Joan Miró facts for kids
Quick facts for kids
Joan Miró
|
|
|---|---|
Portrait by Carl Van Vechten, 1935
|
|
| Born |
Joan Miró i Ferrà
20 April 1893 Barcelona, Catalonia, Spain
|
| Died | 25 December 1983 (aged 90) Palma, Mallorca, Spain
|
| Education | Escola de Belles Arts de la Lotja and Escola d'Arte de Francesc Galí, Cercle Artístic de Sant Lluc, 1907–1913 |
| Known for | Painting, sculpture, mural and ceramics |
| Movement | Surrealism |
| Spouse(s) |
Pilar Juncosa Iglésias
(m. 1929) |
| Awards |
|
| Signature | |
 |
|
Joan Miró i Ferrà (20 April 1893 – 25 December 1983) was a Spanish painter, sculptor, and ceramicist 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.
Joan Miró started painting when he was fourteen he attended an art school. He then started to develop his own style to draw scenes of trees and landscapes. In around the 1930s Joan started to make rapid changes to his style of painting. Influenced by Pablo Picasso, Miro developed more surrealist works.
Miró was a significant influence on late 20th-century art, in particular the American abstract expressionist artists.
Today, Miró's paintings sell for between US$250,000 and US$26 million; US$17 million at a U.S. auction for the La Caresse des étoiles (1938) on 6 May 2008, at the time the highest amount paid for one of his works. In 2012.
Biography
Born into a family of a goldsmith and a watchmaker, Miró grew up in the Barri Gòtic neighborhood of Barcelona. The Miró surname indicates some possible Jewish roots (in terms of marrano or converso Iberian Jews who converted to Christianity). His father was Miquel Miró Adzerias and his mother was Dolores Ferrà. 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 at La Llotja in 1907. He studied at the Cercle Artístic de Sant Lluc and he had his first solo show in 1918 at the Galeries Dalmau, where his work was ridiculed and defaced. Inspired by Fauve and Cubist exhibitions in Barcelona and 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.
Career
,_oil_on_canvas,_65_x_73_cm,_Museo_Nacional_Centro_de_Arte_Reina_Sof%C3%ADa.jpg)
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. 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.
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, 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.
Josep Dalmau arranged Miró's first Parisian solo exhibition, at Galerie la Licorne in 1921.
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, 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. 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.
In 1932 he created a scenic design for Massine's ballet Jeux d'enfants [ru] at Ballet Russe de Monte-Carlo.
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.
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 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 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 of Art in Washington, DC.
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.
Late life and death
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 at age 90. He was later interred in the Montjuïc Cemetery in Barcelona.
Style
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, Miró's style was influenced in varying degrees by Surrealism and Dada, yet he rejected membership in any artistic movement in the interwar European years.
Miró's surrealist origins evolved out of "repression" much like all Spanish surrealist and magic realist work, especially because of his Catalan ethnicity, which was subject to special persecution by the Franco regime. Also, Joan Miró was well aware of Haitian Voodoo art and Cuban Santería religion through his travels before going into exile. This led to his signature style of art making.
Legacy and influence
Miró has been a significant influence on late 20th-century art, in particular the American abstract expressionist artists such as Motherwell, Calder, Gorky, Pollock, Matta and Rothko and others.
In 1954 he was given the Venice Biennale print making prize, in 1958 the Guggenheim International Award. In 1981, the Palma City Council (Majorca) established the Pilar and Joan Miró Foundation in Mallorca, housed in the four studios that Miró had donated for the purpose.
Images for kids
-
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
-
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
-
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
-
Joan Miró, Carrer de Pedralbes, drawing, published in Troços, Segona sèrie, N. 4, March 1918
-
Dona i Ocell, 1982, Barcelona, Spain
-
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.
-
"Les Fusains": 22, rue Tourlaque, 18th arrondissement of Paris where Miró settled in 1927.
-
The mosaic Pla de l'Os by the artist on the Ramblas of Barcelona
-
Interior views of Museo Reina Sofía
-
Hakone open-air museum
-
Grande Maternite
-
Terrace view
,_oil_on_canvas,_63.5_x_69.5_cm,_Minneapolis_Institute_of_Art.jpg)
.jpg)
.jpg)
See also
In Spanish: Joan Miró para niños
