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Margit Rowell, Joan Miró: Selected Writing & Interviews, Da Capo Press Inc; New edition (1 August 1992) ISBN 978-0-306-80485-4; Joan Miró and Robert Lubar (preface), Joan Miró: I Work Like a Gardener, Princeton Architectural Press, Hudson, NY, 2017. Reprint of 1964 limited edition. ISBN 978-1-616-89628-7; Josep Massot Joan Miró.
The Birth of the World is an oil painting by the Catalonian-Spanish artist Joan Miró, from 1925.It is held in the collection of the Museum of Modern Art, in New York. [1] [2] In 2019 the MOMA organized an eponymous exhibition of Miro's works curated around and including the canvas to offer a comparison between other major pieces by the artist and this seminal canvas.
Joan Miró. The Museum of Modern Art, New York, distributed by Harry N. Abrams, Inc. 484 pp. ISBN 0-8109-6123-7; Orozco, Miguel (2018) The True Story of Joan Miró and his Constellations. 261 pp. (accessed January 27, 2021) Rowell, Margit and Mildred Glimcher (2017). Miro and Calder's Constellations.
Ciphers and Constellations in Love with a Woman (Catalan: Xifrats i constellacions, en l'amor amb una dona) is a painting by Joan Miró created in 1941. The medium is gouache, watercolor, and graphite on paper, and the work's dimensions are 46 cm × 38 cm (18 in × 15 in).
Joan Miró and Josep Llorens Artigas met in 1910 at the school of art of the artist Francesc Galí (1880–1965), in Barcelona. Since the 1940s, Miró and Josep Llorens Artigas started an artistic duo that spawned objects and large ceramic murals such as one at the Unesco building in Paris or the ceramic wall of the Barcelona Airport.
Triptych Bleu I, II, III is a triptych created in 1961. It is a set of three-part display abstract oil paintings by the Spanish modern artist Joan Miró.The paintings are named Bleu I, Bleu II, Bleu III (in English, Blue I, Blue II, Blue III) and are similar.
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.
The painting was originally in the collection of Albert Eugene Gallatin before being bequeathed to the Philadelphia Museum of Art in 1952, where it remains. [1] The painting is distinct from the similarly named Dog Barking at the Moon, a 1952 lithograph by the same artist in an edition of 80.