Project for a Monument

Jean Miró

b. 1893 - d. 1983

Joan Miro's first retrospective exhibition of his works took place at the Museum of Modern Art in New York in 1941. Although he made sculpture throughout his life, it was not until 1944 that Miró really commenced his work as a sculptor, producing his first ceramics in collaboration with Artigas and making his first bronzes, cast between 1944 and 1950. In all, Miró produced around 400 sculptures, mostly from the 1960s to his death in 1983. Miró believed that ‘sculpture must stand in the open air, in the middle of nature’. He wrote, ‘...wherever you are, you find the sun, a blade of grass, the spirals of the dragonfly. Courage consists of staying at home, close to nature, which could not care less about our disasters. Each grain of dust contains the soul of something marvellous'.

Project for a Monument, ​like the other work by Joan Miró in Jeddah, Oiseau, ​was cast at the Fonderia Bonvicini in Verona in 1981, when the artist was eighty­ seven. Project for a Monumen weighs approximately three tonnes and was cast in an edition of four (one of which is in Milan and another in the Kimbell Art Museum, Fort Worth). 

Jeddah Sculpture Museum
Material / Dimensions
Bronze / 450cm high
Human Form
Audio description
Additional images
Artist Biography

The Catalan surrealist artist Joan Miró created a pictorial and sculptural world of intense imaginative power. The son of a goldsmith, Miró started to draw at the age of eight. He was one of the first members of the Grupo Courbet, founded by his friend Artigas in 1918. He settled in Paris in 1920, returning to Spain only for the summer. In Paris he participated in the Dada movement and renewed his acquaintance with Pablo Picasso, whom he had known in Barcelona. In 1924, Miró met André Breton, Louis Aragon and Paul Éluard, who welcomed him into the surrealist group, whose manifesto he signed. The surrealists believed that ‘beauty will be convulsive, or it will not exist’, and Miró started to make strange objects from items found in flea markets. He stayed away from Spain during the civil war, but supported the Republican side unreservedly and, in 1937, composed T​he Reaper f​or the pavilion of the Spanish Republic at the Exposition Universelle in Paris, which was shown next to Picasso’s G​uernica.​With the occupation of France by the Nazis he returned to Spain.