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.



Ah Miro, have always likes his later work but never knew why, more of a visceral reaction. Now I find his earlier work sets the context and his journey, political and personal gives his work an added edge. The introductory film was well done, I feel I undertand his driving forces a little now, informative and in the right place. Thank you Matthew. Have looked in detail at his technique and use of materials, which became even more interesting and amusing post-firing the canvases, an interesting insight into his view of the art world. Exhausted my concentration mid way and zoomed through the second half of the exhibitions,I will return to sit and consider his tryptichs when it is quieter. My only reservation was an overly speculative interpretation of the use of line around the features in his earlier peasant painting, but it prompted thought so maybe I'm being too picky. I found the interpetive balance just right, the chronology worked well and enought light and shade for the academic and the uninformed viewer. I am inspired, were it not for exhaustion after a heavy day, I'd of picked up my brush immediately when I returned to the studio.


I totally agree with these comments. I went to this exhibition because I thought I ought to, having dismissed Miro's work as decorative. I was clearly mistaken, as the excellently curated exhibition brought out Miro's range of exploration and absorption in his painting and, as Olliver says, his sheer joie de vivre. It is always good to find an artist who was not a tormented soul, despite the harshness of some of his experiences. The final triptych I found just perfect. Thanks Tate!

martin chesterman

Particularly enjoyed the first half of the show. But then came the chronological gap "after a decade of concentration on ceramics" - as the guide states - during the 1950's. Why no ceramics in the show? To dedicate more than 10 years of your career to a medium surely warrants some representation? Ceramics got a look in at the Gauguin show (OK, not great work). Any ceramics present in a serious show is important in demonstrating to the public the value of the craft, and if it meant something to that 'fine' artist, it should be shown.

Holly McGlynn

Much as I love Surrealism, Miro was never an artist who really gripped me. I went to see the exhibition at the Tate because a friend of mine was a big fan - I'm so glad I did. The exhibition catalogues such a wide gamut of styles and influences. I can't believe how dramatically his style changed in just a couple of years. Miro's work is so brave and confidently executed, stripped back, sometimes violent, sometimes agitated and inescapably political, given the fraught climate he lived in. The exhibition gives enough context to the work to make it relevant, without overloading you with information, and the chronology and introduction to his symbolism makes the exhibition so enjoyable. Highly recommend it.

R Minter

Liked the first room and his early work. It goes down hill from there on in. I thought the deterioration of his work paralleled the decline of painting in the 20th century as daft ideas proliferated.

Jill Brownbill

I've seen a lot of Miro (Fundacion Miro, Barcelona, and Foundation Maeght, Nice) and have always thought of him as a 'fun' artist who was playful with materials and subject matter; his work always cheered me up and made me smile. This exhibition showed me a new side, his political, Catalan side. I really enjoyed the exhibition, especially the murals, and I learnt so much more about Miro and his work. Marvellous exhibition - I'm going back, probably several times! Thanks

diana brighouse

my husband and i visited the miro foundation in barcelona a couple of years ago and enjoyed the visit enormously, so we were looking forward to the tate exhibition. it certainly did not disappoint - in fact we enjoyed it even more than the foundation, largely due to the excellent curation. the notes accompanying each piece of work and each gallery were concise and very informative - like another commentator here i had failed to appreciate the extent to which the prevailing political situation had influenced miro. the other really interesting aspect of the exhibition for me was seeing how the 'condemned cell' pieces were displayed, and how much it influenced the impact of the works. all in all an outstanding tate exhibition - i will definitely be returning. you have set the bar very high for future retrospectives!

Jill Channing

I absolutely loved this exhibiton and spent twice as long there as I had planned. I only knew basic facts about Miro before, but found it easy to understand the progression of his work and his influences, because it was so well curated. The colours and sheer vibrancy of the exhibition just blew me away, especially the works on copper. A real triumph, and I hope to find time for another visit before it closes.


Visited Joan Miro exhibition last weekend and it greeted me with great interest. I had seen a selection of his creations in Barcelona - but the wealth and depth of his work at the tate Modern was quite spectaclar. Even pieces of work which on initial viewing did not appeal to the eye on further viewing they really brought to the forefront the angst with which Miro was holding inside him when he created a number of his works. As a member of the tate galleries I fully intend to make subsequent visits before mid September..

Viv Pound

We have in the past seen Miro's work in both Palma & Barcelona. We thoroughly enjoyed the exhibition which showed the development of his style and relationship to other artists We intend to have a second visit as it is impossible to do justice to the woks in one visit. ThanksViv & Mike

Maria Grazia Weiner

Like a number of other visitors I came to the exhibition without knowing what to expect. I first came to know Miró's work in the wonderful setting of the Maeght Foundation in Saint-Paul de Vence, which I never missed to visit whenever I was in France in the past. On my first of many visists I was immediately swept off my feet by the sheer beauty of his sculptures. Unfortunately I did not have the chance to go and see Miró in His Garden in 2009, so the Tate exhibition is a welcome opportunity to see his paintings other then on books and reproductions. I was utterly fascinated to see how his style developed from his first works, which I did not know, and how it came to reflect the darkest period in Spanish history. And the blues and yellows... I left elated and determined to come back again before it ends. Congratulations Tate.

Penny Chalton

Excellent exhibition but why no mobile works?

And why so crowded?


Every trip to the Modern I feel more dispirited by the whole enterprise. Less and less to do with creativity and more to do with merchandising and consumption. This is the last place you should visit to enjoy 'art'. Find a small gallery, talk to the artist or the agent, and most important: start making pictures.

Helene Kydd

Went with two 9 year olds who loved it, completely seemed to get it and are now desperate to start burning some of their work! They sat in front of a couple of pieces and produced some lovely work for themselves. They were intrigued by the idea of a ladder to nowhere!


Fantastic exhibition which is excellently displayed....the paintings had plenty of room to breathe and are easily viewed without feeling crowded. Loved the way the 'burned' collection were hung casting the shadows against the wall. Ingenious and provocative hanging for an ingenious and provocative artist.

John Harris

The exhibition itself was excellent: very well thought through and carefully curated. That said, our visit was spoilt somewhat by the surly staff we encountered. As I presented my member's card on the way in I gave a cheery "Hello!" to the young man on the door, who looked at me as if I'd said something offensive about his mother and made no reply. The staff inside the exhibition were equally curt and unresponsive to smiles or questions. After going round the exhibition we adjourned to the member's room where the young woman at the door told me I "Should not presume" that I would automatically be able to bring our non-member friend in with us but that she would "allow it on this occasion since the room wasn't too busy". Once in the members' room there was the usual crowded chaos with tables having not been cleared for some time, little food left (at 1:30pm) and that which was available was bland and overpriced. The sad fact is there are better galleries in London with equally interesting exhibitions, nicer staff, better facilities and better food.

joanna simms

Having been to the Miro Foundation in Barcelona many years ago I was feeling rather blasé about this expo beforehand, however it came across almost as a new discovery, and I thoroughly enjoyed it (helped by the fact that it was surprisingly uncrowded!). I felt the exhibits were displayed well. However, I had to ask for a large-type guide (the wall labels are always much too small and always have someone standing in front of them) and the attendant had to hunt under the desk for one. It was all in one large book, too heavy for me to carry. Why not divide it into smaller sections for different rooms as Tate Britain did at the Vorticist expo, and have copies readily available at the entrance to each room? One really big grouse now ... I pay my annual membership, we bought an overpriced lunch for 2, an overpriced afternoon tea for 2, we bought two exhibition catalogues, some postcards and the obligatory fridge magnets (they're 50p cheaper at the Courtauld), but we were still charged 5p for a carrier bag which advertises the Tate!!!!! And don't tell me "it's to save the environment", it isn't, it's a profit-making con!!!

Nanette Wise

I find the Power Station terribly oppressive. I have only rarely liked the rooms and have only been seduced into membership by the thought of seeing Gauguin and now Miro and next Magritte. These are all artists I like. But sadly for me the gloom of the Power Station seems to have seeped into the exhibition and I did not enjoy the paintings until the last couple of rooms. But I love reproductions of their work. Perhaps you could explain why I feel like this. Your website is more uplifting.


Really loved the exhibition. The early ones, the farm and landscapes, the constellations and the huge triptyches are my favourites. A pity we couldn't have the tapestry from the Fundacion Miro to complete the Miro world. Is it too fragile to travel, or just too big for the space at Tate? Certainly will return to see the exhibition again.


Loved it. Was surprised it wasn't busier but it made it a pleasanter experience. still so many people who do not know the magic of Miro! It was lovely to see so much work I was not familiar with. Really enjoyed the farm pictures - the colours are wonderful. Specially loved the blue tryptich. Also the constellations and the sculptures. In fact it was all brilliant. The historical input was enlightening. I only wish I didn't live 200 miles away

Andrew Maugham

This is a nicely judged exhibition. I have never been to Barcelona so my knowledge of Miro has been garnered until now from the Tate's own collection, examples in other national collections and books. The illustration of Miro's life and work from three periods in his life has given me a much better understanding of what he is about.

The highlight for me was the room with the Constellation series, which was a real treasure trove. The early Catalonian work was also striking. I was interested to see the later works - I had never before come across the large canvases or the burnt works - although Miro's inspiration did seem to be tailing off by that time.

Carol Stewart

We were pleased to be able to return to this exhibition a second time. It is helpfully presented, rich and thought provoking - more extensive than we had expected. I enjoyed the paintings enormously and by the end felt I had begun to understand the artist.

Michael Wolfers

I thought I was reasonably familiar with Miro's work, but found this a highly comprehensive show that probably merits more than a single visit. I was particularly excited to see the very early work with which I was not so familiar, and the generous display of the triptychs in their moving isolation from the busier rooms.

Tony Nandi

Totally inspired me to once again start making marks on paper! I will return, and visiting an exhibition twice is very unusual for me. I was totally delighted.

Pamela & At...

One of the best shows we've seen at Tate Modern.

Madeline Wright

Although I can appreciate his work , it is not to my taste. I think the curator has done a good job of showing an artists development and the layout gave you an opportunity to view easily. But I am glad so many people feel passionate about it - as art is about being stimulated and individual taste.

Katherine Hardy

I really enjoyed this exhibition. Although I'd seen some of his work before I was not aware of the range and variety of Miro's paintings. The early works in particular were wonderful and the triptych's and burnt works completely new to me. The information about Miro's life and the historical context of the times in which he worked all helped to understand the work on show. Well done Tate.

Reshma Ashraf Mason

Thought it was absolutely brilliant! Loved it and can imagine it being very inspiring to younger artists.


I can't say that I like Miró very much. I find it difficult to relate to, except for some of his earlier works. I also agree with the previous commenter about audio guides. I never use them, but find that audio guides and lengthy notes next to paintings impede the flow of people through the exhibition. I'm glad to have seen it, but am not a fan of his work.

Leo J. Sapiraa

To put it simple and straight to the point: excellent!

James Nelson

My wife & I & elder son had been to Miro foundation in Barcelona as our ontroduction to the artist,about 9yrs ago.Recollections were hazy but we knew we had been impressed by our first serious contact.So this exhibition was "a must".All three of us were deeply moved & excited by it,(Gauguin in Jan.11 left us cold) but the Rothko had had a similar effect.Actually we did Francis Bacon @ Tate Britain in the morning,& felt like "sucked oranges" until Rothko brightened our day.Similarly Miro's Barcelona prints were angry & dispiriting (like Bacon),but everything else left us bubbling cheerfully for the whole weekend.

bryan brown

Fascinating how his works reflected his own circumstances and how they changed with changing events.

annette fry

I was really moved when I visited the exhibition, completely unexpectedly, I hadn't placed his work in the historical context before, and when I did, I found it quite inspirational. I didn't take the audio guide, and was pleased as I spent more quiet time with the paintings themselves which certainly had a strong voice, his voice came through, across the time that has passed, and his work showed the timelessness of passionate art. Well curated. I will visit again as there was so much to be considered. So many moments of memory.

Ruth Harrison

I was lucky enough to arrive at 10.40 am yesterday when the exhibition was not crowded and I thought this exhibition was very well curated, guiding the viewer through the way Miro's work developed over his long life. With this artist I felt we really needed the titles and the background information to fully understand the works. Like other viewers I could see influences of his contemporaries, from Picasso to Twombly. I thought some of the early works in Room 1 were a delight and 'The Farm' a masterpiece which was referenced in many later works . Above all, I feel that Miro's work can only really be understood in the context of the social and political upheaval through which he lived. His work provides a graphic insight into the horror and fear experienced by those caught up in the Spanish civil war and the military dictatorship that followed. In this respect. my visit was a deeply moving experience.

Caroline Hotchin

Enjoyed the exhibition very much. I particularly liked the "burnt" offerings and how they were displayed. I also enjoyed the pots - hoping for some inspiration there for my own amateur efforts. Came out feeling I ought to engineer a visit with my two/three-year old grand-daughters who with no pre-conceived ideas will get it just like that. I look at his paintings and I am back in the colours and sounds of Spain. That looks a bit pretentious but I am sure you all know what I mean.

Lesley Roberts

I loved the Miro exhibition and thought it was exceptionally well curated. I hadn't realised Miro's work was so politicised so the exhibition gave me a new understanding of a much-loved artist. I find his work incredibly moving.

I didn't listen to the audio tour and perhaps this question was answered there but I noticed that Miro did not sign many of his works - at least not on the front. Is this because his signature would interfere with the vocabulary of his paintings?

Jan Wansell

Loved the exhibition. It was well curated and so interesting. I had to leave half way through so shall go back soon for more. I had no idea how politics had influenced Miro's life and paintings so dramatically. JW

ian wilson

I was not a great fan of Miro because I did't really understand his pictures but I met a little girl about 4 years old who does and had borrowed a stool and was copying one of the pictures into a sketchbook. She was clearly delighted with Miro and making a very good job of it. I laughed and laughed and laughed at myself, of course the answer must be I'm too old to understand and now I feel a lot better.

ian wilson

I think I was there I think, at the same time, your children made my day and I still chuckle to myself whenever I think of your little girl on her stool drawing away so seriously: two bubbles tied together by a piece of string. I wasn't a great fan of Miro but now I understand what you need to like his work.

Bob Thomas

PS Coodnt find the spel chequer on my nu compoter , sory 4 n e erors .

David Shamash

Found it really childish and boring, as I expected. My fault really - went to see the Vorticists but that's on at Tate Britain, not Modern - silly me!

peter corrieri

I loved the exhibition. I had not previously been to a Miro show but thought I knew what to expect. The latter half Burnt-out canvas series, the Triptychs and the Majesties were stunning and seemed to have surprised a few other people too in this blog.

Elaine Fear

Having seen the Miro in Barcelona I was very excited at having so many Miro's in London. The exhibition was wonderful and I took my daughter who enjoyed it very much. We went to the private view and loved the space it afforded us to look at everything, at our own pace. We used the audio guides and found them helpful and insightful. Barcelona is still the most special way to see his work as the Spanish sky and the space for some of his huge pieces make it so. Well done Tate for bringing a taste of Miro to our dull London skies!


This exhibition was completely invigorating and uplifting, I have never seen such a wonderful variety, and so many pictures that made me want to stand and stare forever, seeing more and more with each minute, and wanting to see more, and then going to see another picture, and seeing more! What an unusual mind Miró must have had. I like his assertion that only accountants think that two and two make four. This exhibition has also made me want to go back and breathe Barcelona again, having not been there for 20 years.

Celia Wilkinson

Visited yesterday afternoon,and although it was very hot and crowded, I much enjoyed the exhibition. I was not familiar with the early works on show, which were a delight. Miro's portrayal of the agony of Spain at that time comes over powerfully, and gives much food for thought. Loved the burnt paintings, which I had not seen before. I hope I can make another visit and take an audio guide this time! Well done the curators!

laura lee

This is a fantastic show and so revealing about the man that I feel I have a whole new insight into his philosophy and work. The rooms with the large triptychs were quite exhilarating and the burnt pictures were so fresh and exciting...I had never seen them before and had no idea of their existence. I bought the book and when at home looking at it I found it very emotional and was surprised that this work had such a profund effect on me. Really really inspiring!

Torie FW

Came to your Curator's talk on Miro last night and absolutely loved it - Marco the Miro Man was fascinating start to finish. He talked fluently for an hour and forty minutes and I wished he'd double it. I have to admit that I did not connect with Miro when I saw it just with the audio. Marco completely brought it alive - it must have been that level of enthusiasm, osmosis made it inevitable.

Malcolm Powell

Visited yesterday afternoon and loved it despite it being very busy indeed. I loved the range of his works on display and the arrangement of the works by broad groupings. I am intending to visit again at a quieter time so I can take the works in without feeling so rushed.

PS Please put a link to the comment box at the top of the page!

F. Moore

Magnificent first half. Will visit again More general comment : Could the Tate do something about the poor content of the audioguides?


I thought the show was wonderfully curated, and I really disagree with the last person's comment on the audioguides - I thought they were amazingly comprehensive, and it was one of the rare occasions I listened through all the background supplementary items - which I found considerably enhanced my enjoyment.

Like many I found the early works absolutely ravishing, and the later angry ones more difficult - I also thought his work deteriorated in the latter years when he "reworked" some extremely interesting earlier stored stuff by daubing over it crudely with black streaks - I'm sure he was expressing his feelings, but - is that art? I think it was unfortunate that he became so strongly co-opted by Breton, Eluard and co -it is interesting to speculate how his work would have developed had he not lived in such dreadful times for Spain.

I also agree with the person who felt there was a dearth of information on his post war work.

But overall a wonderful and enriching visit.