Beginning in 1948, Miró once again divided his time between Spain and Paris. That year he began a series of very poetic works based on the combined themes of woman, bird, and star. In 1949 and 1950 he created some paintings that were wildly spontaneous in character, while executing others with punctilious craftsmanship. He used both approaches in his increasingly large sculptures, amalgamating all of his earlier figurations to form erotic fetishes or signals towering into space.
Joan Miró, (born April 20, 1893, Barcelona, Spain—died December 25, 1983, Palma, Majorca), Catalan painter who combined abstract art with Surrealist fantasy. His mature style evolved from the tension between his fanciful, poetic impulse and his vision of the harshness of modern life. He worked extensively in lithography and produced numerous murals, tapestries, and sculptures for public spaces.
Juan Miró is the Director of the Studio Mexico Program and a professor at the University of Texas at Austin. Professor Miró has directed Studio Mexico since 1998, a program that affords students the opportunity to travel to and explore Mexican culture through the study of architecture, drawing, and design. He teaches at the School of Architecture and his areas of interests are design, construction; Mexican architecture and architectural history, and the role of architects in the shaping of cities in the U.S. and abroad. He is particularly interested in looking at architectural history with the eyes of a designer.
Professor Miró leads Miró Rivera Architects, an architectural firm located in Austin, Texas. The firm won the 2006 AR Emerging Architecture Award, and works on a variety of projects including institutional, commercial, and residential architecture and urban design. One of their most recent projects was the grandstand and facilities at the Circuit of the Americas (COTA)/Formula 1 (F1) racetrack in Austin, Texas. He is licensed in Spain, Texas, New York, and Utah. As an active member of the American Institute of Architects (AIA), he has served as a juror for AIA award competitions at national, state, and local levels.
The artist considered this work among his most important, marking a turning point. While reflecting a number of influences, including Catalan folk art, a Romanesque sense of hierarchy where scale reflects importance, and a Cubist vocabulary, the work resisted settling into a style, exemplifying the artist’s restless and iconoclastic approach.
As art critic Laura Cummings wrote, “every entity is given its own autonomous space in the picture, separately praised but connected by rhyming shapes,” due to the “quasi-cubist space, tilted upright; and presumably because MirГі is celebrating the thriving upward growth of home.”
He moves into a new studio at 22 Rue Tourlaque, in the Cité des Fusains. His neighbours are Max Ernst, Hans Arp and probably Paul Éluard and Camille Goemans. Sergei Diaghilev commissions Miró and Ernst to design the sets and costumes for the ballet Romeo and Juliet to be performed by the Ballets Russes.
He works on a series of 18 collages and then produces paintings based on them. Publication of Georges Hugnet’s Enfances, the first book illustrated by Miró.
Born into a family of a goldsmith and a watchmaker, Miró grew up in the Barri Gòtic neighborhood of Barcelona.  The Miró surname indicates Jewish roots (the terms marrano or converso describe Iberian Jews who converted to Christianity).   His father was Miquel Miró Adzerias and his mother was Dolors Ferrà.  He began drawing classes at the age of seven at a private school at Carrer del Regomir 13, a medieval mansion. To the dismay of his father, he enrolled at the fine art academy at La Llotja in 1907. He studied at the Cercle Artístic de Sant Lluc  and he had his first solo show in 1918 at the Galeries Dalmau,  where his work was ridiculed and defaced.  Inspired by Fauve and Cubist exhibitions in Barcelona and abroad, Miró was drawn towards the arts community that was gathering in Montparnasse and in 1920 moved to Paris, but continued to spend his summers in Catalonia.    
In 1974, Miró created a tapestry for the World Trade Center in New York City together with the Catalan artist Josep Royo. He had initially refused to do a tapestry, then he learned the craft from Royo and the two artists produced several works together. His World Trade Center Tapestry was displayed at the building  and was one of the most expensive works of art lost during the September 11 attacks.