Miró. Sculptures. 1928-1982

Joan Miró’s sculpture developed in parallel with his painting but followed a materially distinct trajectory. Beginning with experimental constructions in wood and found materials during the late 1920s, Miró increasingly treated ordinary objects as raw components for imaginative transformation. Tools, vessels, fragments of furniture, natural forms, and discarded objects could be recombined into hybrid figures that occupy the space between person, animal, landscape, and sign. As his sculptural practice expanded, bronze became the dominant medium, sometimes painted, while iron, cement, synthetic resin, and other materials remained part of his vocabulary.

Miró. Sculptures. 1928–1982 provides the systematic record of this development. The catalogue reproduces Miró’s sculptures across more than five decades and gives detailed information for each work, including title, date, medium and materials, foundry, dimensions, number of casts, ownership, provenance, principal exhibitions, and bibliography. Its chronological scope makes visible the continuity between the artist’s early assemblage-based experimentation and the increasingly monumental, technically complex bronzes of his later years.