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Their daughter, María Dolores Miró, was born on 17 July 1930. In 1931, Pierre Matisse opened an art gallery in New York City. The Pierre Matisse Gallery (which existed until Matisse's death in 1989) became an influential part of the Modern art movement in America.
However, after his daughter recovered from an accident in Spain, Miró agreed to make a tapestry for the hospital that had treated her as a token of his gratitude. Having learned the technique from tapestry maker Josep Royo, Miró made several other tapestries with Royo, including one for the World Trade Center, Woman for the National Gallery ...
Dona i Ocell ([ˈdɔ.nə i uˈseʎ], "Woman and Bird") is a 22-metre high sculpture by Joan Miró located in the Parc Joan Miró in Barcelona, Catalonia, Spain. The sculpture was covered in tiles by the artist's collaborator Joan Gardy Artigas. [2] The sculpture is part of an artwork trilogy commissioned from Miró to welcome visitors to Barcelona.
The objects chosen by Miro are deliberately poor and humble, tied to ordinary people's life: an old shoe, a little of food, some things found in any kitchen. They stand as a tragic symbol. Its huge size become a threat, [ 7 ] reinforced by the contrast of colours and the ghostly light, which sometimes seem to emanate from the objects. [ 8 ]
María Dolores Miró Juncosa (17 July 1930, in Palma de Mallorca – 26 December 2004) was a Spanish painter, art historian and patron of the arts. She is best remembered for her landscape paintings and the cataloguing and management of her father Joan Miró's work and estate.
Masson shared a Paris studio with Joan Mir ... His daughter, Lily Masson (1920–2019), was a painter. [7] André Masson, Paris, September 1984. Photo by John Oakes.
Traditional accounts indicate that Joan Miró was dividing his time between Paris and his homeland, in Montroig and Barcelona, Catalonia, Spain in the early 1930s.With the outbreak of the Spanish Civil War in 1936, he remained in Paris in self-exile with his wife Pilar and daughter Dolores (b. 1931).
This picture was painted in Mont-roig del Camp in 1935 and was in the possession of Pilar Juncosa Miró, [6] but is now in the permanent collection of the Fundació Joan Miró in Barcelona. Pilar Juncosa had been Miró's wife since 1929 and she was a supporter of his Foundation.