The Hunter (Catalan Landscape)

1921

His first solo show in Paris

Josep Dalmau arranged Miró's first Parisian solo exhibition at the Galerie la Licorne.

1924

Joins the Surrealist circle

Miró joined the Surrealist circle, whose dream-like automatism suited his symbolic and poetic art, but chose not to become an official member so as to experiment freely; Breton called him “the most Surrealist of us all”.

1925

Friendship with Robert Desnos

Miró became friends with the poet Robert Desnos; they soon planned a livre d'artiste together, but the Spanish Civil War and World War II put the plans on hold. Desnos died in 1945, shortly after his release from the concentration camps.

second half of the 1920s

A language of signs and ideograms

In “Person Throwing a Stone at a Bird” and “Dog Barking at the Moon” (both 1926) a set of recurrent ideograms took shape: symbols of space — horizon, waves, heavenly bodies — and “mediating symbols” — birds, a ladder to the sky, an eye, an ear, a figure with giant feet.

1926

Designs for Diaghilev with Max Ernst

Miró collaborated with Max Ernst on designs for the ballet impresario Sergei Diaghilev.