Joan Miró

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Joan Miró i Ferrà (Mi-ROH, the United States also mee-ROH, Catalan) was born in Barcelona on April 20, 1893 – December 25, 1983) was a Spanish painter, sculptor, and ceramicist born in Barcelona. The Fundació Joan Miró, a museum dedicated to his work, was established in Barcelona in 1975, and the Fundació Pilar i Joan Miró, who established the Fundació Pilar i Joan Miró in Palma's adopted city.

His work has been interpreted as Surrealism, but also into Fauvism and Expressionism, earning international recognition. In his re-creation of the childlike, he was known for his fascination with the unconscious or subconscious mind. His difficult-to-classify works also displayed a touch of Catalan pride. Miró referred to traditional painting methods as a means of sustaining bourgeois society in a series of interviews, and in favour of resetting the visual elements of established painting.

Late life and death

Miró received a doctorate honoris causa from the University of Barcelona in 1979. On December 25, 1983, the artist, who suffered from heart disease, died in his Palma (Majorca). He was later discovered in Barcelona's Montjuc Cemetery.

From Joan Miró's review of personal texts, it has been demonstrated that he has suffered with multiple episodes of depression throughout his life. When he was 18 in 1911, he suffered his first depression. The majority of the literature refers to this as if it were a small setback in his life, but it didn't seem to be any more than that. "I was demoralized and suffered from severe depression," Miró said. I became ill and stayed three months in bed,' I was so sick.

Since painting was a way of dealing with his bouts of depression, there is a strong correlation between his mental stability and his paintings. It was reported that it made him more relaxed and his thoughts less sombre. Joan Miró wrote that without painting, he became "very depressed, gloomy, and I get "black thoughts"; "I don't know what to do with myself."

In his painting Carnival of the Harlequin, the influence of his mental condition is particularly evident. He attempted to recreate the chaos in his mind, the desperate attempt to get rid of the chaos behind, and the agony caused as a result of that. Miró painted the ladder symbol here, which is also visible in several other works after this painting. It is thought that it represents escaping.

It has been studied extensively on creativity and mental disorders. Creative people have a higher risk of experiencing a manic depressive disorder or schizophrenia as well as a higher risk of passing this genetically. Even though we know Miró suffered from episodic depression, it is unclear if he ever suffered with manic episodes, which are often described as bipolar disorder.

Early fauvist

Vincent Nubiola (1917), Siurana (the road), Nord-Sud (1917), and Painting of Toledo are among his early modernist works. These works exhibit Cézanne's influence, and they fill the canvas with a vibrant surface and a more painterly finish than his later works' hard-edge style. The literary newspaper of that name appears in Nord-Sud, a cubist compositional system that is also a nod to the artist's literary and avant-garde interests.

Miró developed a very specific style, cutting out every element in isolation and detail and arranging them in a deliberate manner from 1920 to 2010. These sculptures, including House with Palm Tree (1918), Nude with a Mirror (191920), and The Table – Still Life with Rabbit (1920), reveal Cubism's growing success, but in a restrained way, it was limited 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 expanded and flattened.

The Farm (1921–22) was the pinnacle of this style. Miró claims that the rural Catalan scene it depicts is enhanced by an avant-garde French newspaper in the center, demonstrating how Miró sees this work being transformed by the Modernist views he had been exposed to in Paris. Each element's concentration was a major step toward the creation of a pictorial representation for each element. The background is rendered in a flat or patterned pattern in simple areas, emphasizing the difference between figure and ground, which would be particularly important in his mature style.

Miró's earlier attempts to promote this art, but his surrealist colleagues found it too practical and ostensibly conventional, and so he soon switched to a more radically surrealist approach.

In 1922, Miró explored abstracted, strongly colored surrealism in at least one painting. Miró's primary series of paintings from 1923 in Mont-roig began abstracted pictorial signs rather than realistic representations used in The Farm. These flat shapes and lines (mostly black or strongly colored) depict the subjects in The Tilled Field, Catalan Landscape (The Hunter) and Pastoral (1923–24), often cryptically. Miró represents the hunter in Catalan Landscape (The Hunter) with a triangle for the head, curved lines for the moustache, and angular lines for the body. So encoded is this work that Miró provided a clear explanation of the symbols used at a later date.

Miró invented pictorial sign language in the mid-1920s, which would remain prominent throughout his entire career. There is a strong continuation of the line established with The Tilled Field in Harlequin's Carnival (1924-25). However, there are still far fewer foreground figures in subsequent works, such as The Happiness of Loving My Brunette (1925) and Painting (Fratellini) (1927), and those that remain are simplified.

Miró's Spanish Dancer series of works was soon after. These simple collages were like a conceptual counterpoint to his paintings. In The Dancer (1928), he incorporates a cork, a feather, and a hatpin into a blank sheet of paper.

Miró has illustrated over 250 illustrated books. These were dubbed "Livres d' Artiste" in the United States. In 1974, one such work was published, at the behest of French writer Robert Desnos' widow, Les pénalités de l'enfer ou les nouvelles Hébrides ("The Penalties of Hell or The New Hebrides"), but it was not published. It was a set of 25 lithographs, five in black and five in colors, with five in black and the others in colors.

The book was on display in the Vero Beach Museum of Art's "Joan Miró, Illustrated Books" in 2006. One reviewer said it was "an especially useful set," not only for the rich photos but also for the book's history. The lithographs are long, narrow verticals, and although they feature Miró's familiar shapes, there is an odd emphasis on texture." "I was immediately drawn to these four prints, to an emotional lushness," the critic continued, despite Miró's cool surfaces. Their remembrance is even higher when you read how they came to be, and I believe that is even more so. In 1925, the artist met and became acquainted with Desnos, perhaps the most popular and influential surrealist writer, and before long, they began to collaborate on a livre d'artiste. Those plans were delayed due to the Spanish Civil War and World War II. Desnos' bold defense of the former resulted in his detention in Auschwitz, and he died shortly after being released in 1945 at the age of 45. Miró began to illustrate the poet's manuscript almost three decades ago, at the invitation of Desnos' widow. It was his first prose work, written in Morocco in 1922, but it wasn't revealed until this posthumous collaboration."

Early surrealism

Miró explored abstracted, strongly colored surrection in at least one painting in 1922. Miró's primary series of paintings began in Mont-roig in 1923, abstracting pictorial representations rather than realistic representations used in The Farm. These flat shapes and lines (mostly black or strongly coloured) depict the subjects, often in a cryptic way in The Tilled Field, Catalan Landscape (The Hunter) and Pastoral (1923-2004). Miró depicts the hunter in Catalan Landscape (The Hunter) with a triangle for the head, curved lines for the moustache, and angular lines for the body. This work is so encoded that Miró gave a detailed account of the signs used at a later date.

Miró invented the pictorial sign language, which would remain important throughout his entire career. There is a strong repeat of the line that started with The Tilled Field in Harlequin (1924-25). But there are fewer foreground figures in subsequent works, such as The Happiness of Loving My Brunette (1925) and Painting (Fratellini) (1927), and those that remain are simplified.

Miró's Spanish Dancer collection of works followed shortly after. These simple collages were like a conceptual counterpoint to his paintings. In Spanish Dancer (1928), he incorporates a cork, a feather, and a hatpin onto a blank sheet of paper.

Miró has published over 250 illustrated books. These were described as "lives d' Artiste" by the artist. In 1974, one such work, "Le pénalités de l'enfer ou les nouvelles Hébrides," by French poet Robert Desnos' widow, was published ("The Penalties of Hell or The New Hebrides"), was published. It was a set of 25 lithographs, five in black and five in colors, with some in black and some in shades.

The book was on display in "Joan Miró, Illustrated Books" at the Vero Beach Museum of Art in 2006. "It's a good set, not only for the rich images, but also for the story behind the book's creation," one commentator said. The lithographs are long, narrow verticals, and although they depict Miró's familiar shapes, a peculiar emphasis has been placed on texture." "I was immediately drawn to these four prints, which is in contrast to Miró's cool surfaces. Their remembrance is even more evident when you read how they came to be. In 1925, the artist met and became friends with Desnos, perhaps the most popular and influential surrealist writer, and before long, they announced plans to collaborate on a livre d'artiste. Those plans were postponed due to the Spanish Civil War and World War II. Desnos' strong defense of the former resulted in his detention in Auschwitz, and he died at the age of 45 shortly after being released in 1945. Miró began to illustrate the poet's manuscript nearly three decades after his widow's death, at the suggestion of Desnos' widow. It was his first work in prose, written in Morocco in 1922, but it wasn't announced until this posthumous collaboration."

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Career

Miró's initial enrollment in business school as well as art school was a priority. He began his working career as a clerk as a youth but later switched to art after suffering from a nervous breakdown. Vincent van Gogh and Paul Cézanne inspired his early art, which was similar to Fauves and Cubists. Scholars have dubbed this period of Miró's Catalan Fauvist period as if his work resembles that of the intermediate generation of the avant-garde.

Miró's solo exhibition in Barcelona in 1918 closed in Paris, where he completed a series of paintings that he had created in Mont-roig del Camp. One of the Farm paintings, The Farm, represented a change in a more personal style of painting and some nationalistic characteristics. Ernest Hemingway, a designer who later purchased the work, likened the artistic achievement to James Joyce's Ulysses, saying, "It has in it all that you think about Spain when you visit it, and it all happens when you are away and can't go there." "No one else has been able to draw these two radically different styles." Miró returned to Mont-roig annually and created a symbolism and nationalism that would remain with him throughout his career. Surrealist, Catalan Landscape (The Hunter) and The Tilled Field are two of Miró's first works, which are to dominate the art of the next decade.

Josép Dalmau curated Miró's first Paris solo exhibition, which opened in 1921 at Galerie la Licorne.

Miró joined the Surrealist party in 1924. Miró's work, as well as the various dialects and contradictions inherent to it, fits well within the context of the group's dream-like automatism. Miró's work shed the cluttered, cluttered lack of focus that had characterized his career so far, and he experimented with collage and painting within his art in order to avoid traditional painting's framing. In a letter to poet friend Michel Leiris, Miró referred to his 1924 work ambiguously as "x." Miró's dream paintings were among the paintings that came out of this period.

Miró did not completely dismiss the subject matter, though. Despite the Surviving automatic techniques that he used extensively in the 1920s, sketches reveal that his art was largely the result of a systematic process. Miró's work was rarely debating non-objectivity by employing a symbolic, schematic language. This was perhaps the most popular of a Catalan Peasant series from 1924 to 1925. He worked with Max Ernst on 1926 designs for ballet impresario Sergei Diaghilev.

Miró's 1928 drawings in The Dutch Interiors of 1928 revived a more realistic style of painting. The paintings, which were made in response to Hendrik Martenszoon Sorgh and Jan Steen's work as postcard reproductions, reveal the artist's visit to Holland. These paintings are more in tune with Tilled Field or Harlequin's Carnival than with the minimalistic dream paintings created a few years ago.

On October 12, 1929, Miró married Pilar Juncosa in Palma (Majorca). Mara Dolores Miró's daughter was born on July 17th, 1930. Pierre Matisse founded an art gallery in New York City in 1931. The Pierre Matisse Gallery (which existed before Matisse's death in 1989) became a pivotal part of America's Modern art movement. Matisse began representing Joan Miró and introduced his art to the US market by regularly exhibiting Miró's work in New York.

Miró returned to Spain in the summers before the Spanish Civil War began. He was unable to return home when the war began. Miró had previously preferred to avoid explicitly political discourse in his writing, unlike many of his surrealist contemporaries. Although a sense of (Catalan) nationalism pervaded his first surreal landscapes and Head of a Catalan Peasant, it wasn't until Spain's Republican government commissioned him to paint the mural The Reaper, which was on display at the 1937 Paris Exhibition that took on a political significance.

Miró immigrated to Varengeville, Normandy, and as Germans invaded Paris, he barely escaped to Spain (now ruled by Francisco Franco) for the duration of the Vichy Regime's reign. Miró created the twenty-three gouache series Constellations in Varengeville, Palma, and Mont-roig, between 1940 and 1941. Constellations, a reference to celestial symbolism, earned André Breton's recognition, who died later this year and inspired by Miró's work. The work exposed a shifting focus on women, birds, and the moon, which would dominate his iconography for the remainder of his career.

In 1940, Shuzo Takiyo published the first monograph on Miró. Miró, 1948-49, was born in Barcelona and spent many trips to Paris to work on printing techniques at Mourlot Studios and the Atelier Lacourière. He developed a close friendship with Fernand Mourlot, which culminated in the production of over 1,000 different lithographic editions.

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

Miró and the Catalan artist Josep Royo created a tapestry for the World Trade Center in New York City in 1974. He had initially refused to do a tapestry, but later learned how to create Royo's art, and the two artists created several works together. During the September 11 attacks, his World Trade Center Tapestry was on sale at the museum and was one of the most expensive works of art lost during the September 11 attacks.

Miró and Royo created a tapestry that will be on display in the National Gallery of Art in Washington, DC, in 1977.

The Sun, the Moon, and One Star, Miró's Chicago, 1981, was unveiled in 1981. This large, mixed media sculpture is on view outside in Chicago's downtown Loop neighborhood, across the street from another large public sculpture, the Chicago Picasso. In 1967, Miró produced a bronze model of The Sun, the Moon, and One Star. The maquette now resides in the Milwaukee Art Museum.

Miró was awarded a doctorate honoris causa from the University of Barcelona in 1979. On December 25, 1983, the artist, who suffered from heart disease, died in his Palma (Majorca). He was later discovered in Barcelona's Montjuc Cemetery.

It has been discovered through Joan Miró's review of personal papers that he has had many episodes of depression throughout his life. When he was 18 in 1911, he suffered with his first depression. Much of the literature refers to this as if it was a small setback in his life, but it didn't seem to be much more than that. "I was demoralized and suffering from a serious depression," Miró said. I was very sick and stayed three months in bed.'

Since he used painting as a way of dealing with his bouts of depression, there is a strong correlation between his mental stability and his artwork. It's said that it made him more alert and his thoughts less sombre. Joan Miró said that without painting, he became "very depressed, gloomy, and I get "black thoughts"; "I don't know what to do with myself."

In his painting Carnival of the Harlequin, his mental condition is very evident. He attempted to imagine the chaos he felt inside himself, the desperation of trying to ignore the chaos, and the agony that came as a result of this. Miró painted the ladder symbol here, which is also seen in several other works after this painting. It is supposed to represent fleeing.

Creativity and mental disorders has been extensively researched. Creative people have a higher risk of experiencing a manic depressive disorder or schizophrenia as well as a higher risk of transmitting this genetically. Even though Miró suffered from episodic depression, it is unknown if he also suffered from manic episodes, which are often described as bipolar disorder.

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