Tate Introductions: Miró

1969 for the exhibition Miró Otro (Other Miró) at the Association of Architects of Catalonia, Barcelona, where he painted a gigantic mural on the glass façade surrounding the building, which he voluntarily erased after the exhibition51,

gigantic mural on the glass façade surrounding the building, which he voluntarily erased after the exhibition51,

easel painting in order to produce collective art encouraged Miró to continue working on other murals (such as that commissioned by architect Walter Gropius for the Harvard Graduate Center)42 as well as experimenting with new

he artist is a man who must go beyond the individualistic stage and struggle to reach the collective stage

Breton wrote that Miró ‘may be considered the most surrealist among us’.

‘I cannot understand – and consider it an insult – to be placed in the category of “abstract painters”…

For Miró and the Surrealists, the notions of ‘mystery’ or ‘fantasy’ had no religious or metaphysical meanings.