Joan Miró

Joan Miró, April 1917, Portrait of Vincent Nubiola (Portrait de Vincenç Nubiola), oil on canvas, 104 x 113 cm, Folkwang Museum

Joan Miró, 1918, La casa de la palmera (The House with the Palm Tree), oil on canvas, 65 x 73 cm, Museo Nacional Centro de Arte Reina Sofía. Exhibited at Galerie La Licorne, Paris, 1921, reproduced in the catalogue[16]

Joan Miró, 1918, Portrait of Heriberto Casany (Le chauffeur), oil on canvas, 70.2 x 62 cm, Kimbell Art Museum. Exhibited at Galerie La Licorne, Paris, 1921, reproduced in the catalogue[16]

Joan Miró, 1919, Nu au miroir (Nude with a Mirror, Naakt met een spiegel), oil on canvas, 113 x 102 cm, Kunstsammlung Nordrhein-Westfalen. Exhibited at Galerie La Licorne, Paris, 1921, reproduced in the catalogue[16]

Joan Miró, 1920, Les cartes espagnoles (The Spanish Playing Cards), oil on canvas, 63.5 x 69.5 cm, Minneapolis Institute of Arts. Exhibited at Galerie La Licorne, Paris, 1921, reproduced in the catalogue[16]

Joan Miró, 1920, Horse, Pipe and Red Flower, oil on canvas, 82.6 × 74.9 cm, Philadelphia Museum of Art. Exhibited Exposició d'Art francès d'Avantguarda, Galeries Dalmau, 26 October – 15 November 1920, reproduced in the catalogue[17]

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 by Vincent van Gogh and Paul 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 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."[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) and The 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-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.[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 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.

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.[26] These paintings share more in common with Tilled Field or Harlequin'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 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 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.[27][28]

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 was not 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.[29]

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.[30] 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.[31] 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 with Fernand Mourlot and that resulted in the production of over one thousand different lithographic editions.

In 1959, André Breton asked Miró to represent Spain in The Homage to Surrealism exhibition alongside Enrique Tábara, Salvador Dalí, and Eugenio Granell. Miró created a series of sculptures and ceramics for the garden of the Maeght Foundation in Saint-Paul-de-Vence, France, which was completed in 1964.

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[32] and was one of the most expensive works of art lost during the September 11 attacks.[33][34]

In 1977, Miró and Royo finished a tapestry to be exhibited in the National Gallery of Art in Washington, DC.[35][36]

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, the Chicago 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.

In 1979 Miró received a doctorate honoris causa from the University of Barcelona. The artist, who suffered from heart failure, died in his home in Palma (Majorca) on 25 December 1983.[37] He was later interred in the Montjuïc Cemetery in Barcelona.

It has been established through the analysis of personal texts written by Joan Miró that he has experienced multiple episodes of depression throughout his life.[38] He experienced his first depression when he was 18 in 1911.[39] Much of the literature refers to this as if it was a small setback in his life, while it appeared to be much more than that.[40] Miró himself stated: ‘'I was demoralized and suffered from a serious depression. I fell really ill, and stayed three months in bed’’.[41]

There is a clear connection between his mental health and his paintings, since he used painting as a way of dealing with his episodes of depression. It supposedly even made him more calm and his thoughts less dark. Joan Miró said that without painting he became ‘‘very depressed, gloomy and I get ‘black ideas’, and I do not know what to do with myself’’.[42]

The influence of his mental state is very well visible in his painting Carnival 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.[43]

The relation between creativity and mental illness is very well studied.[44] Creative people have higher chances of suffering from a manic depressive illness or schizophrenia, as well as higher chance to transmit this genetically.[45] 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.[46]

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 colorful 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.[47]

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, including House with Palm Tree (1918), Nude with a Mirror (1919), Horse, Pipe and Red Flower (1920), and The Table – Still Life with Rabbit (1920), show the clear influence of Cubism, 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.[48]

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.[49]

In 1922, Miró explored abstracted, strongly coloured surrealism in at least one painting.[50] 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. In The Tilled Field, Catalan Landscape (The Hunter) and Pastoral (1923–24), these flat shapes and lines (mostly black or strongly coloured) suggest the subjects, sometimes quite cryptically. For Catalan 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.[51]

Through the mid-1920s Miró developed the pictorial sign language which would be central throughout the rest of his career. In Harlequin's Carnival (1924–25), there is a clear continuation of the line begun with The Tilled Field. But in subsequent works, such as The Happiness of Loving My Brunette (1925) and Painting (Fratellini) (1927), there are far fewer foreground figures, and those that remain are simplified.

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.[49]

Dona i Ocell, 1982, Barcelona, Spain

Miró created over 250 illustrated books.[52] 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."

The Fundació Joan Miró Museum on Montjuïc in Barcelona. The building is by rationalist architect Josep Lluís Sert.

Pájaro lunar (Moon Bird), 1966, Reina Sofia Museum, Madrid

Pilar and Joan Miró Foundation in Palma de Mallorca. Pictured is Miró's former workshop, built by Josep Lluís Sert.

Joan Miró was among the first artists to develop automatic drawing as a way to undo previous established techniques in painting, and thus, with André Masson, represented the beginning of Surrealism 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 and surrealism, to expressionism, Lyrical Abstraction, and Color 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.[54]

Miró's oft-quoted interest in the assassination of painting is derived from a dislike of bourgeois 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 to Picasso's paintings, with the intent to attack the popularity and appropriation of Picasso's art by politics.[55]

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 in Twentieth-Century Artists on Art

In an interview with biographer Walter Erben, Miró expressed his dislike for art 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."[56]

In the final decades of his life Miró accelerated his work in different media, producing hundreds of ceramics, including the Wall of the Moon and Wall of the Sun at the UNESCO 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 of gas sculpture and four-dimensional painting.