Offizielle Website Joan Miró Hotel Joan Miró Museum Palma

White Magic I

Year 1981
The page’s structuring conveys the magic and chance of Miró’s soul. Within an oneiric space, defined by an endless number of dancing eyes beneath the queen star, the window of the subconscious is flung open. The strength of the Mediterranean is present in each of the colors chosen by Miro to depict his contact with nature.

The Mountain Dwellers III

Year 1975
On the hillside of Cala Mayor, Miró becomes a mountain dweller. His alter ego is reflected on this etching defined by a head with three hairs. A sturdy body’s firm step goes in search of little treasures that the night strews before his path. The arrow-hand shows the way to a personage is search of the essence of the mountain’s song.

The Woman Crab-Eater

Year 1981
Miró represents the savage moment in which a bald woman eats a crab at the edge of the sea. Poetic vision of a maritime personage. The enormous size of the eye transmits the lost gaze of an unbalanced woman, but of great vitality.

The Blue Eye of the Volcano

Year 1981
The blue eye crowns the entire composition and radiates a magical sensation that envelops the spectator in a telluric energy, full of feelings, resting on a black mas. Miro gives an anthropomorphic appearance to a volcano that spews the blue light of the Mediterranean through its crater. The eruption is reduced to an ascending yellow ray, that connect the earth and the sky.

The Female Buccaneer

Year 1981
The work metamorphoses into a woman. On breaking, the foam provoked by the wave acquires tinges of the blond, straight hair of a siren beneath the brightness of a star. Miró endows it with an aqueous shape, with pure colors, giving us a glimpse of a mythological and being idealized by seafarers.

The Triple Wheel II

Year 1981
The black circular graphics represent the union of three wheels in space. The colors convey both emotion and movement. The transformation of the wheel into a cosmic symbol is strengthened by six stars that create a mironian constellation beneath the Mediterranean moon.

The Triple Wheel I

Year 1981
The black circular graphics represent the union of three wheels in space. The colors convey both emotion and movement. The transformation of the wheel into a cosmic symbol is strengthened by six stars that create a mironian constellation beneath the Mediterranean moon.

The Lovers and Luna Park II

Year 1981
The linear representation of a Mediterranean night conjures a love couple lying beneath the starry vault. The red, yellow, blue and green confirm the volcanic strength of the coitus. An infinite dripping of black spots insinuates the passionate encounter of Hermes and Aphrodite beneath a shower of mironian symbols.

White Magic II

Year 1981
Evoking the Japanese monks’ gestural swiftness, Miró exercises his hand with a profound discharge of the color black, in order to shape a magic and nocturnal vision. The three hairs identify a personage hailing from the realm of dreams, and sails beneath a star-studded night. Black spots speak of galaxies. The color accents counter the sign that crystalizes in his hand.

The Abduction

Year 1981
The quick and violent gesture of the black strokes conjures an abduction on the zinc plate, the emotions take on pure and luminous colors. Miró knew how to hide transcendental themes under an apparent appearance of calm and chromatic intensity.

The Catalan Cuddle

Year 1981
The kiss reminds of us of his union with Pilar Juncosa. His companion for more than half a century, she protected him beneath a mantle of love and care. This pieces speaks of love, of a profound feeling of affection that is discerned by a free and black stroke, and careful attention to the placing of color, accompanied by love’s constancy.

The First Night of Spring

Year 1981
When night falls, the light of spring pours forth. The brushstroke transmits passion, free rein and the joy of living a Mediterranean spring. Miró turns the night into a personage brimming with life and eyes, revealing the internal tension of the soul on beholding a starry night.

The Mountain Dwellers IV

Year 1975
A grotesque head, popeyed, and sharp fangs gives us an insight into the artist’s feelings before an unexpected event. This being, half man, half monster, is the primitive figure that Miró has liberated from the world of dreams.

The Mountain Dwellers VIII

Year 1975
The well-built body of a mountain dweller emerges from Miró’s subconscious. He has gone hunting for his prey guided by the light of a star. Accents of primary colors consolidates the steadiness of quest, under an atmosphere in which different diffused colors float.

The Mountain Dwellers IX

Year 1975
The half-open mouth with fangs of this mountaineer’s head brings to mind a drowned song. It is a grotesque personage, in which Miró creates a game of imperfect and doubtful lines to define the struggle of his soul locked up in a finite body.

The Lighthouse Keeper

Year 1981
A black and corporeal graphic define the importance of the Lighthouse Keeper. The navigator needs of his skills to plough the sea under the moon. This dark figure, of a radiant gaze, speaks to us of a mysterious personage, nocturnal, who embraces silence and tastes the density of the night.

The Corsair’s Widow

Year 1981
The boarding of the enemy ship ends with the Corsair’s death. His widow languishes in a sea of tears and a scream inundates the composition. Miró crowns the feminine anthropometry under a thick and latent black opaque brushstroke. The background of drippings evoke the stream of tears falling from the widow’s red, white and green diamond-shaped eye.

The Shipwrecked

Year 1981
The gestural brushstroke, almost violent of Miró’s, describes the anguish of a castaway in the Mediterranean Sea. Miró builds the eye with geometrical forms of intense pure color that stare at a ray of yellow sun. While, in the lower right angle he reduces the water to a simple blue bloc.

Every Man for Himself

Year 1981
The captain of the boat adrift, hurls a drowned scream of “Everyman for Himself”. A wonderstruck gaze of this black personage with a chiseled forehead and jaw, loaded with sharpened fangs, warns of the ship’s sinking and conveys the moment’s restlessness.

Master at Sea

Year 1981
The master has just finished boarding the boat. The traumatic brain injury hides sirens songs and various orders. His upright pose and the conviction radiated through his gaze evokes the skill that accompanies the captain in his long voyages.

The Sailor’s Wife

Year 1981
Miró sees the sailor’s wife as a powerful and matriarchal figure. He endows her with a stellar presence. The first black stroke defines her body and the primary colors such as the red, green, blue and yellow impregnate the piece with life.

The Possessed Woman of Calamayor

Year 1981
In the Cala Mayor neighborhood, a possessed moved about at free will. The accents and the intensity of the chosen colors show the spurting and the sharp forms in the shape of an encephalitic mas. We discern an unbalanced woman, victim of her hallucinations.

The Mesmerizer

Year 1981
The jellyfish takes on a feminine form in Miró’s eye. Its powerful tentacles also suggest the Greek myth. The black brushstroke acquires a gelatinous consistency spattered by accents of primary colors imbuing it with life.

Cabin-Boy in the Rigging

Year 1981
A Young man works the riggings of the boat’s main mast. In his dreams, Miró has foreseen a ship’s boy surrounded by a multitude of ropes to hoist the sails and plough the seas. His body stresses his insecurity before the tough task assigned to him by ship’s captain. The young man frowns and Miró garbs him in the primary colors to crown the importance of his gesture.

The 10.000 year-old Ancestress

Year 1976
The 10.000 year-old ancestor becomes omnipresent thanks to mironian symbolism. The wisdom of this ancestral spirit sets him apart from the rest of humankind beneath a mantle of color and light. A serene and peaceful stare crowns a being of lineal strokes and affectionate gestures. Miró gave him the three hairs of an expressive being, full of knowledge that the passing of years has conferred him.

The Bald Soprano

Year 1981
An opera singer advanced in years has become bald, but she does not give up singing her operas. The musical notes of the background envelop her, provoking in her a profound and tender look. Musial notes that rest inside her soul. The velvety beauty of her voice inundates space.

El trineo de los amantes

Año 1981
La imagen se vertebra a partir del grafismo negro, fruto de la mano libre de Miró, impulsada por el subconsciente sobre la plancha de zinc litográfica, para que la vida cristalice a través de los colores primarios. El azul habla del cielo, el verde de la naturaleza, el amarillo de la vida y el rojo de la fuerza volcánica que emerge.

Disputa entre amantes II

Año 1981
Los personajes describen la danza de un hombre y una mujer enamorados. Se han metamorfoseado en la expresión de un sentimiento. El amor se refleja a través de los acentos cromáticos que reverberan en una atmósfera marcada por salpicaduras negras que Miró administra.

La Triple Rueda I

Año 1981
La rueda es un referente en la obra mironiana. Símbolo de la evolución del hombre, la triple rueda nos habla de un primitivismo y a la vez de una modernidad revisitada de manera alegórica y poética.

Campesino catalán bajo la luz de la luna

1968
Este cuadro deriva todo su ser desde el énfasis maravillosamente sencillo, aunque efectivo, en el color como elemento primordial. La división horizontal es una reminiscencia de los paisajes de la década de 1920 de Miró. Además, la elección de un pequeño número de colores puros y simples apunta en esa dirección.

Construcción

1930
Las Construcciones de Miró fueron elaboradas entre los años 1929 y 1930, durante la fase más crítica de su carrera artística creativa. Como él mismo dijo, quería "asesinar arte", es decir arte de "aceite y vinagre", con el fin de recuperar un conjunto de valores de expresión primitivos.

Dancer

1925
Miro's Dancer of 1925 is one of his sparsest but at the same time most poetic pictures. Having primed the canvas with brown paint, the artist then applied a layer of ultramarine blue in such a way that the brown colour was still visible in the form of an edge.

Landscape (The Hare)

1927
In Landscape (The Hare), among other works, Joan Miró returned to one of his favorite subjects, the countryside around his family's home in Catalonia. Miro said that he was inspired to paint this canvas when he saw a hare dart across a field on a summer evening.

Person Throwing a Stone at a Bird

1926
In this painting, Miro basically used two simple colors: blue and yellow to depict a strange figure consisting of the soft curves with a bird behind it. Miro's paintings often did not have specific shapes, but had a few lines, embryos, and casual shapes which were similar to those in children's scribbling stage.

Blue I, II, III

1961
Miro's three large-format paintings Blue I - III are part of a series of triptychs which he painted at the beginning of the 1960s in his new studio in Mallorca. The three blue paintings have to be regarded as one. Seen separately, nothing much seems to be happening on them.

Catalan Landscape

1924
Joan Miró was in search of the essence of things. In Catalan Landscape, 1924, his Catalan peasant alter ego is captured simultaneously in the act of shooting a rabbit for his cooking pot and fishing for a sardine for his barbecue.

Constellation The morning Star

1939
Joan Miro created The Morning Star, one of the most important pieces of in his Constellation series and gave it to his wife who later donated the painting to the Miro Foundation. After escaping from France, Miró continued the series of Constellations in Mallorca, creating a more complex group of ten more. The last three were created in 1941 in his ancestral home in Mont-roig del Camp.

Decoration of a Nursery

1938
One cannot help asking whether such spooky figures are at all suitable as a Decoration of a Nursery. There can be no doubt that Miro used some of the fearsome figures of his "wild paintings" of the 1930s.

Dog Barking at the Moon

1926
In paintings such as Dog Barking at the Moon, Joan Miró rendered figures of animals and humans as indeterminate forms. In this sparse landscape, a ladder reaches up toward the black night sky. Nearby, a colorful dog stands on the brown earth, looking up to the half moon and bird above him.

Harlequin's Carnival

1924-25
Harlequin's Carnival is good example of this change. The world of the imagination and subconscious, rather than being an end in itself, was for Miro a way of giving shape in his paintings to his lived experiences and his memories.

The Escape Ladder

1940
These musical all-over paintings have textured smoky backdrops on which shapes drawn from Miró's repertoire of symbolic forms dance and move about. Art historian tracks the complexity of their genesis and how they are connected to Miró's war time experiences - in The Escape Ladder, 1940, the swooping birds symbolic of bombers over Spain and the desire to escape.

The Gold of the Azure

1968
The Gold of the Azure, 1967 has a wonderfully poetic quality about it, reminiscent of Asian art. Set against a light yellow surface, with a few white gaps to allow the canvas to "breathe", a number of stars and lines - as fine as hair - have been distributed, as well as some sombre, black dots, pardy connected by some very fine lines.

Dutch Interior I

1928
Miro's Dutch Interior I shows the very basic form of a man playing a guitar. He is the main focus with a dog, cat, pictures on the wall, and a window that the man is leaned up against. The man's body is a huge white blob with no definite separation to any body part.

The Singing Fish

by Joan Miró
The Singing Fish is instantly recognisable as the work of Miro, combining highly abstract shapes to represent the artist's imagination. The key focal point in this painting is the head of the fish which looks out to the top left of the canvas, with it's eye represented by two abstract circles.

Femme III

1965
Femme III, as in his programmatic self-portrait of 1960, Miro puts the emphasis entirely on elementary, swift, sweeping movements. Against a broadly structured surface, with a few more colour spots rubbed into it, he painted a figure consisting of a small number of simple shapes: a red semi-circle at the bottom, linked to a a black circle by means of a black line.

None