Mont-roig is a small village in rural Tarragona that played a decisive role in the course of Joan Miró’s life and work. In this text, the Fundació’s curator Elena Escolar offers us a slow-motion description of Mont-roig, the Church and the Village, painted in 1919 and presented in the special Catalan art section of the thirteenth Salon d’Automne in Paris, in 1920, almost one hundred years ago. To grasp Joan Miró’s intangible universe, it is essential to have a sense and an understanding of the landscape and the land itself in Mont-roig.Continue reading Mont-roig, Understanding the Landscape
A city oasis, great views, surprising architecture, exciting artworks…Most of Fundació Joan Miró visitors comments are showed emotionally. We would like to share all these feelings throughout this post to take stock of 2019.Continue reading A city oasis
Through the posters that he designed, Joan Miró demonstrated his commitment to society and to culture. He believed that artistic creation should go hand in hand with a civic sense of responsibility.
Mercè Sabartés is part of the team of the Fundació Miró’s Communications Department and the holder of a postgraduate degree in Mironian Studies from the Open University of Catalonia (UOC). In this article, she offers an insight into Miró’s facet as an activist and explains how, for the artist, his voice was inseparable from his commitment to the community.
Continue reading A commitment to freedom and to upholding Catalonia’s identity
In 1918, Joan Miró painted a portrait of his friend Heribert Casany. Berta Jardí rescues Heribert from oblivion in her novel L’home del barret (Univers, 2019) and reveals the story behind the painting.
For the Fundació’s blog, the author gives her account of the painting’s extraordinary journey since Miró painted it until it was finally shown at the Kimbell Art Museum in Fort Worth, Texas. Its wanderings are surrounded by horses and automobiles, mysteriously connected to the life of the man in the portrait.Continue reading Horses and Automobiles
The architect Lina Bo Bardi, to whom the Fundació Joan Miró devoted an exhibition focused on her strong connection to drawing, conceived her projects as spaces that were accessible to everyone, brimming with nature and life. Her watercolours of urban scenes are also full of everyday life, like the piece illustrating the atmosphere at Praça Getúlio Vargas, in Río de Janeiro, in 1946. Amanda Bassa delves into this image and the ambient sounds surrounding the piece at exhibition to create a literary text that plays with the parallel worlds inside and outside the watercolour.Continue reading Praça Getulio Vargas
Santos M. Mateos, who defines himself as a museophage and exponaut, takes a global look at means of communication in museums, inviting us to reflect on the shift in focus that has occurred in recent years.Continue reading Getting Museums in Tune with Their Visitors
Fifty years ago this May, the exhibition Miró, the Other was held at the Catalonia Architects’ Association (or COAC according to its Catalan acronym), the first exhibition of Joan Miró’s work to expound and demonstrate its militant facet.
In this blog, we reproduce an article by Cristian Cirici, published years ago in the “Traços” section of the e-magazine Carnet, which outlines the origins of the project.Continue reading ORIM
Pedro Strukelj, an Argentine-Mexican living in Barcelona, is an illustrator, architect, and cultural manager. He defines himself as a chronicler of cultural experiences. This illustrated chronicle is his account as a witness to the recently completed process of preventive conservation for the Tapestry of the Fundació. His palette is a colour map that suggests a faraway land –that of his Latin American roots, which, as in Miró, connect us with a world where the tradition of craftsmanship is deeply respected.Continue reading Illustrated Chronicle of the Tapestry of the Fundació