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.

Photograph: Tate Photography/
© Successió Miró/ADAGP, Paris and DACS, London 2011

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)

Photograph: Tate Photography
© Successió Miró/ADAGP, Paris and DACS, London 2011

Miro Colorful Contemplation

Colourful Contemplation: Miró’s ‘Blue I-II-III’, 1961

Photograph: Andrew Dunkley/Tate. Centre Pompidou /
© Successió Miró/ADAGP, Paris and DACS, London 201

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.

Comments

Elena

A very good exhibition that improves from one room to the next.
It gives an excellent idea of Miro's art development year after year, not only in style, but also as a deep reflection of the historical and cultural situation that Spain was living through for such a long time. You sense how strong was the tie with his country and how much he loved it.
From an artistic point of view my favourite rooms were the very last ones.
Especially the tryptics are unique and set in a perfect space for a better enjoyment.

Adrian

Probably the best exhibition I have seen at the Tate. It was well curated and was a fascinating voyage through the life, work and development of the artist. Each room offered new highlights. And though much of the work was familiar from photos, the web etc he is an artist whose work really needs to be seen in a gallery. I was especially impressed by the scale of the mural paintings, the breadth of the Barcelona series, and by the quality of the Constellations.
My regret was seeing the exhibition just days before it closes as it is one that would repay further visits.

Mick Peake

I have always loved Miro's work but this exhibition gave a wonderful insight into how he developed as an artist. Despite the many dark subtexts to some of the works, my main feeling was one of joy and mischievous humour which very often made me smile out loud as I walked around the gallery.

John Copeland

I was interested in how many people like myself had been to the Barcelona Museum and not been very impressed. The arrangement here seemed so much better and I found the commentary particularly useful because what really came across to me was Miro's sincerity. When an artist is that sincere about his work then what ever you think at first you have got to take it seriously and try to understand it, so in all a very be rewarding experience.

Heather

I thought the Miro exhibition was great! It's a very extensive collection and gives the visitor a good understanding of the political backdrop to the art as well as demonstrating how Miro's work developed over the years.
I visited twice, the first time near the beginning of the exhibition and the second time towards the end. I have to say I got more out of my first visit as when I returned on Friday evening it was incredibly busy in the gallery. None the less, my friend and I had a very pleasant evening and the timing mean't we could also enjoy a glass of wine in the bar!

Bill Lovett

What was particularly interesting was the variety of work, from something semi-represntational semi-cubist to Pollock-esque splashes. More variety than expected, when I had heard Miro described as a "on-trick" pony.

To an extent, in later life he seemed to me the works could be described as derivative. Plain blue canvases - Rothko? Thrown paint - Pollock. And burnt painting - Jimi Hendrix at Monterey Festival??

But all brain food.

Georgina-Kate Adams

It took us 2.5 hours to get around Miro yesterday but by the end we really felt we'd achieved something! When I try to describe the exhibition as a whole, the word I come to is 'meaty' - we had the headsets and felt we became so immersed, in the politics, his personal development, demons, inspirations and joy. There are not enough words to describe each piece individually.

It's too hard to choose a favourite piece but his early work was fascinating. I think I could live with The Farm in my lounge for 25 years and everyday spot something new. The dog howling at the moon piece held all the charm of children's rhymes (the cow jumped over the moon) but juxtaposed with provocative darkness. The large pieces in the side rooms were incredibly calming and moving. And how I wish we could have seen The Barcelona Series when it was squashed onto the walls of a flat. What a deeply evocative site that must have been.

Thank you for an exceptional, eye-opening, rousing exhibition.

Caroline Meyer

Whilst I loved Room 1 including The Farm and I have previously visited La Fondacion in Barcelona and Miro's workshop in Palma and enjoyed the experience, having seen this exhibition I do have growing reservations about Miro's art.

I was wondering whether the burnt canvases were the result of rage, his wife burning them during a fight or an inability to pay the heating bill!! Either way that is the sort of art where a cynic might think the lending institution might say "Oh yes do borrow them... in fact keep them as long as you like... in fact there is no need to give them back!"

Miro is someone whose drawings give the impression that he believed there was a sharp toothed monster living under his bed. But perhaps that is what he really did feel in a political sense.

I feel a growing sense of unease whenever I see art which has no skill underpinning it. When artists become so arrogant that a single black line suffices then something is seriously awry.I would like to see a general boycott of art where artists just "take the piss" as ultimately it will bring down the reputation of galleries who fail to make any critical judgment. Critical judgements are made all the time in publishing and on stage and screen.So why have galleries failed to take on that responsibility?

Maira Maria Martins

Miró, I love you!!

Eis a real pinting!

Voce assim como Matisse, e por que não Picasso? e tbm Kandink,e poucos outros; Foram pessoas que souberam dar a uma obra de arte, a verdadeira Face da pintura imaginária, do lado lúdico da vida!
I, am pinting too!!! I Love vcs all. Tanks

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