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Student Artwork Guide

Self-Portrait

Name Class Date

Joan Miró, Self-Portrait (1919). Reproduced for reference; rights reserved by the rights holder.

The facts

Artist
Joan Miró wikioo.org/en/artists/joan-miro/
Artist’s dates
1893 – 1983
Painted
1919
Medium
Acrylic On Canvas
Original size
75 x 60 cm
Movement
Fauvism/Surrealism Wild, unnatural colour used straight from the tube — critics called the painters "wild beasts".
Period
Early Medieval
Artistic style
Abstract, Expressionist
Influences
Fauvism, Cubism
Notable elements
Red face, bold outlines
Subject or theme
Self-portraiture

In context

Self-Portrait — Joan Miró

How big is it?

The original measures 75 × 60 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1890
  2. 1900
  3. 1910
  4. 1920
  5. 1930
  6. 1940
  7. 1950
  8. 1960
  9. 1970
  10. 1980

Shaded: the lifetime of Joan Miró (1893–1983) ▲ this work, 1919

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: wikioo.org/en/art/similar/joan-miro-self-portrait-8XYBWU-en/

Colours

Measured from the image

    Main colour

    Driftwood #b07b45

    Catalogued palette

    • #B07B45
    • #942A1A
    • #4F1B1B
    • #D09E60
    Palette
    Dark The dominant colour family in the image.
    Main colour name
    Driftwood
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Balanced How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Balanced How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Clear Color Presence How pure and strong the colours are, from near-grey to fully vivid.

    About this artwork

    Self-Portrait — Joan Miró

    A Bold Statement of Inner Space: Joan Miró's 1919 Self-Portrait

    Joan Miró’s 1919 “Self-Portrait” isn’t merely a depiction of an artist; it’s a vibrant, almost explosive declaration of his artistic vision and a window into the tumultuous period of his early career. Created during a pivotal transition between Cubism and Surrealism, this painting immediately grabs the viewer with its audacious use of color and its distinctly personal iconography. Miró, deeply influenced by the Fauvist movement's embrace of intense hues, boldly renders his own face in a striking, almost aggressive red – a deliberate rejection of traditional portraiture’s restraint and a signal of his desire to break free from established artistic conventions.

    The painting’s power lies not just in its color but also in its technique. Heavy outlines define the shapes, creating a flattened effect reminiscent of Fauvist works while simultaneously hinting at the organic forms that would later characterize Miró's Surrealist style. Notice the nuanced treatment of his features – the slightly open mouth, the thoughtful gaze – suggesting a contemplative mood, inviting us to ponder the artist’s state of mind during this transformative time. The texture of the fabric, rendered with careful attention, adds depth and a tactile quality to the composition, grounding the fantastical elements within a recognizable reality.

    Fauvist Roots and Emerging Surrealism

    Miró's “Self-Portrait” firmly establishes him as a key figure in the Fauvist movement. The bold color palette – dominated by that intense red – is characteristic of this style, which sought to evoke emotion rather than represent reality with photographic accuracy. However, the painting also foreshadows Miró’s later foray into Surrealism. The inclusion of whimsical symbols—stars, birds, and amorphous shapes—begins a process of layering meaning, creating a visual language that transcends literal representation. This period represents a crucial bridge between his earlier influences and the dreamlike imagery he would become known for.

    Interestingly, this self-portrait was created during a time of significant personal and artistic upheaval for Miró. He had recently moved to Paris from Barcelona, immersing himself in the vibrant art scene and encountering artists like Picasso and Braque. The painting reflects this period of experimentation and exploration, marking a departure from his earlier, more structured work. It’s a testament to his willingness to challenge conventions and forge his own unique path.

    Symbolism and Personal Vision

    Beyond its formal qualities, the “Self-Portrait” is rich in symbolism. The red face can be interpreted as representing passion, energy, or even defiance – a bold assertion of Miró’s artistic identity. The scattered symbols—the stars, for instance—evoke notions of dreams, fate, and the subconscious. These elements are not simply decorative; they contribute to a complex visual narrative that speaks to Miró's inner world.

    Currently residing in the Musée Picasso in Paris, this painting offers a rare glimpse into the mind of one of 20th-century’s most imaginative artists. It stands as a powerful example of his innovative spirit and his enduring contribution to modern art. For those seeking to experience Miró's world firsthand, wahooart.com offers meticulously crafted hand-painted reproductions that faithfully capture the vibrancy and emotional depth of this iconic work.

    Artist and museum

    Artist

    Joan Miró

    Born in Barcelona, Spain

    A Catalan Visionary: The Life and Art of Joan Miró

    Joan Miró i Ferrà, born in Barcelona in 1893, stands as one of the most significant figures in 20th-century art. His journey was not merely a progression through styles but an exploration of inner worlds, translating dreams, memories, and Catalan identity onto canvas with a uniquely poetic visual language. From humble beginnings marked by illness and initial parental reservations about his artistic pursuits, Miró persevered, driven by an innate need to express the intangible—the emotions, sensations, and subconscious currents that lie beneath the surface of reality. His early life was steeped in the traditions of Barcelona, a city brimming with architectural marvels thanks to Antoni Gaudí, whose organic forms would subtly influence Miró’s later abstractions. The goldsmithing profession of his father instilled an appreciation for meticulous craftsmanship, while the rugged Catalan landscape became a recurring motif and source of inspiration throughout his career.

    Early Influences and the Path to Surrealism

    Miró's formal artistic training began at La Llotja in Barcelona, where he honed his skills in traditional techniques. However, it was exposure to the avant-garde movements sweeping through Paris that truly ignited his creative evolution. The vibrant colors of Fauvism and the fragmented forms of Cubism resonated deeply, prompting him to move to Paris in 1920. This period proved pivotal as he encountered artists like Pablo Picasso and began experimenting with increasingly abstract compositions. Yet, Miró didn’t simply adopt these styles; he synthesized them, forging a path toward his own distinctive aesthetic. He sought to distill forms to their essence, stripping away representational details in favor of symbolic shapes and evocative colors. This exploration led him to the Surrealist group in 1924, aligning him with artists such as Max Ernst and Salvador Dalí. While embracing the Surrealist interest in the subconscious, Miró maintained a unique sensibility—his work was less about shocking imagery or Freudian symbolism than it was about creating a world of playful forms and poetic suggestion.

    The Language of Symbols: Key Works and Artistic Innovations

    Throughout the 1920s and 30s, Miró developed his signature visual vocabulary—a universe populated by biomorphic shapes, floating forms, and vibrant colors. The Farm (1922), often considered a cornerstone of his oeuvre, exemplifies this transition. It’s not merely a depiction of rural life but an evocation of Catalan identity and a symbolic representation of the natural world. His collaborative spirit led to innovative techniques like grattage, pioneered with Max Ernst in 1926 for designs intended for Sergei Diaghilev's ballet, where textures were revealed by scraping paint across canvas. The Dutch Interiors (1928) series demonstrated his ability to reinterpret the Old Masters through a distinctly modern lens, transforming domestic scenes into dreamlike abstractions. Painting (1933), with its bold colors and simplified forms, encapsulates Miró’s exploration of the subconscious and his rejection of conventional artistic boundaries. Beyond painting, Miró fearlessly experimented with sculpture, ceramics, and printmaking, expanding his creative horizons and demonstrating a remarkable versatility.

    Legacy and Enduring Influence

    Joan Miró's impact on 20th-century art is undeniable. He wasn’t simply a painter; he was a visionary who challenged the very definition of artistic expression. His work paved the way for abstract expressionism and continues to inspire artists across disciplines. He established two foundations—the Fundació Joan Miró in Barcelona (1975) and the Fundació Pilar i Joan Miró in Palma de Mallorca (1981)—ensuring that his legacy would endure, providing spaces for artistic exploration and education. Throughout his long career, he remained committed to pushing boundaries, questioning conventions, and exploring the depths of human imagination. Miró’s art is a testament to the power of abstraction, symbolism, and poetic expression—a vibrant celebration of life, dreams, and the enduring spirit of Catalan culture. His work continues to resonate with audiences worldwide, inviting us to enter a world where anything is possible and the boundaries between reality and fantasy blur into a captivating dance of color and form.

    Where to read more

    Find this online

    QR code linking to the download page for Self-Portrait

    wikioo.org/en/art/download/joan-miro-self-portrait-8XYBWU-en/

    Cite this artwork

    MLA
    Miró, Joan. Self-Portrait. 1919, https://wikioo.org/en/art/joan-miro-self-portrait-8XYBWU-en/
    APA
    Miró, Joan (1919). Self-Portrait [Painting]. https://wikioo.org/en/art/joan-miro-self-portrait-8XYBWU-en/
    Chicago
    Joan Miró. Self-Portrait. 1919. https://wikioo.org/en/art/joan-miro-self-portrait-8XYBWU-en/
    Harvard
    Miró, Joan (1919) Self-Portrait. Available at: https://wikioo.org/en/art/joan-miro-self-portrait-8XYBWU-en/

    Look closely

    Self-Portrait — Joan Miró

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: portrait, self-reflection, color. Do you agree? What would you add, or take away?
    4. Look back at Ciphers and Constellations, in Love with a Woman (1941), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Fauvism/Surrealism: Wild, unnatural colour used straight from the tube — critics called the painters "wild beasts". Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Self-Portrait — Joan Miró

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What artistic movement is most strongly associated with Joan Miró’s ‘Self-Portrait’?

      • A Renaissance Realism
      • B Fauvism and Surrealism
      • C Baroque Drama
    2. 2. The striking red color used in the ‘Self-Portrait’ primarily reflects which artistic intention?

      • A A desire for realistic representation of the subject's skin tone.
      • B A break from traditional art forms and a bold statement of individuality.
      • C An attempt to create a calming and serene atmosphere.
    3. 3. During what historical period was Joan Miró’s ‘Self-Portrait’ created?

      • A The Roman Empire
      • B 1919
      • C The Victorian Era
    4. 4. What technique is most evident in the ‘Self-Portrait’?

      • A Detailed shading and blending to create realistic textures.
      • B Heavy outlines and flattened areas of color
      • C Impasto with a smooth, polished surface.
    5. 5. Where is Joan Miró’s ‘Self-Portrait’ currently housed?

      • A The Metropolitan Museum of Art
      • B The Prado Museum in Madrid
      • C The Musée Picasso in Paris

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1A · 2B · 3B · 4B · 5C