Joan miro articles of organization

Summary of Joan Miró

Persistent experimentation and a lifelong flirtation with non-objectivity stamped Joan Miró's magnificent mark on the art world. His canvas represented a sandbox for his subconscious mind, out from which sprang a vigorous lust for the childlike and a manifestation of his Catalan pride. His signature pictorial signs, biomorphic forms, geometric shapes, and abstracted and semi-abstracted objects helped inform a relentlessly original oeuvre in multiple media from ceramics and engravings to large bronze installations. His radically, inventive style was a critical contributor to the early-20^th-century avant-garde's journey toward increasing and then complete abstraction. Although Miró has been associated with early Surrealism and has had an influence on Abstract Expressionists and Color Field painters, he remains one of modern art's greatest mavericks with a visual vocabulary unmistakably his own.

Accomplishments

• Via his own Surrealism-inspired exploration, M

  •

  The Fundació Joan Miró Archive: Awareness of and Responsibility for a Legacy

  Emotion and Respect

  One enters the Fundació’s archive tyst, almost on tiptoe. Not because there are any rules to that effect – simply because you know you are stepping into the artist’s most intimate realm. Teresa Montaner has been in charge of the archive for years, and recounts the first time she had access to Miró’s “papers” thanks to the Fundació’s then director Rosa Maria Malet and head of conservation Carme Escudero.

  She knew Miró from his finished work, as it was presented at university within the syllabus for the overall history of modern art, and also the Miró she had seen in museums. At the time, Alexandre Cirici had already referred to Miró’s papers, Gaetan Picon had published the Carnets Catalans and Pere Gimferrer was writing The Roots of Miró, but in the university, artists were rarely approached in terms of their work processes. “Discovering Miró through his drawings was thrilli

• 

•

Though often pigeonholed as a Surrealist, the Catalan modernist Joan Miró considered his art to be free of any “ism.” He experimented feverishly throughout his career with different media—painting, pastel, printmaking, sculpture, ceramics, collage, muralism, and tapestry—and unconventional materials as a way of making work that expressed the contemporary moment without relying on the tools of mimetic realism.

Miró was born on April 20, 1893, in Barcelona and grew up in a family of watchmakers. At the age of fourteen, he enrolled in business school while concurrently taking art classes at the Escuela Superior de Artes Industriales y Bellas Artes. Miró exhibited his first painting at the sixth Exposición Internacional de Arte in Barcelona in 1911, an event that likely informed his decision to study with Francesc Galí at the Escola d’Art from 1912 to 1915. Through his colleagues at school, Miró began frequenting the Galeries Dalmau, a burgeoning center of artistic activity in Barcelon