(1893 -1983)

Painter, sculptor, engraver and ceramist born in Barcelona, 20 April, 1893 and died in Palma de Mallorca on 25 December 1983.

A deep friendship united Joan Miró and Aimé and Marguerite Maeght. He was the one who recommended his architect friend Josep Lluís Sert, who had built his 1956 Mallorca studio,  to draw up the plans for the Foundation in Saint-Paul de Vence. The environment designed by Sert had given Miró a new opportunity to create works corresponding to this specifically Mediterranean space as well as complement his research in the field of sculpture and ceramics. With the help of his ceramist friends, Josep Llorens Artigas and his son Joan Gardy Artigas, Joan Miró invented a magical place, the "Labyrinth”, where for the first time, monumental sculpture is associated with architecture and nature.

Later, 140 sculptures, 70 drawings,  8 paintings, a monumental tapestry, stained glass and ceramics would enrich this collection, giving the Maeght Foundation, through the generosity of Joan Miró and Aimé Maeght, one of the most important collections of this artist ever assembled in a museum of modern art.

"Miró was also interested in new poetry, the emergence of new music, technologies, in short, in all our modern world and to what could bring him new ways to create his work. He wanted to learn everything, understand everything, try everything and master everything. " Adrien Maeght.

At the Maeght Foundation, Joan Miró would explore a new domain, that of stained glass, thanks to his meeting with Charles Marcq, renowned master glassmaker and director of the Atelier Simon in Reims to whom we owe all the Marc Chagall stained glass windows. In 1979, he created a double horizontal  window, 2m x 7.20m, for the Maeght Foundation. Designed from a reduced size model painted in gouache, the Miró composition vibrates with a special brightness according to the hour, the seasons or the weather. A frieze of anthropomorphic figures, half-woman, half-bird, with angular shapes stands out from a deep blue background that is very polished, very lively, almost stormy. The pure colors are grouped last. The sun yellow and bright greens contrast with dark reds and blacks. The path of the lead strips, carefully considered by Charles Marcq, reinforces the dynamic appearance of the composition. The Marguerite and Aimé Maeght Foundation is one of only two places where Miró expressed himself through the stained glass.

Naissance du jour I/IIINaissance du jour I/IIIVitrailLabyrinthe Miró
Naissance du jour I/III, 1964

Huile sur toile
146 x 113,5 cm
Vitrail, 1979

200 x 360 cm (x2)

Joan Miró explorera à la Fondation Maeght un nouveau domaine, celui du vitrail, grâce à sa rencontre avec Charles Marcq, maître verrier de grande réputation auquel on doit tous les vitraux de Marc Chagall et directeur de l’Atelier Simon, à Reims. En 1979, il réalise pour la Fondation Maeght une double verrière horizontale de 2m sur 7,20m. Conçue à partir d’une maquette de dimensions réduites peinte à la gouache, la composition de Miró vibre d’un éclat particulier selon les heures, les saisons ou le temps qu’il fait. Sur un fond bleu intense, très brossé, très vivant presque orageux se détache une frise de personnages anthropomorphes, mi-femme, mi-oiseau, aux formes anguleuses. Les couleurs pures sont compartimentées en dernier. Le jaune solaire et les verts lumineux contrastent avec les rouges sombres et les noirs. Le chemin des plombs du vitrail, longuement médité par Charles Marcq, renforce l’aspect dynamique de la composition. La Fondation Marguerite et Aimé Maeght est l’un des deux seuls lieux où Miró s’est exprimé par le vitrail.
Labyrinthe Miró, 1963-1973

La fourche 1963 - Le cadran solaire 1973