Joan Miró: influences, peers and legacy

Every connection with its receipt

Joan Miró built a vocabulary of signs out of Catalan soil: Romanesque frescoes, Gaudí's ceramics, Parisian Surrealist games, and the farm at Mont-roig. This mix tracks the medieval and avant-garde threads behind his pictorial poetry, the Barcelona and rue Blomet milieus that fed it, and the American painters who turned his biomorphs into abstraction.

The Kynda mix for Joan Miró

• Key Influence · The Garden of Earthly Delights by Hieronymus Bosch (c. 1490–1510). Miró studied Bosch at the Prado and the debt is visible in the swarming, scaled-down creatures of 'The Tilled Field' and 'Harlequin's Carnival', where insects, ears and eyes populate a shallow fantastical stage. Critics and Miró himself linked his teeming hybrid beings to the Flemish master; the comparison was common enough in the 1920s Paris press that Surrealists read Bosch as a proto-Surrealist ancestor and Miró as his heir.
• Influencia Obscura · Apse fresco of Sant Climent de Taüll (Christ in Majesty) by Master of Taüll (c. 1123). The Romanesque frescoes stripped from Pyrenean churches and installed in Barcelona's Catalan art museum were Miró's deepest native source: flat planes, heavy black contour, staring frontal eyes and a symbolic rather than illusionistic space. He spoke of Catalan Romanesque as formative, and its hieratic economy explains the stark outlines and emblematic faces of his mature pictographic language.
• Local Roots · Park Güell by Antoni Gaudí (1900–1914). Miró grew up in Barcelona's Barri Gòtic as Gaudí's biomorphic modernisme rose across the city; the trencadís mosaic benches and undulating ceramic forms sit directly behind Miró's own move into tile murals and public ceramic walls. The Catalan fusion of craft, colour and organic shape — and its unembarrassed popular address — set the template for his late civic commissions.
• Beyond the Medium · Les Chants de Maldoror by Comte de Lautréamont (1869). Lautréamont was the Surrealists' sacred text, and Miró illustrated an edition of Maldoror for Albert Skira in 1934 with etchings of mutating bodies. The book's violent metamorphoses and its famous chance encounter of unrelated objects validated Miró's method of letting one form breed another across the canvas without narrative justification.
• Peer · Battle of Fishes by André Masson (1926). Masson had the studio next door at 45 rue Blomet and introduced Miró to the Surrealist writers who became his circle. Masson's automatic drawings — sand, glue, lines let loose before subject appears — ran parallel to Miró's own experiments with hunger-induced hallucination and spontaneous mark-making in the mid-1920s dream paintings.
• From the Canon · The Farm by Joan Miró (1921–22). Nine months of obsessive labour on the family property at Mont-roig del Camp, every blade of grass and tool catalogued with hallucinatory clarity. Hemingway bought it and kept it for life. It is the hinge of the career: the last great realist picture, whose inventory of farm objects becomes the sign-alphabet Miró would abstract for the next sixty years.
• Key Collaborator · Wall of the Sun and Wall of the Moon, UNESCO Paris by Josep Llorens Artigas (1955–58). Artigas, a Barcelona ceramicist Miró had known since their student days in the Cercle Artístic de Sant Lluc, became his indispensable technical partner from 1944 onward. Working at Gallifa, Artigas managed glazes and kiln firings while Miró drew; the UNESCO walls won them the Guggenheim International Award and launched Miró's career as a maker of monumental public ceramics.
• Legacy · The Liver Is the Cock's Comb by Arshile Gorky (1944). Gorky absorbed Miró through New York exhibitions and the Museum of Modern Art's 1941 retrospective, taking the floating biomorph, the thin armature of line and the wash of unmodelled colour and loosening them into something freely painterly. He is the hinge through whom Miró's pictorial signs entered American painting as gesture.

What influenced Joan Miró

• Vincent van Gogh (1853). Van Gogh inspired Miró's early art. (also via The Starry Night) “His early art, like that of the similarly influenced Fauves and Cubists, was inspired by Vincent van Gogh and Paul Cézanne.” (Wikipedia)
• Escola de Belles Arts de la Llotja. Miró enrolled at the named art academy. “To the dismay of his father, he enrolled at the fine art academy at La Llotja in 1907.” (Wikipedia)
• Cercle Artístic de Sant Lluc. Miró studied at the named artistic institution. “He studied at the Cercle Artístic de Sant Lluc [ 10 ] and he had his first solo show in 1918 at the Galeries Dalmau” (Wikipedia)
• Escola d'Art de Francesc Galí. The school's name appears in Miró's listed education. “Education Escola de Belles Arts de la Llotja and Escola d'Art de Francesc Galí, Cercle Artístic de Sant Lluc , 1907–1913” (Wikipedia)
• Fauvism. Fauve exhibitions are identified as an inspiration for Miró. “Inspired by Fauve and Cubist exhibitions in Barcelona and abroad, Miró was drawn towards the arts community that was gathering in Montparnasse” (Wikipedia)
• Cubism. Cubist exhibitions are identified as an inspiration for Miró. “Inspired by Fauve and Cubist exhibitions in Barcelona and abroad, Miró was drawn towards the arts community that was gathering in Montparnasse” (Wikipedia)
• Paul Cézanne. Cézanne inspired Miró's early art. “His early art, like that of the similarly influenced Fauves and Cubists, was inspired by Vincent van Gogh and Paul Cézanne.” (Wikipedia)
• Dada. The article explicitly identifies Dada as an influence on Miró's style. “Miró's style was influenced in varying degrees by Surrealism and Dada , [ 18 ] yet he rejected membership in any artistic movement in the interwar European years.” (Wikipedia)
• Haitian Vodou. The article identifies Haitian Vodou art as an influence on Miró. “Also, Joan Miró was influenced by Haitian Vodou art and Cuban Santería religion, which he encountered while he was in exile in the Caribbean .” (Wikipedia)
• Santería. The article identifies Cuban Santería as an influence on Miró. “Also, Joan Miró was influenced by Haitian Vodou art and Cuban Santería religion, which he encountered while he was in exile in the Caribbean .” (Wikipedia)
• The Garden of Earthly Delights by Hieronymus Bosch. The Garden of Earthly Delights (Hieronymus Bosch) — titan for Joan Miró (wikidata.org)
• The Starry Night by Vincent van Gogh (1889). The Starry Night (Vincent van Gogh) — titan for Joan Miró (wikidata.org)
• Les Chants de Maldoror by Comte de Lautréamont (1869). Les Chants de Maldoror (Comte de Lautréamont) — culture for Joan Miró (wikidata.org)
• Ubu Roi by Alfred Jarry (1896). Ubu Roi (Alfred Jarry) — culture for Joan Miró (wikidata.org)
• Calligrammes by Guillaume Apollinaire (1918). Calligrammes (Guillaume Apollinaire) — culture for Joan Miró (openlibrary.org)
• Twittering Machine by Paul Klee (1922). Twittering Machine (Paul Klee) — titan for Joan Miró
• Apse fresco of Sant Climent de Taüll (Christ in Majesty) by Master of Taüll. Apse fresco of Sant Climent de Taüll (Christ in Majesty) (Master of Taüll) — ghost for Joan Miró
• Parade amoureuse by Francis Picabia (1917). Parade amoureuse (Francis Picabia) — ghost for Joan Miró

Peers and kindred spirits

• Alberto Giacometti. Miró is named among Giacometti's associates. (also via The Birth of the World, Joan Miró) “Among his associates were Miró , Max Ernst , Picasso , Bror Hjorth , and Balthus .” (Wikipedia)
• Surrealism. Miró joined the Surrealist group in 1924. “In 1924, Miró joined the Surrealist group. The already symbolic and poetic nature of Miró's work, as well as the dualities and contradictions inherent to it” (Wikipedia)
• Max Ernst. Miró and Ernst collaborated on ballet designs. (also via Two Children Are Threatened by a Nightingale) “In 1926, he collaborated with Max Ernst on designs for ballet impresario Sergei Diaghilev .” (Wikipedia)
• André Masson. Miró and Masson are placed together at the beginning of Surrealism. (also via Battle of Fishes) “Joan Miró was among the first artists to develop automatic drawing as a way to undo previous established techniques in painting, and thus, with André Masson , represented the beginning of Surrealism as an art movement.” (Wikipedia)
• Frida Kahlo (1907). Kahlo was received by and associated with Miró in Paris. “She was also warmly received by other Parisian artists, such as Pablo Picasso and Joan Miró” (Wikipedia)
• Jeux d'enfants by Léonide Massine. Miró made scenic designs for Massine's ballet. “In 1932 Miró created a scenic design for Massine 's ballet Jeux d'enfants at Ballet Russe de Monte-Carlo .” (Wikipedia)
• Josep Royo. Miró and Royo created a tapestry together. “In 1974, Miró created a tapestry for the World Trade Center in New York City together with the Catalan artist Josep Royo .” (Wikipedia)
• Robert Desnos. Miró and Desnos made plans for an illustrated-book collaboration. “The artist met and became friends with Desnos, perhaps the most beloved and influential surrealist writer, in 1925, and before long, they made plans to collaborate on a livre d'artiste .” (Wikipedia)
• Fernand Mourlot. Miró's working relationship with Mourlot produced lithographic editions. “He developed a close relationship with Fernand Mourlot and that resulted in the production of over one thousand different lithographic editions.” (Wikipedia)
• Pierre Matisse. Matisse represented and exhibited Miró's work. “From the outset Matisse represented Joan Miró and introduced his work to the United States market by frequently exhibiting Miró's work in New York.” (Wikipedia)
• Park Güell by Antoni Gaudí (1900). Park Güell (Antoni Gaudí) — geography for Joan Miró (wikidata.org)
• Fundació Joan Miró building, Montjuïc by Josep Lluís Sert (1975). Fundació Joan Miró building, Montjuïc (Josep Lluís Sert) — geography for Joan Miró “For the artistic content of the building, Sert called on his artist friends Pablo Picasso, Joan Miró, and Alexander Calder.” (en.wikipedia.org)
• Grey and Green Painting by Antoni Tàpies (1957). Grey and Green Painting (Antoni Tàpies) — geography for Joan Miró (wikidata.org)
• Battle of Fishes by André Masson (1926). Battle of Fishes (André Masson) — peer for Joan Miró (wikidata.org)
• Two Children Are Threatened by a Nightingale by Max Ernst (1924). Two Children Are Threatened by a Nightingale (Max Ernst) — peer for Joan Miró (wikidata.org)
• Guernica by Pablo Picasso (1937). Guernica (Pablo Picasso) — peer for Joan Miró (wikidata.org)
• Mercury Fountain by Alexander Calder (1937). Mercury Fountain (Alexander Calder) — collaborator for Joan Miró (wikidata.org)
• À toute épreuve by Paul Éluard (1958). À toute épreuve (Paul Éluard) — collaborator for Joan Miró (openlibrary.org)
• Elsa Peretti (1940). Dona i Ocell (Joan Miró) — geography for Elsa Peretti (via Dona i Ocell) (wikidata.org)
• Wall of the Sun and Wall of the Moon, UNESCO Paris by Josep Llorens Artigas (1955). Wall of the Sun and Wall of the Moon, UNESCO Paris (Josep Llorens Artigas) — collaborator for Joan Miró

Who Joan Miró influenced

• Jackson Pollock by Jackson Pollock. Pollock is listed among the artists significantly influenced by Miró. (also via Male and Female) “Miró has been a significant influence on late 20th-century art, in particular the American abstract expressionist artists that include: Motherwell , Calder , Gorky , Pollock , Matta , and Rothko” (Wikipedia)
• Helen Frankenthaler by Helen Frankenthaler (1928). Frankenthaler's early works reflect interest in Joan Miró. “These works reflect her exploration of automatism and her interest in artists like Arshile Gorky and Joan Miró” (Wikipedia)
• Alexander Calder by Alexander Calder. Calder is listed among the artists significantly influenced by Miró. (also via Mercury Fountain) “Miró has been a significant influence on late 20th-century art, in particular the American abstract expressionist artists that include: Motherwell , Calder , Gorky , Pollock , Matta , and Rothko” (Wikipedia)
• Lucienne Day by Lucienne Day. Miró's art influenced designer Lucienne Day. “His work has also influenced modern designers, including Paul Rand [ 79 ] and Lucienne Day ,” (Wikipedia)
• Salvador Dalí (1904). Some of Dalí's works were strongly influenced by Miró. (also via The Farm) “As he developed his own style over the next few years, Dalí made some works strongly influenced by Picasso and Miró.” (Wikipedia)
• Robert Motherwell (1915). Motherwell is listed among the artists significantly influenced by Miró. (also via Elegy to the Spanish Republic No. 110) “Miró has been a significant influence on late 20th-century art, in particular the American abstract expressionist artists that include: Motherwell , Calder , Gorky , Pollock , Matta , and Rothko” (Wikipedia)
• Arshile Gorky. Gorky is listed among the artists significantly influenced by Miró. (also via The Liver Is the Cock's Comb) “Miró has been a significant influence on late 20th-century art, in particular the American abstract expressionist artists that include: Motherwell , Calder , Gorky , Pollock , Matta , and Rothko” (Wikipedia)
• Cristóbal Balenciaga (1895). Miró's paintings are cited as an inspiration for Balenciaga's fashion designs. “Balenciaga's garments accompanied the paintings of Goya , Velázquez , El Greco , Zuloaga , Miró or Picasso , in which they had inspired the designs of the Basque couturier.” (Wikipedia)
• Male and Female by Jackson Pollock (1942). Male and Female (Jackson Pollock) — legacy for Joan Miró “== Artistry == === Influence and technique === The work of Thomas Hart Benton, Pablo Picasso and Joan Miró influenced Pollock.” (en.wikipedia.org)
• Roberto Matta. Matta is listed among the artists significantly influenced by Miró. “Miró has been a significant influence on late 20th-century art, in particular the American abstract expressionist artists that include: Motherwell , Calder , Gorky , Pollock , Matta , and Rothko” (Wikipedia)
• Mark Rothko (1903). Rothko is listed among the artists significantly influenced by Miró. “Miró has been a significant influence on late 20th-century art, in particular the American abstract expressionist artists that include: Motherwell , Calder , Gorky , Pollock , Matta , and Rothko” (Wikipedia)
• Jules Olitski. Miró's paintings are described as precursors to Olitski's work in that style. “his lyrical abstractions [ 77 ] and color field paintings were precursors of that style by artists such as Helen Frankenthaler , Olitski and Louis and others.” (Wikipedia)
• Morris Louis. Miró's paintings are described as precursors to Louis's work in that style. “his lyrical abstractions [ 77 ] and color field paintings were precursors of that style by artists such as Helen Frankenthaler , Olitski and Louis and others.” (Wikipedia)
• Paul Rand. Miró's art influenced designer Paul Rand. “His work has also influenced modern designers, including Paul Rand [ 79 ] and Lucienne Day ,” (Wikipedia)
• Julian Hatton. Hatton is named as a painter influenced by Miró. “and influenced recent painters such as Julian Hatton . [ 81 ] One of Man Ray 's 1930s photographs” (Wikipedia)
• Syd Mead (1933). Mead said studying Miró informed his professional rendering. “At Art Center, he studied Caravaggio and Miró , and said this allowed him to carry the conventions of classical painting – lighting, shadow and the drawing of figures – into professional rendering.” (Wikipedia)
• André Breton (1896). Breton wrote poems inspired by Miró's Constellations. (via Constellations) “Constellations earned the artist praise from André Breton , who seventeen years later wrote a series of poems, named after and inspired by Miró's series.” (Wikipedia)
• The 23 Constellations of Joan Miró. Previte's musical pieces were inspired by Miró's Constellations. (via Constellations) “Inspired by Miró's Constellations series, Previte composed a series of short pieces (none longer than about 3 minutes) to parallel the small size of Miró's paintings.” (Wikipedia)
• The Liver Is the Cock's Comb by Arshile Gorky (1944). The Liver Is the Cock's Comb (Arshile Gorky) — legacy for Joan Miró (wikidata.org)
• Elegy to the Spanish Republic No. 110 by Robert Motherwell (1971). Elegy to the Spanish Republic No. 110 (Robert Motherwell) — legacy for Joan Miró (wikidata.org)