.Miró - From childhood to 1930

1896

Here is a drawing of Miró made at the age of 13.

1907

And isn’t that sublime as a youthful drawing? Miró was 14 years old when he drew “The Hermitage of Sant Joan del Codolar”.

1917

Joan Miró, "Chapel of Sant Joan d'Horta", 1917.
it awakens both the eyes and the mind.

Joan Miró, “Street of Pedralbes”, 1917.
The brilliant Catalan was then 24 years old. In Barcelona, the leafy Pedralbes neighborhood is known for its elegant villas and the Güell Pavilion, a richly decorated gatehouse complex built by Antoni Gaudí, which sits near one of the entrances to the classical Pedralbes Gardens. There is the Pedralbes Monastery, a Gothic complex with floral gardens, surrounded by cobblestone streets.

Joan Miró “North-South”
On March 15, 1917, the first issue of his magazine "Nord-Sud" appeared, created with the poets and writers of Dadaism and then Surrealism. The title of the magazine is the name of the metro company opened in 1910 whose line connects Montmartre to Montparnasse. For the surrealists it was about bringing together these two centers of creation.

1919

Incredible Miró, whose works can only be his, in his oldest paintings, we suspect all the potential, the sharing of colors, the subjects, the small elements, the sky so present. I love this painting from 1919, “Vine and Olive Trees of Tarragona”.

1922

And here is a painting from Miró’s youth. “Flowers and Butterflies”, 1922.

1922! What audacity, what freedom. Miró never hesitated to put himself in danger, "Grill and carbide lamp", 1922.

1923

Miro, “Catalan Landscape, the hunter”, 1923.

1924

Let's dive into the sea with Miró and "The Bather", 1924.
Absolute masterpiece. Everything is there to dream, the horizon line, the waves, a boat, the moon, the rays of the sun, like a hair, the sky merges with the waves. We could spend a lifetime looking at this painting, and the journey would never be the same.

"Harlequin Carnival", 1925. In the early 1920s, Miró met Paul Klee and Max Ernst. His line, then, simplifies and reaches here a sort of surrealist culmination of his research, it would also be the representation of the sensations and hallucinations caused by hunger.

“I tried to translate the hallucinations that hunger produced. I did not paint what I saw in dreams, as Breton and his family would say today, but what hunger produced: a form of trance resembling what the Orientals feel.

1926

Miró's designs for the costumes of "Romeo and Juliet", presented in 1926 by the famous company of "Ballets Russes" created in 1907 by Serge de Diaghilev.
Romeo and Juliet :
Music by Constant Lambert, choreography by Bronislava Nijinska (sister of Nijinsky), stage curtain by Max Ernst, sets by Max Ernst and Joan Miró, costumes by Joan Miró.

1927

All in lightness a Miró. “Painting”, 1927.

Joan Miró, “Summer”, 1927

1928

Joan Miró, "Dutch Interior II, 1928.
In May 1928, Miró undertook a two-week trip to Belgium and Holland. He was quickly fascinated by Flemish painting. He is sensitive to this perception of the intimate offered by the Flemish painters of the 17th century.
Back in Paris, he began to copy these works in his own way.

1930

Joan Miró, “Painting”, 1930
An atypical painting, we look in vain for the luminous colored surfaces, the blooming and silent shapes suspended in space, or even this optimistic charm specific to so many works of the Catalan genius. Miró tells a story: on the left, a woman whose gaze seems laced with anguish, her head meets that of a smiling man who seems very eager. The man and woman are well drawn, the bird is more scribbled, its belly contains a blue spot, it pecks at a spot of red which in turn devours yellow.

The book La Saga Maeght by Yoyo Maeght, with dedication. Link here

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