Joan Miró (1893 Barcelona, Spain – 1983 Palma de Mallorca, Spain).
Early in his career, Miró primarily painted still-lifes, landscapes, and genre scenes. Influences ranging from the folk art and Romanesque church frescoes of his native Catalan region in Spain to 17th-century Dutch realism were eventually superseded by more contemporary ones: Fauvism, Cubism, and Surrealism captivated the young artist, who had relocated to Paris in 1921. His exposure to the ideas of André Breton and Breton's Surrealist circle prompted Miró to make radical changes to his style, although the artist cannot be said to have identified consistently with a single school. Rather, his artistic career may be characterised as one of persistent experimentation and a lifelong flirtation with non-objectivity. Miró's signature biomorphic forms, geometric shapes, and semi-abstracted objects are expressed in multiple media, from ceramics and engravings to large bronze installations.
For a full biography of Miró, and for earlier works, see part 1 also.
Note: All Miro works © 2018 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris
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| c1930 Joan Miró by Man Ray gelatin silver print |
This is part-2 of a 23-part series on the works of Joan Miró:
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| 1927 Cloud and Birds oil on canvas 146 x 114 cm Museum of Fine Arts, Boston MA |
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| 1927 Landscape ( The Hare ) oil on canvas 129 x 194.6 cm Solomon R. Guggenheim Museum, New York |
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| 1927 Landscape, Landscape with Cockerel oil on canvas 131 x 196.5 cm Fondation Beyeler, Riehen, Switzerland |
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| 1927 Painting tempera and oil on canvas 73 x 92.1 cm The Metropolitan Museum of Art, New York |
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| 1927 Painting tempera and oil on canvas 97.2 x 130.2 cm Tate, London |
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| 1927 Painting: The Fratellini Brothers oil on canvas 130 x 97.5 cm Fondation Beyeler, Riehen, Switzerland |
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| 1928 Composition with Foot black chalk, over graphite, on cream wove paper 48.4 x 61.3 cm Art Institute of Chicago, IL |
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| 1928 Dutch Interior ( I ) oil on canvas 91.8 x 73 cm Museum of Modern Art, New York |
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| 1928 Dutch Interior II oil on canvas 92 x 73 cm Peggy Guggenheim Collection |
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| 1928 Dutch Interior III oil on canvas 129.9 x 96.8 cm The Metropolitan Museum of Art, New York |
1928 Il était une petite pie
( There was a Little Magpie by Lise Deharme )
Editions Jeanne Bucher, Paris:
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| 1928 Il était une petite pie ( There was a Little Magpie ) 32 x 25.2 cm |
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| 1928 Potato oil on canvas 101 x 81.6 cm The Metropolitan Museum of Art, New York |
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| 1929 Portrait of Mistress Mills in 1750 oil on canvas 116.7 x 89.6 cm Museum of Modern Art, New York |
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| 1930 Painting oil on canvas 231 x 150.5 cm |
1930 Relief Construction
This work is one of two of Miró's 1930 wood and metal constructions that are known to have survived. These constructions were made from pieces of wood that could easily have been found at a carpentry shop. Sharp nails are hammered through the red wooden circle at the top left of this composition. Their tips aim outward in an aggressive challenge to traditional artistry and figuration.
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| 1930 Relief Construction oil on wood, nails, staples, and metal on wood panel 91.1 x 70.2 x 16.2 cm Museum of Modern Art, New York |
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| 1930 Study black crayon on cream laid paper 62.5 x 46.5 cm Art Institute of Chicago, IL |
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| 1930 Untitled pencil on Ingres paper 62 x 46 cm |
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| 1931 Object oil on wood, nails, string, bone, and chickpea 40 x 29.7 x22 cm Museum of Modern Art, New York |
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| 1931 Seated Woman oil on paper 63 x 46 cm Fundació Joan Miró, Barcelona |
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| 1932 Bather oil and pencil on wood 36.8 x 45.7 cm Museum of Modern Art, New York |
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| 1932 Composition with Figures gouache, over traces of graphite, on cream wove paper 48.2 x 63.2 cm Art Institute of Chicago, IL |
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| 1932 Figure oil on panel 27.3 x 20 cm Art Institute of Chicago, IL |
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| 1932 Flame in Space and Nude Woman oil on cardboard 41 x 32 cm Fundació Joan Miró, Barcelona |
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| 1932 Painting oil on panel 32 x 25 cm |
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| 1933 Composition, Small Universe gouache on cardboard 39.5 x 31.5 cm Fondation Beyeler, Riehen, Switzerland |
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| 1933 Daphnis and Chloé drypoint on Arches paper 26.5 x 32 cm ( plate ) |
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| 1933 Drawing-Collage printed paper, postcards and sandpaper, with graphite and black crayon on tan wove paper 106.5 x 71.9 cm Art Institute of Chicago, IL |
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| 1933 Painting oil on canvas 174 x 196.2 cm Museum of Modern Art, New York |
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| 1933 Painting oil on canvas 130.5 x 162.9 cm Wadsworth Atheneum Museum of Art, Hartford, CT |
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| 1933 Personages with Star oil on canvas 198.1 x 246.4 cm |
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| 1933 Untitled ( Drawing-Collage ) charcoal and cut-and-pasted painted paper and cut-and-pasted hand-coloured gelatin silver print on paper 63.5 x 47.3 cm Museum of Modern Art, New York |
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| 1933 Untitled collage and conté crayon on paper 108 x 72 cm Fundació Joan Miró, Barcelona |
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| 1933 Untitled conté crayon, gouache and collage on paper 108 x 70 cm Fundació Joan Miró, Barcelona |
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| 1933-34 "Hirondelle Amour" oil on canvas 199.3 x 247.6 cm Museum of Modern Art, New York |
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| 1934 Collage corrugated cardboard, felt, gouache, and pencil on sandpaper 36.9 x 23.6 cm Museum of Modern Art, New York |
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| 1934 Woman pastel on flocked paper 106.7 x 71.1 cm The Metropolitan Museum of Art, New York |
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| 1934 Woman pastel, charcoal, and graphite, with smudging and scraping, on tan wove paper 107.1 x 71.4 cm Art Institute of Chicago, IL |
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| 1934 Figure charcoal pencil, pastel and pencil on paper 107 x 72 cm Fundació Joan Miró, Barcelona |
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| 1934 Figures by the Sea colour pochoir 31.8 x 24 cm |
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| 1934 Painting oil on canvas 97 x 130 cm Fundació Joan Miró, Barcelona |
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| 1934 Surrealist Composition I colour pochoir 38 x 28 cm |
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| 1934 Surrealist Composition colour pochoir 31.5 x 24.5 cm |
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| 1934 Untitled ( Homage to Joan Prats ) collage, pencil and charcoal on paper 63.3 x 47 cm Fundació Joan Miró, Barcelona |
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| 1934 Untitled brush and black ink, and pastel on off-white laid paper 61.5 x 46.5 cm Art Institute of Chicago, IL |