Our exhibition Miró: The Ladder of Escape is now open at Tate Modern.

Joan Miro at Tate Modern
Packing a punch: Installation view of a central room in Joan Miró at Tate Modern.

Here you can see over 150 paintings, works on paper and sculptures, including, as you may have already read in the press, five of his large triptychs which have been brought together for the first time.

Joan Miro Reunited Mural Paintings
Re-united: 'Mural Paintings I (Yellow-Orange) -II (Green) - III (Red)' (1962)
Miro Colorful Contemplation
Colourful Contemplation: Miró's 'Blue I-II-III', 1961

We are very excited about this exhibition - and look forward to hearing your comments. So please do post your messages on the Tate blog below. We look forward to hearing from you. Matthew Gale is head of displays at Tate Modern and co-curator of Joan Miró: The Ladder of Escape.

Joan Miró: The Ladder of Escape is at Tate Modern until 11 September.


vivien Phelan

I found Miro exhibition amazing, I have been to his museum in New York but this show is amazing & so wonderful to have the audio tapes,1st time ever I have convinced my husband to rent one & he loved it

Chris Weallans

Juan Miro


Scumble is the theme I took from room to room; an ever present background; a theatre of operations. I arrived, at last, in the chapel of room 10 with no whispered creed or fumbled beads but knowing that my soul remains in all the earthy hearts of the dead. Huge areas of colour like a selection of loopholes escaping the walls of galleries and skimming the beyond like stones on water.

Were there imperfections? Room four is a natural bottle neck of too much art in too little space with people ferreting at each other for glimpses but little else of which to complain.

The final triptych of fireworks seemed to overarch all the space and time between Whistler and Twombly and yet remained undoubtedly Miro. It crowned all my blessings

There were memories and relationship and a wave of years building in a crescendo of frothy surf, a cathedral tumble of colour and light crashing with me through the final door and easing my heart through the rest of my boiling afternoon.

An immense sensual pleasure. A brimming overwhelm of all my senses.


Tom Cullen

The great thing about this Miro exhibition is the range of work and how it demonstrates how his language evolved.For myself,the large tryptichs at the end are the culmination of his long and experimental career.However,the burnt canvasses demonstrate his ability to explore and move on at all costs - something fundamental in making art.

Ginger Gibbons

This is a very impressive exhibition and I can't wait to go again. I feel embarrassed that I'd always thought of Miro as being in some way a decorative and rather periphral artist. There is so much work here that I've never seen before and this, coupled with the way the exhibition has been hung has completely changed my opinion of Miro's work and life. I appreciate that the audio guides are useful but wish that the people who use them showed a little more concern for those of us who just want to look at the work. Bravo to the Tate. You've opened my eyes.


tbh I wasn't overly interested and didn't have a lot of time but really enjoyed it. Especially the later work like burnt canvases and the big panels of colour. Also the sculpture... need to give it a proper go before it finishes.


Loved the Joan Miro exhibition, I've been a fan since the early 1960's. As for my wife, she's not so sure, she finds some of his work dark and distressing. Now, audio guides; I have found that people using them have little spacial awareness as to people around them, often blocking the view of others for considerable amounts of time whilst they read the notes beside the paintings and then listen to their audio guide. However, this is 2011 and the said audio guides are good for those who do not speak too much English. Sorry to go on, but that's my only negative. Well done again on a masterful ehibition.

David Milman

A superb exhibition-labels at the right height and in large enough print to read, not too many works per room, a really excellent audiovisual guide and wonderful works of art. The layout, commentary, etc really help one get a sense of his development, use of symbols, etc. A little more information on the latter might have been helpful. By the way the people at the entrance (handing out viz aids, etc.) were charming. Well done-how come tate Modern does these things so much better than Tate Britain?


A well-hung and curated exhibition that introduced me to very unfamiliar Miró works. However, I thought that the expositions in the different rooms, explaining the works, seemed simply to repeat possibly the 'received wisdom' about Miró's work. He may very well have felt very deeply about the Civil War, Franco dictatorship and so on, but whether this really came out in more than a couple of works I'm not at all convinced. There was only a feeble explanation of how/why his style radically changed from the early 'Farm' works. I concluded that this was the start of his aping of other artists of the era.


This is my second visit to the Mirὀ exhibition, thanks to my Tate membership... and I plan to go again. This exhibition is so rich and well curated that there is always something new to discover. I knew very little about Mirὀ - apart from his most famous paintings - and was amazed to see the variety of his work. I wish we could have seen some of his ceramics though. Going with a different "guest” each time, I was interested to see how we were attracted to different paintings and why, how this abstract work would "talk" to us. In both occasions I left Tate with a buzzing head full of emotions. I particularly welcome the little intro film which helps us to get closer to the artist and his work. Until next time then...

Lawrence Owens

...forgot to mention the burnt paintings, which were a departure, indeed.

Lawrence Owens

I found the Miro show to be well organised and well curated, but I could not concur with the overtly political and social machinations ascribed to his work. By nature, surrealists eschew reality - their reflection of the world in which they live is necessarily unique and personalised. We won't see the e

Lawrence Owens

I found the Miro show to be well organised and well curated, but I could not concur with the overtly political and social machinations ascribed to his work. By nature, surrealists eschew reality - their reflection of the world in which they live is necessarily unique and personalised. We won't see the equivalent of the Blue and Pink period. And maybe we ought to. Miro was a Catalan and his entire region was subjugated by Franco's pan-Hispanic policy. Yet his pictures change not at all. The very earliest efforts are more figurative and therefore there is a change to his more abstract works. And there it ends. It is the same all through the war, through Franco's Spain, the liberation of Spain...all that changes is the scale and occasionally the palette. If you like the surrealist manifesto, then you will find all you need. If, however, you believe that art reflects life, or has any social responsibility, then you will be disappointed by Miro.

Judith R Whitton

LOVED the Miro exhibition. The Blues blew me away. One tiny thing ..... pity the other colours were displayed in the same room, as I thought (and it's just my opinion) that they took away from the blues' beauty somewhat. Think they needed to be shown in separate spaces ! My favourites were the 50 Barcelona lithographs. I will revisit many times to enjoy these again and hope to have my girls sketch a few too (gallery guards permitting, of course !). I'm so glad I puchased an annual Tate card, as it will mean I can go as often as I like .... and I will ! Thank you. Judith Whitton

Jason Chebib

To walk through the Miro rooms was to take a journey through the life and art of someone who was determined never to stop being original and thought-provoking; and determined never to stop saying, through his art, the things he thought most needed saying. Not only was Miro an artist worth admiring, he was a man worth respecting. An important show.

Gillian & Colin

We really enjoyed this exhibition - the brilliance of the colours is fantastic. Would like to return and maybe take the audioguide

Daniel Heale

I was excited about visiting this exhibition and chose to go on my birthday, as I had a day off. I expected it to be quiet(er) as it was a mid week afternoon, but I think the rain drove a lot of south bank walkers into the Tate that day, along with two or three large groups of bored French school children. The first few rooms were challenging and I didn't find the work to be as accessible as I was expecting. But it was worth persevering. By the mid-point I was engrossed in the fascinating, deconstructed work of Miro. I was expecting to see a lot of paintings similar to the dog barking at the moon (the only piece I was familiar with before hand) but instead I found some truly original and inspiring work, such as the burnt paintings towards the end. There is an interesting narrative to follow as you progress through the rooms and I thought the exhibition was very well laid out and organised. Thank you Tate. A great way to spend a birthday

Agnieszka Piotrowska

It was an amazing experience and I am sure I will be going back many a time befor ethe exhibition closes. What is particularly noteworthy about Miro is his strength of conviction about the role of an artist in society as well as his extraordinary use of psychoanalytical ideas. His work is both inspirational and somehow optimistic on many levels. Wonderful. Well done to everybody involved in organising this amazing exhibition.

Jackie Keane

I thought the exhibition was well laid out etc. but I regret to say that perhaps Miro is not my scene! I enjoyed most of the large colour paintings though. Perhaps my enjoyment was curtailed a little as I had to wheel round my 8month old granddaughter! My grandson, however, (aged 3) expressed interest in the "whale" simply because he had done the puzzle with me from the Family Centre (he went round with my daughter who enjoyed the exhibition)! I remain a fan of both Tates though and am a member.

Carolina Knight

I went to see the Miro exhibition yesterday and I was so touched by it! So much depth in what can appear to be a simple line or stroke- loved it all! I was so inspired that my fingers were literally itching to do some painting when I got home. Brilliantly curated- there is a lovely flow to the whole exhibition. I will be going again during the week time to get a different perspective to visiting on a busy Sunday afternoon. Cannot wait!


I really enjoyed the Miró exhibition. I have enjoyed seeing his work at the Maeght Foundation in Saint-Paul de Vence and at other galleries in various countries however I did learn more about him from your exhibition as it showed the changes in his style of painting. I disagree with the critics who grumble about his work being simplistic and that he was too prolific which resulted in him being devalued. The exhibition was coherently and thoughtfully curated and luckily for me the day I went it wasn't too crowded so I was able to spend time studying the works that particularly interested me. Thank you Tate Modern.

Geoffrey Case

I think the exhibition is excellent. It helps those of us untutored in Miro towards a clear understanding of his development as an artist.

Ruth Hutchinson

We enjoyed the Miro exibition and came away with much more understanding of his work than previously, even though we had visited the Barcelona Foundation. I especially enjoyed the Vibrancy of many of the works, they made me smile. It was fascinating to see the very early paintings too. Lunch on the terrace in the friends room added to a very enjoyable way to spend Monday!

Penny Kocher

The exhibition was excellent. I knew next to nothing of Miro but went because I am a Tate member and I do like a challenge. I left feeling awestruck and will think about it for a long time. I liked the chronological trail which followed his development as an artist and loved Room 1 but wasn't put off at all by the increasing abstract nature of the paintings - was amazed how prolific he was. The colours were wonderful - personally I feel they cannot be replicated in a catalogue - the virtually empty triptych was inspiring.

I do agree with another comment that it was a very big exhibition and that one needed a break - I didn't take one and was flagging by the end partly because I was getting hungry! Overall, I left feeling inspired and very glad I had seen it - perhaps the best exhibition at the Tate for some time.


Hi enjoyed this exibition very much. I had recently visited Barcellona and was very excited to see some of Miro's most famous pieces. I went during the week on a day off work and I was able to spend as much time as I liked on each piece as it wasn't over-crowded. I loved it!

Liz M

Went to the Miro exhibition with only a mild interest, knowing nothing about the man's earlier or later works and very little about his background and politics but found myself gripped from the first room to the last.

That he managed to continue to evolve as an artist and to keep engaging with current politics over such a long career was a revelation.

It seems unfair to ask even more from such a well curated exhibition, but with so much symbolism running through his work - ladders, stars, spiders to name a few - more explanation of this would have been useful, as would some comment on his family life as I found his representations of women curious and at times disturbing.

Another ask would be to have seen some of his ceramics - which were mentioned in passing at one point but there weren't even any pictures of these.

However none of the above detracted from my enjoyment of the exhibition and I definitely feel the need to go back and see it again.

Rafaela Tsabutz...

It was such an enjoyable activity to come and peruse the works of Miro at the Tate Modern last week. As a Spaniard, I had known of his style and most representative pieces, but I left the exhibition feeling I had learnt so much more!! The rooms are well organised and the information provided is full of insight. I had actually never before stood in front of one of his works and extracted so much meaning from individual features. Not only I feel I now understand Miro's work better, but I also like it even more. Whether or not you "get" what is in front of you, his paintings are just beautiful to watch and I just want to come and see it all over again! That's a job well done, Tate.

John and Chris Scott

This was beautifully curated and set out. We came all the way from Wales and had an afternoon to spare so off we went to Tate Modern. Agree with many of the comments especially the one just before this by Anna. Because we live far away we had considered giving up our membership, but just one exhibition a year like this makes it worth it. Many congratulations on the completeness and professionalism of this one; I now feel I know a bit about him, and can enjoy his work more.

Peter Massingham

I wasn't really sure what to expect from this Miro exhibition - I am not a big fan of surrealist painting and had mistakenly categorized Miro as fundamentally a Surrealist. I was delighted to see the work in the first gallery which gave a wonderful insight to his childhood memories of his Catalonian farmhouse home. Delightful work which embraced a kind of naive folk realism tainted with influences of Cezanne with Fauvist skies. I still tire somewhat with the repetition of his forms in later works, but there is no doubting his eagerness to experiment and try the new. The most powerful paintings I feel are his large triptychs which I hadn't seen before. The three large white canvases were particularly powerful. Also worth seeing were the almost cartoonesque sculptures. In some respects I found these more convincing than some of the paintings of the same period. Overall, a very instructive and stimulating exhibition.

denis pratt

Loved the exhibition,especially as I am a new to Miro,it was fascinating to see his work and how it related to what was happening around him,an amazing man.I will be back.

Chas Perrett

I didn't quite subscribe to the jackboot of oppression dominating his work as much as was suggested, my overwhelming impression of the Miro exhibition was a sense of fun, joy and playfulness.

In particular, I liked the thin linear threads that ran through lots of the work (echoing the little wire figures in Sandy Calder's famous toy circus ) In the later and more serious larger work Miro used his powerful lines very evocatively.

Summing up, very colourful and dynamic, maybe not to everyone's taste but I enjoyed it!

Ruth Allen

This Miro exhibition is really marvellous and a revelation to learn more about the man and his humanity. The early work was stunning. Although I have seen Miro before in Barcelona and other galleries this show is a wonderful in-depth look at his prolific career and I agree the audio guide is terrific and I will probably get the iPhone app. I hope to get back to the show before it closes


I only joined again a couple of weeks ago, but I've already been to see it twice, and the second visit was even better. My teenage boys also went and loved it. My friend and I absolutely loved the whole thing. Two comments though: we both walked through the constellations room the wrong way round, as we worked our way going to the closer wall to the right and not straight to the wall facing us as we entered, and we both felt the room with the white tryptichs could have been painted a darker shade. Still, I must admit I was dazzled by the farm paintings and their corresponding surrealist versions, as I never knew Miro like that before, the last time I was in Barcelona I arrived after closing hours! I will be going again.

Bill Jackson

Initially I was not expecting a great deal. With exhibitions like this often leave disappointed and wanting because of the scale of this type of show. I have to say on this occasion I was very surprised by the works that were selected and they way the exhibition worked as a cohesive event. This is down to the curating of such a show. Excellent - Surprise - thoughtful - informative and a real joy. Well done on such an outstanding exhibition.


Charmed by the early works of Mont-Roig in Room 1, I walked into Miro's dream world with a smile on my face. I was drawn straight to 'Gos bordant a la lluna'. I feel the chronological presentation provided a wonderful context to consider his later works. I, too, will return to see the Tate's Miro exhibition. And this time, with an audio guide.


Miro was an artist I knew little about - I went because I am a Tate Member and happened to be in the area. I felt the exhibition showed his development as an artist well. There was a clear progression which was also linked by the written material to his political beliefs. Also good to see an artist who was developing even in old age. Not sure that I am a total Miro convert but I certainly feel I have a better understanding of him having seen this..

Geoffrey Brown

I enjoyed the way the exhibition was set out. It was interesting to follow the artist's chronological progress and the politico-social-aesthetic influences on his work. Having visited the Fondación Miró in Barcelona, I found the Tate exhibition a useful new angle from which to consider his paintings. I particularly liked the first room, where the early works prefigured his interest in embroidery and knitting.

Paul Wailen

I found the exhibition very informative in how this man developed his art and views, given his political beliefs and the agonising period for Spain in which he and they were subject to such restriction in making their views known. However, he found a way to do so and this exhibition shares their development, personal and political.

I liked very much the way the exhibition was set out and was amazed at his stunning use of colour-often only one or two main colours-to express what he felt and wanted to stay. I found his earlier works fascinating and clearly expressing his love for his native Catalunya. Less impressed with some of his very late works but will definitely visit the exhibition again.

Well done Tate!!

Peter Massingham

Oh, did I mention his magnificent scroll?

ann Russell

One of the best curated exhibition that I have seen at the Tate. I have always enjoyed the Miros I have seen both in UK and Barcelona but this retrospective taught me so much more about his development as an artist and a deeper understanding of the symbolism he used in his abstract works. I plan to visit again next time I am in London thanks to all concerned with this wonderful exhibition.

Robin Lynch


I think the Members' Private Views are a bit of a swizz and I will not renew this with next year's membership.

I have been to see the Miro show twice now and both times it has been a complete zoo. I think only a few people should be allowed in at a time. Stagger the entries or require members to book ahead.

And why is the bar not open for these nights? I know there are drinks on sale on the 4th floor but the snacks were limited to packs of Walkers and there was only one beer available.

I paid extra for the private views because I work regular 9-5 hours and Saturdays are just thronged. I'd like to be able to look at an exhibition without 50 other people being in the room. If I wanted to do that, I could just swing by on Friday night at no extra cost to my membership and at least I could get a drink in the members room as well.



Robin Lynch

I agree with the comment on the constellations, I also viewed them back to front

Helen Heenan

A brilliant exhibition - one of the best I have seen at Tate Modern.

Simon Francis

When done the curator. Folk tend not to realise the sheer hard work in locating and loaning so many valuable pieces. Then there is the task of presenting a coherent show that is viewable and, dare I say it, enjoyable for the audience. I am afraid I got to the Tate after 5pm and rushed through the show. The pieces I became enthralled by were the six large white background paintings grouped in one gallery and also the burnt canvasses. There are many contemporary references from Cy Twombly to Wolfgang Tillmans demonstrating their relevance to what is happening now in the art world.

Strangely, I missed the rooms with large blues and the mural paintings. I would have thought the large blues deserved a room each. Presented as a trio and being similar, you can only understand them as one piece. For the mural paintings, I would have hung them each on a separate wall. Again, their juxtaposition makes them one piece rather than three.

Having said all that, congratulations to the team at Tate for this retrospective.

Haydon Young

I'm always fascinated to see and compare an artist's early and later work.It also throws up the early influences from other artists. This exhibition works well, taking the viewer through the life and turbulent times of Miro's world.It's all shown in a clean uncluttered environment reinforcing the strength and vibrancy of his colour work. And those later wonderful canvases,to see there scale and simple intensity was enlightening. The burnt paintings were also a revelation. Paintings or sculptures ? They are magnificient. I hope to get back again, several times !

Sarah Holford

I was already a great lover of Miro having visited the Foundation Maeght in St Paul de Vence many times but knew very little about him as a man. I brought an artist friend of mine who had not previously been convinced. Both of us were blown away by this exhibition which filled in the background and biographical details brilliantly and showed what a wonderfully creative and technically brilliant artist he was, as well as a committed and honest human being. The burnt canvasses were a particular revelation. HIs musical equivalent would be Verdi on all sorts of levels and both still open to new ideas and still creative in their eighties.

Colin Stolkin

Miro's work is magnificent and it is always a privilege to be able to see it.It is exciting to look at his early work alongside his later developments. However I could not help comparing my experience last night with my viewing of the Tate's exhibition in 1964 when I was a student. Somehow it didn't match this earlier impact. No mobiles and minimal sculpture. Obviously later work such as prisoner of conscience added to the story - but seminal thematic ideas such as dreams seemed absent in the presentation and are crucial to an understanding of the work.

Jane Finlay

This exhibition was curated with astonishing detail to not only its visual creativity but its historical context. I found the audio support polished and exciting in its delivery. The effort made in regard to staging this retrospective was clear for all to see and greatly appreciated by my visitors who went in as ambivalent to Miro and came out as appreciative converts. Thank you . . . we loved it and will visit it yet again.

Sue Harris

Marvellous exhibition - but the audio guide is a must. Include in price in the future?? Know so much more about recent Spanish history now, as well as about Miro. I had never realised the range of his work, and really appreciated seeing some of those detailed early paintngs. Only disappointment - not having a little more on Miro post-Franco, with something on the sets etc he did for the theatrical company.

I'll certainly make a second visit, 'cos I'm sure i missed much.

simon mathews

I echo the view that the Miro exhibition is well curated, informative and thoroughly rewarding. Personally I was fascinated by the early works (circa 1915-20) which demonstrated a stunning originality, draw the viewer in and resonate on many levels. Apart from 'Farm' this period was, in my view, under exposed and perhaps under valued. In contrast the post '47/ NY visit work seemed to be highly derivative and fails to add more to the range of abstraction already explored by NY artists of the age. I came away feeling not only that the exhibition needed re-balancing but that Miro, unlike most artists really hit his stride in the early years through to his unique take on surrealism. After that I found my attention wandering yet expert opinion sees this otherwise. On my way out I returned to look at Material Gestures once again. The Snail by Matisse sums up my feelings on this; it was created a year before he died yet the artist didn't allow the mere triffling detail of a fatal illness to stop him from re-inventing his work and breaking new ground right up to his death. Do we give Miro too much credit? Nevertheless a really enjoyable exhibition.

Audrey Tampkins

The time span of the work was incredible spanning Miro's life. I was deeply moved by it as I had forgotten most of Spain's historical background, the work was brilliant and I shall be returning. Ladder of Escape an apt title.