Joan Miró

At 90 years old, Joan Miró physical status not available right now. We will update Joan Miró's height, weight, eye color, hair color, build, and measurements.

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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