JOAN MIRÓ’S BACKGROUNDS AS A PROCESS OF SPACIAL CONSTRUCTION

Authors

  • Aurelio Vallespín Muniesa University of Zaragoza
  • Luis Agustín Hernández University of Zaragoza
  • Javier Domingo Ballestin Universidad de Zaragoza

DOI:

https://doi.org/10.4013/arq.2026.221.03

Keywords:

Cubism, Figure Background, Mosaic, Pictorial Space, Pictorial Surface

Abstract

This work studies the relationship between pictorial space or the three-dimensionality of what is represented and the pictorial surface or literal flatness in Joan Miró's work. Initially, his painting is analysed, discovering the law of the figure-form, according to which each interference of the forms entails a difference in colour, so that everything occurs on the same plane. It is then related to Cubism, because in both cases the flatness represented could merge with the literal flatness, flooding everything. The key to this process of spatial construction that prevents everything from merging together is found in the backgrounds of Miró's works. Subsequently, this same analysis will be applied to the ceramic murals made with Artigas, showing that the strategies used, although different from those applied in painting, offer a coherent solution to the same problem. Finally, the ceramic surfaces will be compared with the Palaeo-Christian mosaic surfaces.

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Published

2026-10-23

How to Cite

Vallespín Muniesa, A., Agustín Hernández, L., & Domingo Ballestin, J. (2026). JOAN MIRÓ’S BACKGROUNDS AS A PROCESS OF SPACIAL CONSTRUCTION. Arquitetura Revista, 22(1), 28–44. https://doi.org/10.4013/arq.2026.221.03

Issue

Vol. 22 No. 1 (2026): JAN-DEZ

Section

Articles

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