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Biography
Note
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ANTONI
MIRÓ was born in Alcoi
in 1944, and at present lives and works at Mas
Sopalmo. In 1960 he was awarded the first prize for painting by the
Town Hall of Alcoi. In January 1965 he carried out his first one-man show
and founded the Alcoiart group (1965-1972). In 1972 he founded Gruppo
Denunzia in Brescia (ltaly). Since then he has held a number of exhibitions,
both in Spain and abroad, and he has also been distinguished with various
awards and honourable mentions. He is a member of several intenational
academies.
In
his professional trajectory, Miró has combined a wide variety of
initiatives, ranging from those specifically artistic, in which he has
demonstrated his effícient devotion to each of the procedures that
characterise the plastic arts, to his untiring attention to the advance
and promotion of our culture.
His oeuvre, pertaining to Social Realism, set forth in the sytle of Figurative
Expressionism as an accusation on the subject of human suffering. In the
late sixties his interest in social subject-matter led him to a Neo-figurativism
charged with a critical and recriminatory message. In the seventies such
a message is fully identified with the artistic movement known as Crónica
de la Realitat (Chronicie of Reality), inscribes in the intemational trends
of Pop Art and of Realism, which takes as its point of departure the propaganda
images of our industrial society and the linguistic codes employed by
the mass media.
The different periods or series of his work, such as Les Nues (The Nudes) of 1964, La Fam (Hunger) of 1966, Els Bojos (The Mad) of 1967, Experimentacions (Experimentations) and Vietnam, both of 1968, L'Home (Man) of 1970, Amèrica Negra (Black America) of 1972, LHome Avui (Man Today) of 1973, El Dòlar (The Dollar), executed between 1973 and 1980, Pinteu Pintura (Paint Paint), carried out between 1980 and 1990, and Vivace, begun in 1991, reject all kinds of oppression and cry out for freedom and human solidarity. Miró's oeuvre forms part of many museums and private collections all over the worid, and has generated a wlde bibliography that studies his work in detail.
In
short, if Miró's painting is one of consciousness-raising, it is
not less true that the artist's creative process also comprises a high
degree of "consciousness of painting", in which different experiences,
techniques, strategies and resorts combine to form a plastic language
of their own, not merely as a "means" for ideological communication
but with one accord, as the registration of a clearly aesthetical communication.