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.



I'd never been a huge fan, partly thanks to the Barcelona museum, but you have changed my mind somewhat. The octagonal rooms are great and I also appreciated the space given to the Barcelona series, and now having said two nice things I can add a little moan: there seemed a, for me, excessive emphasis on how his work was always so directly influenced by the political situation. And I still don't get the big red square in The Farm!

Jill Meager

I had no idea of the diversity of Miro's work and was fascinated by his artistic journey and by the leap of style from his early farm pieces to his surrealist symbolism and political involvement. Especially interesting to then go to the Burke and Suffolk photo exhibition about another war - Afghanistan.


Thoroughly enjoyed the exhibition, which I thought gave a very comprehensive overview of Miro's work. The show was really well curated and hung. I particularly liked the two rooms with the triptychs. I had not seen them hung together before and thought that they worked really well. Also appreciated the fact that the Tate had provided benches in the rooms so that people could take time to contemplate them (note to the management; sadly I couldn't help noticing the dust bunnies that has collected on the floor in front of the paintings. It seems that the cleaning rota needs to be ramped up!)


It was really good to see his earlier work, as I knew nothing about it. Really enjoyed the exhibition!


I've always liked Miro's work and had not realised the political influences on his symbolism. But the thing I found most radical about him was his desire to find a new language so late in life. His response to the 1968 student uprisings gave him a new impetus which led him to set fire to his paintings. Pissaro wanted his art to be anarchist by refusing to depict objects as separate from their background thereby denying bourgouise materialism. Miro is in the same anarchist tradition. He used the means of resistance to create a new language for his art, refusing to allow it to be appropriated by a Fascist regime. What a revelation. He has gone up in my estimation. The burnt paintings looked fantastic - not safe. Did he intend them to be suspended and viewed as a group? Thanks for a great exhibition

Glen Colegate

Personaly I found this exhibition pretty flat, dull and uninspiring. Having visited the Miro foundation in Barccelona a couple of times and enjoyed the joy, life and passion of the wonderful works on display there I found these qualities missing from the Tate show. Three's a lot of early stuff and late stuff but most of the joyous surrealist works which surely are his masterpieces are missing. If I didn't know his work I would have wondered what all the fuss was about if this was my first exposure. Sorry - I didn't think it was great.

Su Bonfanti

Went with a group of friends who all had different reactions. I didn't think I liked Miro's work but came away understanding it better and liking some of it. I agree with others that it was good to know more about the political context of some of his work. I thought the works were hung well, with plenty of space, so for once you could actually view properly.


Excellent exhibition. One of the best I've been to so far at the Tate Modern.

Vibrant and incredibly inspiring!

My favourite ones Colourful Contemplation. Intense and stunning.


We were awed by this brilliantly curated exhibition! Like others, we have been to the Miro Foundation in Barcelona, but came out relatively uninformed despite our enjoyment of it. That said, our visit to the Tate blew us away: the range and time span of the works was incredible, and the commentary explaining the personal, historical and political context was truly informative. My partner, who is in the world of art, was overwhelmed. I am not in the same world, but loved and appreciated this exhibition to the full.


Great show, very incisive. I thought I knew Miro's work but alas my eyes were opened to different forms and media. Never realised for example Miro did sculpture.

Vivid colours, thoughts of the mediterranean set against the backdrop of historical changes created a beautifully curated show.

The only drawback was the big crowds which creates an uncomfortable environment to view any type of work. Plus, what's with all the screaming kids? PARENTS TAKE NOTE - people like to enjoy art in relative peace. If you can't control the noise level of kids don't go. Or stop breading and give the environment some breathing space.

Liz Aitken

The early work was new to me and I was fascinated by the curiously childlike rendering of tiny details - cracks in walls, plants, garden implements, ploughed earth. The paintings on copper and masontie were astonishing too with their vibrant, psychadelic colours, but my high point was a few moments of quiet contemplation with the triptychs in Room 10. I need to look in more detail at the lithographs, so I will be visiting again shortly (one of the great advantages of membership!) as I need to absorb this exhibition in bite-sized chunks.

Charlie Melville

Another winner. This is a beautiful exhibition, executed with great sensitivity and well balanced with astute and appropriate historical context that makes the whole "experience" a particularly moving one. The layout successfully enhances the patent sentiment of each period of the artist's work, from the grotesque misery inherent in the copper and masonite sequence of the late 30's, to the more accepting (if that's the word), mesmorising expanses painted in later life, and culminating with an inspired hanging of the triptych.

As with the Orozco before it, this is a seriously impressive exhibition. Art buff and first-timer will appreciate it in equal measure - few galleries find the balance between being vastly informative without sounding stuck up as effectively.


In general, a well curated walk through the more well known works and some lesser known works. I am not a fan of Miro but am always open to have any preconceptions challenged. This exhibition did not change my opinion of his work but still proved more enjoyable and informative than I anticipated. Worth a visit.

Marion Buchan

I was very impressed by the power of the exhibition, of how it told the story of twentieth century Spanish and other conflicts and how the artist found symbols and means of responding to these events. The wonderful sculptures of the King and Queen to celebrate the restoration of the monarchy at the end of the exhibition seem to root them in the Spanish soil that we see being tilled in the first farm paintings.

Jay Fox-Davies

As a mature student currently completing a Final Major Project with surrealism at its heart, this retrospective could not have come at a better time. I admire Miro's independence and strength of spirit, including refusing to be owned by any one movement. The exhibition also shows the importance of the skill of the curator, as you successfully take the viewer, not only through the different stages in the artist's development, but also his experience of the social history of his time and how it influenced his art. From a personal viewpoint, I particularly enjoyed the immersion of the Blue Triptych and the White Triptych, although I wonder if the effect of the latter would have been greater with a black background. Thank you for providing such an illuminating journey. It makes membership very much worthwhile.

Jean McNeil

It is one of the most confusing and exhausting experiences to view the output of an artists whole life. But you made Miro's work understandable and meaningful by tying it to his political and social awareness. The show was also beautifully hung. Thank you

Alan Palmer

Miro has long been a favourite artist of mine and this was a great opportunity to view many of the works I have seen in books through the years. It was a revelation. I had a great time and will re visit the exhibition at a later date. Thanks for a great, thoughtful and charming exhibition.

Gerda van Wyk

I walked away inspired!

Fiona Faith Maddock

Miro is a lifelong favourite of mine. It was a wonderful experience, at last, to meet him face to face, in all his glory.

c y webster

Loved the exhibition, especially his earlier work. Well set out, informative and fascinating. A bit crowded, so i intend to return again later to absorb some more -- loved his colours.

Margarita Craik...

I enjoyed Miro's vibrant use of colour and form,especially in his earlier Catalan landscapes and also his sculptures,with their quirky Gaudi-esque appendages.However,the piece de resistance was the later,large scale work,especially the burnt canvases,so cleverly hung,epitomising Miro's passionate essence,which did not ebb until the very end of his life. I seem to have some of the simple,but engaging,early compositions embossed in my memory."Dog Barking at the Moon","Landscape with Rooster" and "The Hare" seemed to take me right back to a happy place in very early childhood where everything was new and I would stare in wonder at the calligraphy of a leaf or the simple, secret place inside a flower. I will be back,to feast my eyes on this wonderful,colourful exhibition again.Images in books do not do justice to Miro's contagious enthusiasm.

Mike Millington

I very much enjoyed the paintings on display and the opportunity to understand the chronological development of the artist's work. A very well structured and arranged exhibition. Miro's closeness to many major C20th art movements is well demonstrated in the exhibition, though I'm not so sure about some of the rather subjective connections that were made in the commentaries about the relationship between his paintings and the political contexts in which they emerged. My only real gripe about the exhibiiotn was having my enjoyment of the paintings spoiled by the annoying rasp of a commentator with her entourage of chair carrying followers. It completely spoiled the ambiance in the room with the enormous tryptychs.


Having seen Miro's studio and permanent display in Palma, Majorca I have visited the Miro show twice already and will go again. I particularly loved the Barcelona series and the the tryptychts. I visited his museum in Barcelona too and came to love the work or Barcelo and Tapies. I was suprised by the paintings he set on fire, but the genius of miro is his ability to communicate his love of colour and space. Some work is funny (his self portraits. An extraordinary voice - not a surrealist in my mind - but an original and playful artist / craftsman. Probably the most important artist Spain produced (Dali Picasso Juan Gris you might argue are more so). But Miro was a good person as well as a great artist and wines you over with immediacy. a brilliant show; glad I'm a member. Bravo.

Grace Maryon

Yesterday I went to your Miro exhibition. It was an exhilarating experience. I particularly enjoyed his later works They were a relevation.

I will be visiting this exhibition again.


I loved the exhibition. Too much to take in on one visit - I will be back, more than once.

Tom Ottway

I agree with this post. To see the genesis, development or deterioration of the symbols and forms in The Farm and to walk with them through the darkening context of Miro's life and Spain's experiences was really affecting and revelatory. The sheer luminosity of the reunited larger abstract works in close proximity was very beautiful and arresting as well.

Sylvia Smith

My husband and I really were inspired by this exhibition. We learnt a lot and came away thinking that Miro was a greater artist than we had supposed. We usually come away from these big 'retrospectives' with the opposite view. Particularly liked the 'constellation' room. We had seen a film about Miro on French Television; apparently he was a very tidy and orderly sort of person. Would you guess that from his pictures?


The Miro exhibition has to be ranked amongst the best I have seen at Tate Modern. The experience inspired and informed me well beyond my expectations. Unforgettable and quite magical. Thank you, Tate Modern.

Farouk Shamash

Wonderful chronological display,such variety , much better than Barcelona. I had no idea how political he was. Any chance of a Tapies exhibition?


I enjoyed the first half and its explanations of his development. However I was disappointed not to be led by hand into understanding the more abstract styles of the second half of the exhibition.

Nick Blackburn

Many of the large, simple works are, perhaps, too simple to be taken seriously, but nevertheless the exhibition is entirely pleasurable.

Miro also achieves that rare feat of picture titles being genuinely more interesting than the pictures themselves: while many of the titles are prosaic, when he put his mind to it, he came up with some real doozies.

It is an excellent example of the advantage of Tate membership, being able to see every show and never feel cheated at the£40 it would otherwise have cost.

Lizzy Hones

Enjoyed the detail of his early work but didn't get his later work.

Shiona Dawson

Delighted with the Miro exhibition. Didn't realise he had mastered so many styles, so the variety was unexpected. Shows tremendous creativity.

Appreciated the explanations as the relevance of some of the higly redcued images passed me by.

Thoroughly recommend the exhibition.


Very well put together show. I agree with the previous comments about the space and order. As ever, the audio guide made it for me. I only started to use these guides when my children were smaller, as it was a way of keeping their interest for as long as possible so that I could get through as much of the show as possible. I'm now a convert and would recommend anyone who has never tried them to give it a go. In this one, the historical background sections and the interview(s) with the artist added a huge amount of value and understanding, as did the comments from the curators about why things had been shown in certain ways. I knew very little about Miro's life beforehand and that knowledge adds to the show. Interesting comment from the previous post about charging members for the guide, albeit it is a lower amount.


went along to the exhibition last sunday and didn't really connect with the work.

tim williams

brilliant exhibition. why do you charge tate members for audio guides?

liz owen

I'd neve r related much to Miro but this exhibition was so well put together and with such helpful introductions to each room that I could enjoy the paintings and sculptures and had more understanding of what the artist was aiming to portra. i would now describe myself as being an admirer of both the artist and his work!


Appreciated the historical information which helped me understand the sentiments behind the paintings. Particularly liked the early work which I do not recall having seen before at previous Exhibitions. Also good as a Member to be givern the same brochure as those who bought tickets, unlike the Royal Academy where friends have to buy brochures etc

Jean Joseph

The exhibition was revelatory, as this was my first real experience of a solo Miro body of work. The Constellation paintings of the 1940s, of blacks, whites and reds against a stony background (like rock paintings) and the theme of the 'Ladder' intrigued me the most. This inspired me to search for prints that I produced in the 80s which might or might not have been mildly influenced by the artist. I enjoyed the work thoroughly and think that the sequence and chronology by the curators was really well executed. As all major shows one needs energy and time to appreciate the work, but it's worth it!


Artists have to speak above all visually to me so I was fascinated by Miro's early works like the Farm which has a life of it's own. I found the still life with shoe also very powerful. The introductions to each room were invaluable. How artists cope with ruthless dictatorships and war and make their choices of exile or compromise is a situation as much of our present as the past. The audio guide, which I didn't make use of, may have covered this aspect but I wondered if Miro's imagery leading up to the Spanish Civil War contributed to Picasso's imagery at this period, or whether it was the other way round.I'm thinking of the savage teeth images.

Dr Monica Seeley

This is one of the best exhibitions I've seen in many years. Wonderfully displayed and the audio guide is so informative. Learned not just about Miro but also about the Spanish Civil War.

Anyone who misses this Miro retrospective is missing what might just be the exhibition of the century.

Will be going again and this time will leave energy to focus on the end which is as fascinating as the beginning.

Fantastic, well done Tate and all who work there.


Like others, I thought I should see the Miro because he's important. I was unprepared for, and overwhelmed with, the power of his work. I had no idea of his reach. So much humour and sheer joie de vivre shines through his work, even when it expresses anger and disappointment. By the last room, having been immersed, Rothko-style, in his final works, I wanted to jump for joy. Very, very powerful exhibition. Glorious. Thank you again Tate.

John Ward

Such a well presented show of Miro - think more highly of him as a result of the wide range shown of his work and more appreciative of the context. Only got half way round before deciding on a second and third visit.


The audio guide was really well done. I especially appreciated the sections giving the historical background to Miro's work and the interview with the artist.


I wasn't too excited about seeing Miro's exhibition, however, was truly inspired by the works on display and particularly two of his tryptics - Blue 1. 2 and 3 and one other. Through the works I discovered influences from Dali, observed some of the political drivers and possibly began to understand how Miro saw and understood himself and other humans. Very contemplative.

Barbara Whent

I went to the Gauguin exhibition with great expectations and came away hugely disappointed with both the art and the man. Went to the Miro with no expectations and came away a fan - I particularly loved the colour, the jewel like paintings on the copper and the repeated use of the ladder motif.

Gerry Chambers

I have not been a great fan of Miro's work and I came to the is exhibition hoping to have my opinion challenged. Sadly I remained unmoved. I feel Miro's work is carried by its political and social context which was well explained in the exhibition but it doesn't to me stand on its own as great art or have any emotional appeal.


I wasn't too excited about seeing Miro's exhibition, however, was truly inspired by the works on display and particularly two of his tryptics - Blue 1. 2 and 3 and one other. Through the works I discovered influences from Dali, see the political drivers and possibly understand how Miro saw and understood himself and other humans. Very contemplative.

Penny Ewles-Bergeron

This was a well curated exhibition. What I most appreciated was having a chance to see early and late Miro' work in the context of so much that has been reproduced for posters etc. over the years. Many of the works at the beginning and end of his career were entirely new to me and they gave a context to the middle years. Plus, once the historical/political time-line was established Miro's reactions and intent increased in impact and significance. I shall try to go again; Sunday was busy!

Graham Williams

Certainly well presented. but I did feel that we knew no more about Miro the man at the end than we did at the beginning. Where was he trained, if he was? how did he live? Paintings aren't like the tablets of the law - they don't appear by magic, they're artefacts produced by people and the circumstances which allowed them or encouraged them to be made are critical to our understanding of the work.