Born in Barcelona, Joan Miró was exposed to the tenets of artisanal prowess and to dexterous craftsmanship from a young age, as his family history was one watchmaking and the shaping of precious metals. While watchmakers and goldsmiths are not fine artists in any direct sense, the precision requisite in each profession is itself an art form, and one which may have contributed in some small way to the refinement and skill which characterized the technique of Joan Miró.
Exhibiting a penchant for illustration during his adolescent years, Miró would eventually study art (as well as business, initially) at the college level, attending the Cercle Artístic de Sant Lluc after having begun his formal education in the fine arts at La Llotja Academy. What began as an aptitude for the art of illustration was flowering into a creative genius of a remarkable sort. Life in Paris and travels throughout Western Europe sat well with Miró, whose signature style and creative voice began to firmly take root during the early-1920s.
Though occasionally a Parisian by way of long standing residence, Miró was Spanish through and through. His routine visits to the homeland were disrupted by civil war in the 1930s, while his alternate home of Paris was rendered quite off-limits to him during the Second World War. Indeed, much of the artist’s early career was plagued by geopolitical tumult and the instability which unavoidably accompanies large-scale warfare. Such chaos and disruption had for Miró the perhaps unforeseen side-effect of generating within him a nationalist streak.
Spanish interests and domestic infighting and collided sharply with the larger world scene throughout the 1930s and 1940s, forcing the otherwise politically neutral Miró to reckon more intimately with his sense of patriotism. The nationalism for which he is remembered is largely attributable to the cataclysmic circumstances to which Western Europe fell victim during the early/mid-20th century, and might never have fully come into its own if not for the wagon-circling mentality which tends to result from such cataclysm.
Joan Miró Artwork
Though he resisted efforts to appropriate his work as being a part of any larger style or movement, Joan Miró was closely associated with Surrealism throughout his career. Actively avant-garde in his style, Miró merged a capacity for precise rendering with a challenging and complex approach to composition. The result was a curious incongruity which spoke of first-rate skill and abstract conceptualization, a combining of which yielded Miró his signature style. Interestingly, this dynamic and often profound signature within his painting work would effectively cement the iconoclast’s place within the Surrealistic camp with from which he had long sought to distance himself. So prolific a career was fated to leave a tremendous material legacy, and edition prints of many Joan Miró works are readily available for purchasers by the initiated and nouveau buyers alike.
Of course, Joan Miró was a creative virtuoso whose talents stretched beyond the art of painting. His sense of the abstract and of counter-conventional expression was exercised thoroughly within the realms of sculpture and ceramics. Applying the same Surrealist proclivities which rendered so daring his two-dimensional work, the lifelong artist produced sculpted pieces and monuments of distinctive appearance and enormous cultural significance. Many of his politico-nationalist sentiments would manifest within his later sculptures and ceramic work, though others were seemingly created in neutral service of the fine arts.
What they shared between them was the distinctive Joan Miró spirit—a spirit which openly condemned the unimaginative, the formulaic, the safely prudent. An artist’s calling is the disruption of received wisdom, if inherited truths, of an unexamined mores. In this way, Joan Miró answered his calling admirably, for his every major work was enriched by a disruptive and defiant plurality of elements, all of which combine to render the viewer awestruck by aesthetic qualities and unnerved by a sense of being scrutinized by the artist.
Would that they not be found wanting, for an artist’s eye is particularly discriminating—more so even than those of the art critics whom Joan Miró spent a lifetime cultivating a severe distaste.