Joan Miró – (20 April 1893 – 25 December 1983)
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Joan Miró i Ferrà 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.

Earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supporting bourgeois society, and famously declared an “assassination of painting” in favour of upsetting the visual elements of established painting.

Miró initially went to business school as well as art school. He began his working career when he was a teenager as a clerk, 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 exhibited in Barcelona, 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, 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.” Miró annually returned to Mont-roig and developed a symbolism and nationalism that would stick with him throughout his career. Catalan Landscape (The Hunter) and the Tilled Field, two of Miró’s first works classified as Surrealist, employ the symbolic language that was to dominate the art of the next decade.

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. 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. With Miró’s help, Ernst pioneered the technique of grattage, in which he troweled pigment onto his canvases.

Miró married Pilar Juncosa in Palma (Majorca) on 12 October 1929; their daughter Dolors was born 17 July 1931. 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.

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 wasn’t 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.

 

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