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.



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...


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.

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?


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.


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.

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.

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.

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.


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