juan miro birthday
“For me, a picture should be like sparks. It must dazzle like the beauty of a woman or a poem. It must have radiance; it must be like those stones which Pyrenean shepherds use to light their pipes.”
– Joan Miró
Miró was the son of a gold smith and a cabinet maker, and he was trained at the Escuela de Bellas Artes de la Llotja, as well as the Escuela de Arte de Francesco Galí, Circulo Artístico de Sant Lluc. Not many people know that he attended business school as well, and worked as a clerk in his teenage years. However, he abandonded the business world at an early age. Miró was among the first artists to develop automatic drawing as a way to undo previous established techniques in painting, representing the beginning of Surrealism as an art movement.
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.  
Until the outbreak of the Spanish Civil War, Miró habitually returned to Spain in the summers. Once the war began, he was unable to return home. Unlike many of his surrealist contemporaries, Miró had previously preferred to stay away from explicitly political commentary in his work. Though a sense of (Catalan) nationalism pervaded his earliest surreal landscapes and Head of a Catalan Peasant, it was not until Spain’s Republican government commissioned him to paint the mural The Reaper, for the Spanish Republican Pavilion at the 1937 Paris Exhibition, that Miró’s work took on a politically charged meaning. 
Eventually, though, Miró came back to painting. Once his “search-and-destroy” quest ended, “Miró as master painter, the new, oddly adorable artist of popular fame, more or less” began, writes Holland Cotter in The New York Times.
But Miró was also restless with the conventions of surrealism. In 1927 he declared, “I want to assassinate painting.” And he tried. He created 12 groups of experimental works over a decade to try changing art. He cut down the amount of paint he used in his creations, used sandpaper and glue in others, experimented with different shapes and even made collages.
From 1925 to 1928, under the influence of the Dadaists, Surrealists, and Paul Klee, Miró painted “dream pictures” and “imaginary landscapes” in which the linear configurations and patches of colour look almost as though they were set down randomly, as in The Policeman (1925). In paintings such as Dog Barking at the Moon (1926), he rendered figures of animals and humans as indeterminate forms. Miró signed the manifesto of the Surrealist movement in 1924, and the members of the group respected him for the way he portrayed the realm of unconscious experience. The poet André Breton, the chief spokesman of Surrealism, stated that Miró was “the most Surrealist of us all.”
Joan Miró was a 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.
He said, “The painting rises from the brushstrokes as a poem rises from the words. The meaning comes later.”
In 1976 the Joan Miró Foundation Centre of Contemporary Art Study was officially opened in the city of Barcelona and in 1979, four years before his death, he was named Doctor Honoris Causa by the University of Barcelona.