A devoted fan of Joan Miró, I invite you to explore his work. But Miró's oeuvre is so vast that I will present it across several articles. Here, I chronologically offer my personal favorites among his creations between 1930 and 1950.
1930
In the 1930s, the Surrealist movement extended into all fields: commerce, advertising, fashion, theatre, literature, and design… For André Breton and Louis Aragon, this association with commercial activities was contrary to the very principles of the movement, leading to numerous conflicts with members. Joan Miró saw new creative possibilities in these connections with surrealism. In addition to designing theatre sets, décors, and costumes, Miró became involved in decorative arts.
This painting, simply titled "Painting," 1933, is one of four tapestry projects commissioned in 1933 by the French collector Marie Cuttoli.
I love the woman on the right, disheveled and with well-defined breasts!
Joan Miró, "Figure," 1932.
Joan Miró, "The Bather," 1932.
1933
Joan Miró, "Composition (Small Universe)," 1933.
1934
Stenciled print for "Cahiers d'Art," the famous Surrealist art review edited by Christian Zervos, 1934. It was truly fantastic when often confidential magazines included original lithographs, stencils, and even engravings. It was important for artists to associate with writers, poets, and philosophers. Today, artists quickly choose between a small confidential review and an article in a celebrity magazine. Everyone wants immediate notoriety.
1936
And people ask me why I'm sometimes critical of certain contemporary artist installations. When you have historical works in mind, your perspective becomes demanding. Joan Miró, "Object," 1936. Yes, Miró and 1936, over 80 years ago.
1937
This poster expresses Miró's hatred for Franco's movement, which probably led him to create this poster for the 1937 International Exhibition in Paris.
"The horrible tragedy we are going through can shake isolated geniuses and give them renewed vigor. Let the powers of regression known as 'fascism' spread, let them plunge us further into the impasse of cruelty and incomprehension, and it will be the end of all human dignity."
Joan Miró, Cahiers d'art, Paris.
1938
A beautiful blue to stroll with Miró, "Birds and Insects," 1938.
Totally Surrealist! "Group of Figures" by Joan Miró, 1938.
Joan Miró, "Figures," 1938.
1940
Joan Miró, "The Morning Star," 1940, from the "Constellations" series, works grouped under this term at the exhibition at the Pierre Matisse Gallery in New York in 1945. The series began in Varengeville, Normandy, at the end of 1939, when Miró was staying near his friend George Braque.
Pierre Matisse, son of the famous painter and sculptor, had one of New York's best galleries, exhibiting Miró and Giacometti among others.
1941
Miró, "Number and Constellations in Love with a Woman." On closer inspection, it's always very sexual!
1942
Joan Miró, "Women in Front of the Sun," 1942.
Painted on November 23, 1942, these "Figures in the Night" by Miró have remained fresh.
1944
Miró, "Women and Bird in the Night," 1944.
1947
The simple joy of a gentle Miró.
A plate from "Parler Seul" (Speaking Alone), a fantastic book combining a poetic text by Tristan Tzara written during a stay at the psychiatric hospital of Saint-Alban in 1945 and 70 original lithographs by Joan Miró.
In 1947, my grandfather, who had just opened his gallery in Paris, had the audacity to embark on publishing what would become one of the greatest masterpieces of his Catalan friend.
However, at the time, Grandpa didn't have significant financial means, but his passion for lithography undoubtedly carried him through. It would take two years to print all 253 copies!
Joan Miró, "Women and Birds in the Night," completed May 5, 1947.
This is the first collaboration between Joan Miró and Aimé Maeght.
For this immense exhibition organized with Marcel Duchamp and André Breton in 1947, my grandfather asked Miró to create an original lithograph poster. The artist would never again leave the Maeght Gallery and would publish over 2,000 engravings, lithographs, posters, and books with Maeght Editeur.
Joan Miró, 1947, the year he participated in the "International Exhibition of Surrealism" at the Maeght gallery.
1948
Miró, "Acrobat in the Night Garden," 1948.
When I was little, I spent hours counting and recounting the dots, the stars.
1949
To dream a little more. Joan Miró, 1949.
1950
Joan Miró, "Figure and Stars," 1950. The simplicity of a lithograph, a few colors, bold black lines – Miró was truly an artist who knew how to sublimate techniques.
Find a thousand anecdotes about the Maeght adventure in my book
La Saga Maeght, which you can receive with a dedication
here
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