![]() Miró’s returned to painting in 1934 his devotion to experimentation continued as he began utilizing nontraditional materials such as sand, cardboard and tar in compositions that engaged with new themes of violence and sexuality-a radical departure from his earlier works. He began to challenge the theoretical basis of painting and for a period, rejected painting altogether in favor of low-relief sculpture and sculptural assemblages. Miró married Pilar Juncosa in 1929 their marriage provided the stability in his personal life that allowed Miró to take an entirely new approach to his artistic practice. In the late 1920s, Miró began exploring the surface qualities of his paintings and working with collage. Throughout the 1920s, Miró was involved with Surrealism and despite his refusal to officially join the movement, he exhibited with them at Galerie Pierre in 1925 along with Picasso. In this manner, his forms functioned as legible symbols and unique signifiers of perceived reality. Miró began to realize his mature style in 1923, when he started working with recognizable yet abstracted forms. Disheartened by the exhibition’s commercial failure, Miró returned to his family’s country home in Montroig, where he devoted himself to the reevaluation of his style. In 1920, Miró moved to Paris where he exhibited at the Galerie la Licorne but failed to sell any work. Their presence in Barcelona during this period was critical to the development of Miró’s personal aesthetic. During World War I, Barcelona became a vibrant cultural center, attracting members of the European avant-garde. During this period, Miró engaged with Fauvism, but his compositions illustrated a distinct clarity of form that separated his work from the movement. While at Sant Lluc, Miró became a founding member of the Grupo Courbet along with Joseph Llorens Artigas and Joan Prats. After three years with Galí, Miró left his studio to attend drawing classes at the Círculo Artístico de Sant Lluc. Galí recognized Miró’s aptitude for color but lack of drafting skills and he taught the young artist to explore objects blindfolded before painting them. In 1912, Miró entered the atelier of Francesc Galí. ![]() While at La Lonja, Miró studied with Modest Urgell and Josep Pascó. This period of convalescence allowed him to pursue formal artistic instruction at the Academia La Lonja. Before the completion of his degree, however, Miró fell ill with typhus and depression. When he came of age, Miró was sent to the Escuela de Comercio where his family intended for him to earn a business degree. He was born into a family of craftsmen his father was a goldsmith and his grandfather was a blacksmith. Joan Miró was born in 1893 in Barcelona, Spain.
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