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<\/p>\n
Sert Workshop <\/strong><\/p>\n In the early 1950s, Joan Mir\u00f3<\/em> began to feel the need to finally settle in one place and fulfill his great dream: a workshop to develop his work.<\/p>\n Therefore, he decided to commission the project from his great friend Josep Llu\u00eds Sert<\/em>, an architect of recognized prestige, representative of the tenets of the Modern Movement in Architecture and Dean of the Harvard Graduate School of Design.<\/p>\n The construction of the Sert Workshop<\/em> took place between 1954 and 1957. It is a work of maturity in which Sert<\/em> perfectly combines the adaptation of a building to a geographical context, the use of traditional materials, and construction techniques typical of the Mediterranean area, as well as great respect for the landscape.<\/p>\n Inside the Sert Workshop<\/em>, there are numerous canvases in various stages of execution, and its walls and display cases are filled with objects and curiosities that Mir\u00f3<\/em> collected. This space is a faithful witness to the artist’s final stage of creation, where his genius human and artistic process culminates.<\/p>\n Son Boter <\/strong><\/p>\n It is a typical Mallorcan rural house (possessi\u00f3<\/em>) dating back to the 18th century, which Joan Mir\u00f3<\/em> acquired in 1959 thanks to the Guggenheim International Award<\/em> from New York awarded the previous year.<\/p>\n For Mir\u00f3<\/em>, Son Boter<\/em> represents an expansion of his work areas, as well as a reference to his origins and a connection to popular culture.<\/p>\n Initially intended as a sculpture workshop, Son Boter<\/em> became his second painting studio, mainly for large-format works and his place of refuge.<\/p>\n Joan Mir\u00f3<\/em> left a very special mark on its walls where we can admire charcoal drawings, graffiti, mostly associated with sculptures, which form a unique and singular display of the artist’s expression.<\/p>\n Fortunately, both studios are preserved intact, just as they were left after the death of the brilliant artist. Canvases, brushes, stains on the floor, and sketches of future works drawn with charcoal on the walls… Visiting these two studios, the Sert Workshop<\/em> and Son Boter<\/em>, both declared Cultural Heritage Sites (BIC)<\/em>, means getting close in a complicit and privileged way to the master’s work and creative process.<\/p>\n Furthermore, in 1986, his wife Pilar Juncosa<\/em> proposed the need to construct a building to house the museum’s headquarters. With this purpose, she announced the donation of adjacent land to the workshops, suitable for its location, as well as a set of works by Joan Mir\u00f3<\/em> to be auctioned by Sotheby<\/em>‘s. In this way, the proceeds from the auction could be used to finance the new construction.<\/p>\n It was in 1992 when the new Moneo Building<\/em>, a work by the brilliant Rafael Moneo<\/em>, was added to accommodate administrative services and to rotate the presentation of the legacy works.<\/p>\n The work consists of a single building with different exhibition halls and other services. The main exhibition hall is called the Star Room or Space due to its star-shaped form. Light enters the interior of the foundation through horizontal slots that open along the walls, some narrow and others extensive, capable of transforming with the natural illumination from outside. The library, on the other hand, has a skylight, conducive to reading.<\/p>\n Access to the museum is from the top, due to the uneven terrain. A large concrete brise-soleil covers the entire facade facing the garden and the sea. In front of this volume appears the exhibition hall located on a lower level and with a water mirror as its cover.<\/p>\n The back of this building is surrounded by a pleasant garden decorated with sculptures that integrate perfectly with nature. In fact, water is an essential element of the garden, reminiscent of the adjacent sea. The vegetation consists of traditional island plants, creating a green landscape where Mir\u00f3<\/em>‘s sculptures take ownership of the space.<\/p>\n “Each painting is a journey, an exploration of the unknown, and an invitation to discover new possibilities.” Mir\u00f3<\/em><\/p>\n Joan Mir\u00f3<\/em> fell in love with the island as soon as he discovered it.<\/p>\n It was in 1956 when he decided to settle there until the end of his days. Although he was born in Barcelona on April 20, 1893, his mother Dolores Ferr\u00e0<\/em>, like his maternal grandparents, was from Mallorca. This family connection meant that, from 1900 onwards, he spent his summer seasons on the island during his childhood.<\/p>\n Later on, his ties with Mallorca were strengthened following his engagement to a Mallorcan woman, Pilar Juncosa<\/em>, whom he married in 1929. Later, from 1940 to 1942, he took refuge in Mallorca fleeing from the Nazi invasion in France, where he was residing at the time. In 1956, Mir\u00f3<\/em> settled permanently in Mallorca.<\/p>\n Joan Mir\u00f3 continued to create tirelessly in his studios in Mallorca, as evidenced by the quantity and quality of his production, which today confirms the artistic heritage of the Foundation: painting, drawing, sculpture, public art projects, and graphic work. In addition to hundreds of objects that Mir\u00f3 collected and that were a substantial part of his particular creative environment. The varied range of works, totaling approximately 5,000 pieces, demonstrates the multiplicity of techniques, materials, and procedures used by the artist as well as his tireless spirit of experimentation.<\/p>\n The chronological framework of the collection focuses primarily on works created in the sixties and seventies corresponding to his mature period, although there are also some works from the eighties. This period is characterized by his transgressive and nonconformist spirit that forced him to impose new creative challenges. As unique works in the collection, we highlight an oil painting dated 1908, the oldest known of Mir\u00f3<\/em>, as well as a ten-meter drawing made on Japanese paper of great simplicity and plasticity influenced by Oriental calligraphy.<\/p>\n The Foundation’s collection also consists of another large set of works by contemporary artists and graphic work produced in the Foundation’s printmaking workshops.<\/p>\n Absolutely unmissable.<\/p>\n P.S.: Just a couple of days ago, “MIR\u00d3, 1983”<\/em> was inaugurated, an exhibition curated by Enrique Juncosa<\/em>, presenting more than 140 works by Joan Mir\u00f3<\/em> through the multiple and different techniques and materials he worked with. An exhibition that allows us to enjoy and delve into a kind of time capsule, into a frozen moment in the life and work of Joan Mir\u00f3<\/em>, to discover his creative process, his true artistic legacy, and his most intimate symbolic universe. We will talk more about it soon.<\/p>\n (*)<\/strong> Photographs: Ely S\u00e1nchez and Cecilia Camacho.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":" A unique setting and two workshops for creation The complex is located next to Son Abrines, in a privileged enclave on a hill overlooking the sea, which was Mir\u00f3‘s private residence from 1956, and includes a first workshop, known as the Sert Workshop, designed by the architect Josep Llu\u00eds Sert, a personal friend of the […]<\/p>\n","protected":false},"author":4,"featured_media":71334,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[5918,5916,5901,5900],"tags":[],"class_list":["post-72802","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-inspiration-en-2","category-inspiration-en","category-artists","category-art-en"],"acf":[],"yoast_head":"\n![\"\"](\"https:\/\/ccmagazine.es\/wp-content\/uploads\/2024\/03\/FundacioJoaniPilarMiro_ccmag14.png\")
<\/span><\/span><\/p>\n\u201cIn 1981, Mir\u00f3 and Pilar donated the workshops and their contents to the City Council of Palma.\u201d<\/h2>\n
![\"\"](\"https:\/\/ccmagazine.es\/wp-content\/uploads\/2024\/03\/FundacioJoaniPilarMiro_ccmag111.png\")
<\/p>\n![\"\"](\"https:\/\/ccmagazine.es\/wp-content\/uploads\/2024\/03\/FundacioJoaniPilarMiro_ccmag11.png\")
<\/p>\nThe Moneo Building: Foundation Headquarters<\/h6>\n
![\"\"](\"https:\/\/ccmagazine.es\/wp-content\/uploads\/2024\/03\/FundacioJoaniPilarMiro_ccmag2.png\")
<\/p>\nMallorca mon amour<\/h6>\n
![\"\"](\"https:\/\/ccmagazine.es\/wp-content\/uploads\/2024\/03\/FundacioJoaniPilarMiro_ccmag1.png\")
<\/p>\n\u201cJoan Mir\u00f3’s relationship with Mallorca remained throughout his life.\u201d<\/h2>\n
The Collection<\/h6>\n