Joan Miró
Miro is a popular artist, his pictures full of sex, humour, nature, excrement, mischief and sometimes fear and anger. Miró extended his painting to match it to poetry. A poetry born of hard work, as it was work and not social aspects of art that was his life. He was a visionary painter, and, although his art flows from the maturity that comes from personal experience, it is confined to the realm of myth, where truth and universal rhythms are shuffled.
Born in 1893 in Barcelona, Miró belonged to a generation that had to deal with the legacy of Nineteenth century-isms, a generation that had freed painting from the task of reproducing recognizable objects. When Miró was opening the door to the art world, cubism had already managed to break down and reconstruct pictorial images and themes. Furthermore, Dadaism had also blown apart any definition of art, and Fauvism had stopped depicting nature with the help of colour, but rather depicting colour with the help of nature. In short, the academic world was at the front line, taking up position against the enemy lines. Young artists had to take sides, and yet find their own artistic identity. War waged in the art world was a miniature copy of institutional decay and the struggle for a new order in the political balance of the world.

Janis Mink. Joan Miró. Ed Taschen GmbH. Hohenzollernring 53, D-50672 Köln. 2006

The world of Joan Miró
Although it would be cruel to spoil the naive pleasure that people experience in his fantastic universe of symbols, it would be equally wrong to treat Miro as a decorative artist - a merry teller of grotesque stories populated by strange configurations in vivid colours. The world of Miro isn’t only cheerful and sunny, it is sometimes covered by something strangely magical. What distinguishes him from most of his contemporaries is the ease and originality of the invention. He did not need to go through any visual convulsions to reach the "second naivete" of the modern artist. Although inspired by historical models like the Dutch masters, the work of Miró, like the artists of Aboriginal cultures, was based on a universe of innate signs and symbols.
His early landscapes, made around 1920, show his ability to grasp reality. It looks like the graphic lines begin to meander playfully across the plain, and the numbers appear as magic signs. These pictures give us a preview of many elements of his future production: the reduction of real objects to the abstract, from real scenes to extracts and emblems. The trunk of a tree becomes a cone, a ploughed field an undulating ornament. But unlike the rigorous cubist paintings, this reduced reality contains a mixture of fantasy . The shapes are made from forming an effective contrast with each other. With the passing of time, these organic elements, derived from primitive forms of plasma, increasingly dominate the imagery of Miro. His favourite shape, the circle, earned a prominent place, in both its pure and irregular form. Human shapes, animals, plants, the sun, the moon and the stars began to spin and mingle until it becomes impossible to distinguish them.
These configurations are far removed from the realm of reality, but retain an individual physiognomy.

V.V.A.A. Arte del Siglo XX. Ed. Taschen GmbH. Hohenzollernring 53, D-50672 Köln. 2001


JOAN MIRÓ 1893-1983
115,5*88,5. Mixed Media
DANCER 1925