Joan Miro
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The Spanish painter left behind an important legacy which is included amongst the most original of the 20th century. His work, in general, would be marked with a clear surrealist tendancy, where the realm of the memory and imaginative fantasy were to take priority.
He studied at La Lonja School of Fine Arts in Barcelona, and in 1918 set up his first individual exhibition in the Dalmau Galleries, in the same city. His works before 1920 (the date of his first trip to París) reflect the influence of different trends, like the pure and brilliant colors used in Fauvism, shapes taken from cubism, influences from folkloric Catalan art and Roman frescos from the churches.
His trip to París introduced him to and developed his trend of surrealist painting. In 1921, he showed his first individual exhibition in Paris, at La Licorne Gallery. In 1928, he exhibited with a group of surrealists in the Pierre Gallery, also in París, although Miró was always to maintain his independent qualities with respect to groups and ideologies.
From 1929-1930, Miró began to take interest in the object as such, in the form of collages. This was a practice which was to lead to his making of surrealist scuptures. His tormented monsters appeared during this decade, which gave way to the consolidation of his plastic vocabulary. He also experimented with many other artistic forms, such as engraving, lithography, water colors, pastels, and painting over copper. What is particularly highlighted from this period, are the two ceramic murals which he made for the UNESCO building in París (The Wall of the Moon and the Wall of the Sun, 1957-59).
It was at the end of the 60´s when his final period was marked and which lasted until his death. During this time, he concentrated more and more on monumental and public works. He was characterised by the body language and freshness with which he carried out his canvasses, as well as the special attention he paid to material and the stamp he received from informelism. He concentrated his interest on the symbol, not giving too much importance to the representing theme, but to the way the symbol emerged as the piece of work.
