among the Parisian artists?

The early 1920s, especially after his first solo exhibition in 1925.

When did Miró start his Dream paintings?

1925 - 1928

What were the main stylistic characteristics of the Dream paintings?

• Organic shapes, playful compositions 

• Surrealist imagery, the blurred line between reality and fantasy

• Bold Colors AND FLUID LINES

• BIOMORPHIC SHAPES AND DREAMLIKE IMAGERY

• Expressive brush strokes

What were the subject matters of the Dream paintings?

The exploration of the subconscious mind. Abstract forms. 

MIRÓ WAS RECREATING DREAMLIKE FORMS IN ETHEREAL, UNREAL SPACES. HOWEVER, HE DID NOT REPRESENT HIS DREAMS, BUT THROUGH HIS WORK HE PLACED WITHIN THE VIEWER’S REACH CERTAIN ELEMENTS THAT WOULD MAKE THAT VIEWER THE ONE WHO DREAMT. ACCORDING TO THE ARTIST THESE WORKS GREW OUT THE CONTEMPLATION OF CRACKS AND DAMP PATCHES ON THE WALL, CLOUDS, AND OTHER SPONTANEOUS FORMS AND SHAPES THAT BECAME THE FIRST STEP IN THE AUTOMATIC PROCESS. THE RESULTS ARE EVIDENCE OF A SUBJECTIVE TRANSFORMATION OF OBSERVED REALITY. THE INTEGRATION OF WORDS OR PHRASES IN HIS PAINTINGS PRODUCED WHAT THE ARTIST CALLED POEM-PICTURES.

What was the impact that Miró’s trip to Holland in 1928 had on his work?

MIRÓ'S TRIP TO HOLLAND IN 1928 HAD A SIGNIFICANT IMPACT ON HIS WORK, INSPIRING HIM TO EXPERIMENT WITH NEW TECHNIQUES AND MATERIALS, AND INFLUENCING THE DEVELOPMENT OF HIS SURREALIST STYLE.

What did Miró mean when he said that he wanted to “assassinate painting”?

1. to question the meaning of pictorial representation 

2. break away from traditional artistic conventions

3. PUSH THE BOUNDARIES OF ARTISTIC EXPRESSION BY BREAKING FREE FROM TRADITIONAL TECHNIQUES AND MATERIALS

Biomorphic

1. Materials: Oil paint, gouache, charcoal, and various drawing materials.

2. Style: Abstract, organic shapes inspired by nature and the subconscious mind, often using bright colors and playful compositions

Dreamlike Imagery

1. Materials: Similar to "Biomorphic 

2. Forms, but may also incorporate collage elements like newspaper clippings or photographs.

3. Style: Playful and dreamlike imagery, often featuring symbolic elements with personal meaning

Automatism

1. Materials: Pen, ink, pencil, or charcoal on paper, allowing for quick and spontaneous creation.

2. Style: The focus is on the process of creation rather than a final product

Collages and Drawing-collages

MADE FROM A COMBINATION OF FOUND MATERIALS SUCH AS PAPER, FABRIC, AND PHOTOGRAPHS.

Assemblages

OFTEN COMPOSED OF FOUND OBJECTS ASSEMBLED INTO ABSTRACT FORMS.

When did Miró’s works start being populated by monstrous beings?

AROUND 1934, IN HIS WILD OR SAVAGE PAINTINGS

What did it trigger this stylistic change of direction in his work (savage/wild period)?

Political and social turmoil at the time. The lead-up to the Spanish Civil War, chaos and violence 

What are the main stylistic characteristics of the paintings of this period? What is the mood that these artworks evoke?

THE SAVAGE PAINTINGS START BEING INHABITED BY MONSTERS, AS THE DARK SIDE OF HIS POETIC PAINTINGS. MIRÓ GAVE UP FLAT PAINT AND STARTED USING CHIAROSCURO TO RENDER AN APOCALYPTIC ATMOSPHERE TO THE SCENES.

What are the main stylistic characteristics and materials of the 27 Masonite that Miró go executed in 1936? What is the mood that these artworks suggest?

1. Styles: Biomorphic forms, abstraction, playfulness

2. Materials: masonite, oil paint, sand, charcoal or pencil

3. Mood: playfulness, mystery in meaning, movement, and energy. THE MOOD OF THESE ARTWORKS SUGGESTS A SENSE OF TURMOIL AND UPHEAVAL, REFLECTING THE POLITICAL AND SOCIAL CLIMATE OF THE TIME.

Why is Still Life with Old Shoe (1937) such a fundamental work in Miró’s oeuvre? Briefly analyze the formal and iconographic characteristics of this work

IT IS THE OIL ON CANVAS THAT MARKS THE END OF THE ASSASSINATION OF PAINTING PERIOD. IT ALSO REPRESENTS A SHIFT TOWARDS A MORE POLITICALLY ENGAGED ART.

Still Life with Old Shoe was born in the context of the Spanish Civil War. It is such a fundamental work as it represents Miro’s agony and fear experienced during the war. It is often compared to Picasso’s Guernica because of its despair and the consequences of the war.

What is the most political work ever produced by Miró? Briefly analyze the subject matter and formal characteristics of this piece.

The Reaper (1937) portrays a man WEARING A CAP OF THE CATALAN PEASANT (BARRETINA) who symbolizes death or oppression. It is a political commentary on the brutality of the conflict and human suffering during the Spanish Civil War. The scythe is very important because it is a main component of the Catalan national song.

THIS WORK WAS COMPLETED FOR THE REPUBLICAN PAVILION OF THE 1937 INTERNATIONAL FAIR IN PARIS. TO RAISE AWARENESS ABOUT THE SPANISH CIVIL WAR, SHOW THE HORRORS OF THE WAR, AND PROMOTE THE FIGHT AGAINST FASCISM.

When and why did Miró and his family settle in Varengeville-sur-Mer, in Normandy?

The Spanish Civil War ended in 1939  and WWII began shortly after. Miró did not believe he was safe in Paris anymore → He moved to Normandy due to being in a more isolated place. 

HE SOUGHT REFUGE IN THIS PEACEFUL RURAL SETTING TO ESCAPE THE CHAOS OF WW2.

How did this change of location affect his work?

In Normandy, he reconnected with nature, which led to his Constellation series in 1939. He created his artwork on paper so he could easily carry it, which was especially important when he had to leave Normandy when it was invaded. 

THE TRANQUILITY AND NATURAL BEAUTY OF VARENGEVILLE INSPIRED A SENSE OF FREEDOM AND CREATIVITY IN HIS ART, INFLUENCING THE THEMES AND MOTIFS HE EXPLORED.

Why is the Constellation series (1939-41) such a key work in Miró’s artistic career? Briefly analyze the formal and iconographic characteristics of these works

The constellation series will define Miró’s artistic language. He wanted to forget the misery that the war was causing and wanted to use these pieces to escape. The colors were simplified: primary colors, green, black, and white. 

Characters were usually women, CELESTIAL BODIES, BIRDS, and LADDERS. The space was very crowded, and the figures were flat.  

THE EVENNESS WITH WHICH THE ELEMENTS ARE SCATTERED ACROSS THE PICTURE SURFACE ENGENDERS A KIND OF ALL-OVER CONFIGURATION.

THEY CONVEY A SENSE OF HOPE AND RESILIENCE IN THE FACE OF ADVERSITY, WHILE ALSO EXPRESSING MIRÓ'S ANGUISH AND DEFIANCE.

When did Miró produce his first sculptures?

MIRÓ’S FIRST FORAY INTO SCULPTURE BEGAN IN 1928, DURING HIS ASSASSINATION OF PAINTING PERIOD. WHEN HIS PRODUCTION OF TWO-DIMENSIONAL WORKS WITH COLLAGE LED HIM TO THREE-DIMENSIONAL PIECES. THIS PERIOD SIGNIFIES A TURNING POINT, A TIME OF PURSUIT AND CHANGE, WHICH ALSO LEADS HIM TOWARDS MORE SYNTHETIC FORMS.

IN THE 1960S, MIRÓ RETURNED TO THE CONCEPTS OF COLLAGE AND ASSEMBLAGE OF OBJECTS, WHICH HE HAD DEVELOPED IN THE 1920S AND 30S, TO CREATE BRONZE SCULPTURES. HE AIMED TO USE FOUND OBJECTS AS A POINT OF DEPARTURE FOR THE INVENTION OF SCULPTURAL FORMS, SIMILAR TO HOW ACCIDENTAL SPOTS ON PAPER BECAME A BASIS FOR HIS PAINTING.

When and where were the merits of Miró’s works recognized on the international level?

IN 1941, WHEN MIRÓ HAD HIS FIRST RETROSPECTIVE EXHIBITION AT THE MoMA IN NY. 

LATER ON, IN 1959 ANOTHER MONOGRAPHIC EXHIBITION WAS HELD AT THE MoMA.  IN EARLY 1962, THE FIRST LARGE RETROSPECTIVE WAS HELD BY THE MUSÉE NATIONAL D’ART MODERNE IN PARIS, AND IN 1966 THE FIRST ONE IN JAPAN.

THIS PUBLIC REVIEW TOOK PLACE IN PARALLEL WITH A PRIVATE EXAMINATION THE ARTIST DID OF HIS PRODUCTION, STARTING IN 1956 WHEN HE WAS ABLE TO BRING TOGETHER ALL OF HIS WORK AT SON ABRINES, THE WORKSHOP/HOME HE BUILT IN MALLORCA. THANKS TO THIS NEW SPACE, DESIGNED BY HIS FRIEND THE ARCHITECT JOSEP LLUIS SERT, MIRÓ COULD PHYSICALLY CONFRONT WORKS OF HIS THAT HAD BEEN IN STORAGE SINCE THE WAR.

What was Miró’s first commission in the US?

Mural at the Terrace Plaza Hotel in Cincinnati, Ohio, IN 1947.

What were the two differentiated working methods that Miró used from 1960?

Meditative and instinctive. Meditative was more calming and soothing, while instinctive was more gestural, CHAOTIC, and rough-looking. Meditation took more time and thought process to work up TO ACHIEVE PICTORIAL EMPTINESS, and instinctual was more SPONTANEOUS AND INTEGRATED THE CONCEPTS OF ACTION, ENGAGEMENT AND RISK.

When did Miró go to Japan for the first time?

MIRÓ TRAVELED TO JAPAN FOR THE FIRST TIME IN 1966. THIS EXPERIENCE HAD A SIGNIFICANT INFLUENCE ON HIS LATER WORK, PARTICULARLY HIS EXPLORATION OF CALLIGRAPHIC BRUSHWORK AND ZEN PHILOSOPHY.

Why did Miró not want to collaborate in the 1968 exhibition organized by the Spanish Government?

• Declined to participate for political reasons. The exhibition, known as the "Salón de Mayo," was intended to celebrate Spanish culture and art, particularly during a period of heightened political tension and repression in Spain.

• Refused to collaborate with the Spanish Government as a form of protest against the Franco regime. His decision reflected his opposition to the authoritarian regime's control over artistic expression and his commitment to the principles of artistic freedom and human rights.

• Miró's stance was part of a broader movement among artists and intellectuals who sought to express dissent and resist the limitations imposed by the Franco regime

Which sort of ephemeral artwork did Miró create for the 1968 exhibition held at COAC?

• Miró created a temporary and ephemeral artwork titled "L'Heure de la Liberté" (The Hour of Liberty) for the 1968 exhibition held at the College of Architects of Catalonia (COAC) in Barcelona

• This piece was notable for its transitory nature and the artist's intention to convey a message of liberation, emphasizing the importance of freedom and the impermanence of political oppression.

When did Miró execute his first tapestry?

1. IN 1930s, MIRÓ MADE FULL-SIZED “CARTOONS FOR TAPESTRY” WHICH MARIE CUTTOLI HAD WOVEN IN EDITIONS OF ONE OR TWO. CUTTOLI, THE WIFE OF A FRENCH SENATOR FROM ALGERIA, HOPING TO REVIVE THE FADING ATELIERS OF AUBUSSON BY CREATING TAPESTRIES TO BE SOLD IN HER FASHIONABLE PARISIAN SHOP, SOLICITED PAINTINGS FROM HER ARTIST FRIENDS, INCLUDING PICASSO, BRAQUE, MATISSE, LEGER, DUFY, AND OTHERS.  

2. LATER ON, MIRÓ RETURNED TO THE TEXTILE MEDIUM IN THE TARRAGONA TAPESTRY, STARTED IN 1969. He collaborated with textile artist Josep Royo to create the tapestry. It marked the beginning of his exploration of tapestries as a medium for his artwork.

IN 1974, IN HIS LATE 70S, JOAN MIRÓ CREATED A 35-FOOT-WIDE TAPESTRY FOR THE WORLD TRADE CENTER IN NEW YORK CITY WORKING WITH ROYO, WHICH WAS LOST DURING THE TERRORIST ATTACK ON SEPTEMBER 11, 2001.

List two examples of public art that Miró did in Barcelona.

In his final years of creative production, Miró accepted many high-profile commissions for sculptures in public spaces in Barcelona, Madrid, Chicago, Milan, and Paris. SOMETHING HE GREATLY ENJOYED IN HIS PURSUIT TO STIR UP EMOTIONS IN THE PEOPLE LOOKING AT HIS ART.

1. "Woman and Bird" (Dona i Ocell), 1982

   1. Located in the Parc de Joan Miró

   2. Stands at over 22 meters tall

   3. Made of concrete and adorned with colorful mosaic tiles

2. THE WALL OF THE SUN AND WALL OF THE MOON, 1955-1958 

   1. PAIR OF MURALS MADE OF CERAMICS 

   2. COMMISSIONED FOR THE UNESCO BUILDING IN PARIS 

   3. DESIGNED BY MIRÓ AND THE CERAMICIST JOSEP LLORENS ARTIGAS

   4. INITIALLY, THE WALLS WERE INSTALLED ON THE PLACE DE FONTENOY IN PARIS, but afterwards, they were enclosed in a building that was constructed to protect them from damage caused by acid rain

   5. MIRÓ DREW INSPI­RA­TION FROM THE CAVE PAINT­INGS OF ALTAMIRA, THE ROMAN FRES­COES OF CATALONIA, AND MOSAICS BY GAUDÍ.