Joan Miró, ‘Moonbird (Oiseau lunaire), also called The Lunar Bird’, 1944, 46 (enlargement 1966, cast 1967) , Nasher Sculpture Center

Signature: Signed, numbered and inscribed with foundry mark Right leg: 'Miro 4/5' Left leg: 'Susse Fondeur Paris'

Image rights: (c) 2004 Successió Miró/Artists Rights Society (ARS), New York/ADAGP, Paris; Photographer: David Heald

1974 Sculptures de Miró, Ceramiques de Miró et Llorens Artigas, Fondation Maeght, Basel, Switzerland, April 14 - June 30, 1974. Exhibition catalogue. 1978 20th Century Sculpture from the Mr. and Mrs. Raymond D. Nasher Collection, University Gallery, Southern Methodist University, Dallas, September 22 - October 22, 1978. Exhibition catalogue. 1987 A Century of Modern Sculpture: The Patsy and Raymond Nasher Collection, Dallas Museum of Art, April 5 - May 31, 1987; National Gallery of Art, Washington, D.C., June 28, 1987 - January 3, 1988; Museo Nacional Centro de Arte Reina Sofia, Madrid, April 4, - June 5, 1988; Forte Belvedere, Florence, Italy, July 8 - October 16, 1988; Tel Aviv Museum of Art, January 1 - March 31, 1989. Exhibition catalogue. 1996 A Century of Sculpture: The Nasher Collection, Fine Arts Museums of San Francisco, October 26, 1996 - January 12, 1997; Solomon R. Guggenheim Museum, New York, February 6 - June 1, 1997. Exhibition catalogue. 2003 Outdoor Garden Installation, Nasher Sculpture Center, Dallas, October 20, 2003 - August 2004. 2004 Bodies Past and Present: The Figurative Tradition in the Nasher Collection, Nasher Sculpture Center, Dallas, September 2004 - July 2005. 2008 In Pursuit of the Masters: Stories from the Raymond and Patsy Nasher Collection, Nasher Sculpture Center, September 20, 2008 – January 4, 2009. Exhibition pamphlet.

Artist Galerie Maeght, Paris
Raymond and Patsy Nasher Collection, Dallas, Texas, 1972

About Joan Miró

Joan Miró rejected the constraints of traditional painting, creating works “conceived with fire in the soul but executed with clinical coolness,” as he once said. Widely considered one of the leading Surrealists, though never officially part of the group, Miró pioneered a wandering linear style of Automatism—a method of “random” drawing that attempted to express the inner workings of the human psyche. Miró used color and form in a symbolic rather than literal manner, his intricate compositions combining abstract elements with recurring motifs like birds, eyes, and the moon. “I try to apply colors like words that shape poems, like notes that shape music,” he said. While he prized artistic freedom, Miró revered art history, basing a series of works on the Dutch Baroque interiors of Hendrick Sorgh and Jan Steen. In turn, Miró has inspired many artists—significantly Arshile Gorky, whose bold linear abstractions proved a foundational influence on Abstract Expressionism.

Spanish, 1893-1983, Barcelona, Spain, based in Paris and Catalonia, Spain