In 1975, Miró opened to the public the Fundació Joan Miró, eight years before his death in December 1983. This ambition furthered his acclaim for instance, two massive, ceramic murals for the UNESCO headquarters in Paris, representative also of his late-career interest in ceramics, won him a Guggenheim International Award in 1958. Miró’s first visit to the US in 1947 marks the beginning of his desire to communicate with a wider audience, specifically by working in public spaces.
It was during this period that he began to achieve international acclaim, and a large retrospective at the Museum of Modern Art in New York in 1941 solidified his reputation within the art world. The war eventually caused Miró to relocate to Paris in 1936 but by 1940 he was forced to return to Spain to escape the German occupation of France. There is a charming sense of playfulness throughout much of Miró’s oeuvre, though the onset of the Spanish Civil War inspired more solemn and melancholic motifs in his work. However, although André Breton, author of the Surrealist manifesto, wrote that Miró was “probably the most Surrealistic of us all,” Miró’s work still stood apart he omitted the accessible, representational elements present in much of the work by other Surrealists.
#Joan miro lithograph full#
Throughout his career, despite occasional returns to figuration or full abstraction, Miró remained consistently true to the core tenet of Surrealism: working with the intention of liberating the creative powers of the unconscious from the constraints of logic and reason. Although Miró’s early work was influenced by several movements of the time, including Fauvism, Cubism, and Dadaism, he became most well known among the Surrealists, whose first manifesto he signed in 1924. In 1917 he had his first solo show, the same year he met both Pablo Picasso and Francis Picabia. Born on Apin Barcelona, Joan Miró began his studies in art early, at the age of fourteen, at the art academy of Barcelona.
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