Miro

1920 Miró had his first journey to Paris, where he also had the chance to visit Picasso. He attended a few classes at the Grande Chaumière, but spent most of his time in museums, along with one or two Dada events, and visiting current exhibitions and shows.

1922 : He and Masson befriended the avant-garde writers and poets Antonin Artaud, Georges Bataille, Robert Desnos, Jean Dubuffet, Paul Eluard, Marcel Jouhandeau, Michel Leiris, Raymond Queneau, and Armand Salacrou, Roland Tual, and Benjamin Péret.

He discovered the writings of Nietzsche, Sade, Rimbaud, Mallarmé, and Saint Pol Roux, plunged deeper into the works of Apollinaire , and attended readings of texts by Alfred Jarry. Above all, he became aware of the challenges of the Surrealist movement, as set forth by André Breton in his ‘Manifeste du Surréalisme’.

1925 Miró signed a contract with Jacques Viot who managed the gallery run by Pierre Loeb. The month of June saw his first major solo exhibition. The catalogue, which bore the signatures of all the members of the Surrealist group, had an introductory essay by Benjamin Péret, and marked the moment of Miró’s official entry into Surrealism. While his works were reproduced in La Révolution surréaliste, he was taking part in the first official exhibition of the Surrealist group, titled “La Peinture Surréaliste”, organized by Breton at the Galerie Pierre.

1926 Miró was first introduced to the United States, with his participation in the “International Exhibition of Modern Art assembled by the Société Anonyme”, organized by Marcel Duchamp and Catherine Dreier at the Brooklyn Museum in New York City.

1927 Miró met Salvador Dalí, whom he would soon introduce to the Surrealist group in Paris.

1928 Miró’s pictorial oeuvre was officially acknowledged by critics. In Paris, André Breton welcomed the “automatism” of his works in Le Surréalisme et la peinture, which came out in October.

1929 : In the summer at Montroig, Miró devoted his time to developing a wide-ranging series of Collages. These novel works were instantly recognized by the Surrealist group: Breton and Aragon each acquired one, and included their newly purchased works in the exhibition “La peinture au défi,” held at the Galerie Goemans in Paris in Spring 1930. In the catalogue, the novelty of these “collages” was also acknowledged in relation to Surrealism and Cubism.

1930 In the United States following his meeting with the New York gallery owner Pierre Matisse, Miró celebrated his first solo show at the Valentine Gallery in New York.

1932 Miró had his first solo exhibition at the Pierre Matisse Gallery in New York.