In 1927, Joan Miro (1893-1983) claimed he wanted to “assassinate” painting. Eventually he hit upon sculpture as a means of doing it. The 14 small-scale sculptures in “Sculptures of Joan Miro from the Asahi Beer Collection” at the Asahi Beer Oyamazaki Villa Museum of Art, focus on the mid-1960s to early ’80s during which Miro deployed ideas developed in his earlier painting career.
As a fauve painter in his teens in Barcelona, Miro went to Paris in 1920, met Picasso, then was ushered into the surrealist circle in 1923 before being formally admitted as a member in 1924. His “dream paintings” from 1925 were intensely colored and with forms made into calligraphic signs that seemingly floated, ungrounded, in pictorial space.