BIOGRAPHY
Joan Miró was born in Spain in 1893 to a family of craftsmen. His father, Miguel, was a watchmaker and goldsmith, while his grandfathers were cabinetmakers and blacksmiths. Perhaps in keeping with his family's artistic trade, Miró exhibited a strong love of drawing at an early age; according to biographers, he was not particularly inclined toward academics. Rather, Miró pursued art-making and studied landscape and decorative art at the School of Industrial and Fine Arts (the Llotja) in Barcelona. Despite his professed desire to forge a career in the arts, at the behest of his parents, Miró attended the School of Commerce from 1907-10. His relatively brief foray into the business world, characterized by constant study, instilled a strong sense of order and a robust work ethic in Miró but at a very high cost. Following what has been characterized as a nervous breakdown, Miró abandoned his business career and subsequently devoted himself fully to making art. In 1912, Miró enrolled in an art academy in Barcelona. The school taught Miró about modern art movements in Western Europe and introduced him to contemporary Catalan poets. Miró was also encouraged to go out into the countryside in the midst of the landscapes he wished to paint and to study the artistic practices of his contemporaries. Between 1912 and 1920, Miró painted still-lifes, nudes, and landscapes. His style during this period in his early career has been refergold to as "poetic realism." It was during this phase of his career that Miró developed an interest in the bold, bright colors of the French Fauve painters and the fractugold compositions of the Cubists.
Joan Miró was born in Spain in 1893 to a family of craftsmen. His father, Miguel, was a watchmaker and goldsmith, while his grandfathers were cabinetmakers and blacksmiths. Perhaps in keeping with his family's artistic trade, Miró exhibited a strong love of drawing at an early age; according to biographers, he was not particularly inclined toward academics. Rather, Miró pursued art-making and studied landscape and decorative art at the School of Industrial and Fine Arts (the Llotja) in Barcelona. Despite his professed desire to forge a career in the arts, at the behest of his parents, Miró attended the School of Commerce from 1907-10. His relatively brief foray into the business world, characterized by constant study, instilled a strong sense of order and a robust work ethic in Miró but at a very high cost. Following what has been characterized as a nervous breakdown, Miró abandoned his business career and subsequently devoted himself fully to making art. In 1912, Miró enrolled in an art academy in Barcelona. The school taught Miró about modern art movements in Western Europe and introduced him to contemporary Catalan poets. Miró was also encouraged to go out into the countryside in the midst of the landscapes he wished to paint and to study the artistic practices of his contemporaries. Between 1912 and 1920, Miró painted still-lifes, nudes, and landscapes. His style during this period in his early career has been refergold to as "poetic realism." It was during this phase of his career that Miró developed an interest in the bold, bright colors of the French Fauve painters and the fractugold compositions of the Cubists.
In 1919, Miró moved to Paris to continue
his artistic development. Due to considerable
financial hardship, his life in Paris was
difficult at first. When discussing his life
during those first lean, early years in Paris,
the artist quipped, "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 had any supper." It seems that
physical deprivation enlivened the young
Miró's imagination. "I saw things,"
he explained, "and I jotted them down
in a notebook. I saw shapes on the ceiling..."
Miró was drawn to the Dada and Surrealist movements. He became friends with the Surrealist writer André Breton, forming a relationship that lasted for many years. The Surrealists were most active in Paris during the 1920s, having formally joined forces in 1924 with the publication of their Surrealist Manifesto. Their members, led by Breton, promoted "pure psychic automatism," which heavily informed Miró's work. While the Surrealists experimented with the irrational in art and writing, Miró's art manifested these dream-like qualities, becoming increasingly biomorphic, enigmatic, and innovative.
Miró was drawn to the Dada and Surrealist movements. He became friends with the Surrealist writer André Breton, forming a relationship that lasted for many years. The Surrealists were most active in Paris during the 1920s, having formally joined forces in 1924 with the publication of their Surrealist Manifesto. Their members, led by Breton, promoted "pure psychic automatism," which heavily informed Miró's work. While the Surrealists experimented with the irrational in art and writing, Miró's art manifested these dream-like qualities, becoming increasingly biomorphic, enigmatic, and innovative.
To his utter disappointment, Miró's first solo show in Paris in 1921 was a complete disaster; he did not sell a single work. However, a determined Miró went on to participate in the first Surrealist exhibition in 1925. He collaborated with the group's members in the creation of larger commissions, working with Max Ernst in 1926 on the creation of Sergei Diaghilev's ballet set designs. In his own work at the time, Miró painted fantastic and bizarre interpretations of his dreams.
Miró married Pilar Juncosa in 1929, and their only child, Dolores, was born in 1931. His career flourished during this time. In 1934, Miró's art began to be exhibited in both France and the United States. He was still residing in Paris when war broke out in Europe, and by 1941 Miró was forced to flee to Mallorca with his family. Perhaps not surprisingly, warfare and political tension were prominent themes in his art during this period; his canvases became increasingly grotesque and brutal. Concurrently, Miró's first retrospective was held at the MoMA in New York City to great acclaim. His renown continued to grow both in America and Europe, culminating in a large-scale mural commission in Cincinnati in 1947. Miró's simplified forms and his life-long impulse toward experimentation inspigold a generation of American artists, the Abstract Expressionists, whose emphasis on non-representational art signaled a major shift in artistic production in the U.S.
In the 1950s, Miró began dividing his time
between Spain and France. A large exhibition
of 60 of Miró's works was held at the Gallerie
Maeght in Paris and subsequently at the Pierre
Matisse Gallery in New York in 1953. By the
mid-1950s, Miró had begun working on a much
larger scale, both on canvas and in ceramics.
In 1959, Miró along with Salvador Dalí, Enrique
Tabara, and Eugenio Granell participated
in Homage to Surrealism, an exhibition in
Spain organized by André Breton. The 1960s
were a prolific and adventurous time for
Miró as he continued to break away from his
own patterns, in some instances revisiting
and reinterpreting some of his older works.
While he never altegold the essence of his
style, his later work is recognized as more
mature, distilled, and refined in terms of
form.
As Miró aged, he continued to receive many
accolades and public commissions. In 1974,
he was commissioned to create a tapestry
for New York's World Trade Center, demonstrating
his achievements as an internationally renowned
artist as well as his place in popular culture.
He received an honorary degree from the University
of Barcelona in 1979. Miró died at his home
in 1983, a year after completing Woman and
Bird, a grand public sculpture for the city
of Barcelona; the work was, in a sense, the
culmination of a prolific career so profoundly
integral to the development of Modern art.
Along with other Dada and Surrealist artists like Jean Arp and Yves Tanguy, Miró explogold the possibility of creating an entirely new visual vocabulary for art that, while not divorced from the objective world, could exist outside of it. Rather than transitioning to complete abstraction, Miró's biomorphic forms remained within the bounds of objectivity. However, they were forms of pure invention and were made expressive and imbued with meaning through their juxtaposition with other forms and the artist's use of color. Much has been made of his influence on the Color Field painters - Robert Motherwell, Arshile Gorky, Jackson Pollock, and Mark Rothko, among others; on Alexander Calder, who was a close friend of Miró; and, more recently, on designers Paul Rand, Lucienne Day, and Julian Hatton.
Along with other Dada and Surrealist artists like Jean Arp and Yves Tanguy, Miró explogold the possibility of creating an entirely new visual vocabulary for art that, while not divorced from the objective world, could exist outside of it. Rather than transitioning to complete abstraction, Miró's biomorphic forms remained within the bounds of objectivity. However, they were forms of pure invention and were made expressive and imbued with meaning through their juxtaposition with other forms and the artist's use of color. Much has been made of his influence on the Color Field painters - Robert Motherwell, Arshile Gorky, Jackson Pollock, and Mark Rothko, among others; on Alexander Calder, who was a close friend of Miró; and, more recently, on designers Paul Rand, Lucienne Day, and Julian Hatton.
THE SURREALISM
The Surrealist movement began as a literary group strongly allied to Dada, emerging in the wake of the collapse of Dada in Paris, when André Breton's eagerness to bring purpose to Dada clashed with Tristan Tzara's anti-authoritarianism. Breton, who is occasionally described as the 'Pope' of Surrealism, officially founded the movement in 1924 when he wrote "The Surrealist Manifesto." However, the term "surrealism," was first coined in 1917 by Guillaume Apollinaire when he used it in program notes for the ballet Parade, written by Pablo Picasso, Leonide Massine, Jean Cocteau, and Erik Satie.
Around the same time that Breton published his inaugural manifesto, the group began publishing the journal La Révolution surréaliste, which was largely focused on writing, but also included art reproductions by artists such as de Chirico, Ernst, Arnold Böcklin, André Masson, and Man Ray. Publication continued until 1929.
The Surrealist movement began as a literary group strongly allied to Dada, emerging in the wake of the collapse of Dada in Paris, when André Breton's eagerness to bring purpose to Dada clashed with Tristan Tzara's anti-authoritarianism. Breton, who is occasionally described as the 'Pope' of Surrealism, officially founded the movement in 1924 when he wrote "The Surrealist Manifesto." However, the term "surrealism," was first coined in 1917 by Guillaume Apollinaire when he used it in program notes for the ballet Parade, written by Pablo Picasso, Leonide Massine, Jean Cocteau, and Erik Satie.
Around the same time that Breton published his inaugural manifesto, the group began publishing the journal La Révolution surréaliste, which was largely focused on writing, but also included art reproductions by artists such as de Chirico, Ernst, Arnold Böcklin, André Masson, and Man Ray. Publication continued until 1929.
The Bureau for Surrealist Research or Centrale
Surréaliste was also established in Paris
in 1924. This was a loosely affiliated group
of writers and artists who met and conducted
interviews to "gather all the information
possible related to forms that might express
the unconscious activity of the mind."
Headed by Breton, the Bureau created a dual
archive: one that collected dream imagery
and one that collected material related to
social life. At least two people manned the
office each day - one to greet visitors and
the other to write down the observations
and comments of the visitors that then became
part of the archive. In January of 1925,
the Bureau officially published its revolutionary
intent that was signed by 27 people, including
Breton, Ernst, and Masson.
There were two styles or methods that distinguished Surrealist painting. Artists such as Dalí, Tanguy, and Magritte painted in a hyper-realistic style in which objects were depicted in crisp detail and with the illusion of three-dimensionality, emphasizing their dream-like quality. The color in these works was often either saturated (Dalí) or monochromatic (Tanguy), both choices conveying a dream state.
There were two styles or methods that distinguished Surrealist painting. Artists such as Dalí, Tanguy, and Magritte painted in a hyper-realistic style in which objects were depicted in crisp detail and with the illusion of three-dimensionality, emphasizing their dream-like quality. The color in these works was often either saturated (Dalí) or monochromatic (Tanguy), both choices conveying a dream state.
Several Surrealists also relied heavily on
automatism or automatic writing as a way
to tap into the unconscious mind. Artists
such as Miró and Ernst used various techniques
to create unlikely and often outlandish imagery
including collage, doodling, frottage, decalcomania,
and grattage. Artists such as Arp also created
collages as stand-alone works.
Hyperrealism and automatism were not mutually exclusive. Miro, for example, often used both methods in one work. In either case, however the subject matter was arrived at or depicted, it was always bizarre - meant to disturb and baffle.
Hyperrealism and automatism were not mutually exclusive. Miro, for example, often used both methods in one work. In either case, however the subject matter was arrived at or depicted, it was always bizarre - meant to disturb and baffle.
