Editing Joan Miró (section)

===Experimental style===
Joan Miró was among the first artists to develop [[Surrealist automatism#Automatic drawing and painting|automatic drawing]] as a way to undo previous established techniques in painting, and thus, with [[André Masson]], represented the beginning of [[Surrealism]] as an art movement. However, Miró chose not to become an official member of the Surrealists to be free to experiment with other artistic styles without compromising his position within the group. He pursued his own interests in the art world, ranging from automatic drawing and [[surrealism]], to [[expressionism]], [[Lyrical Abstraction]], and [[Color Field painting]]. Four-dimensional painting was a theoretical type of painting Miró proposed in which painting would transcend its two-dimensionality and even the three-dimensionality of sculpture.{{Citation needed|date=June 2008}}<ref>{{Citation|chapter=The Beginning of Painting and Drawing|pages=51–60|publisher=SAGE Publications Ltd|isbn=9780761947868|doi=10.4135/9781446216521.n4|title=Drawing and Painting: Children and Visual Representation|year=2003}}</ref>

Miró's oft-quoted interest in the ''assassination of painting'' is derived from a dislike of [[bourgeois]] art, which he believed was used as a way to promote propaganda and cultural identity among the wealthy. Specifically, Miró responded to Cubism in this way, which by the time of his quote had become an established art form in France. He is quoted as saying "I will break their guitar," referring to [[Pablo Picasso|Picasso's]] paintings, with the intent to attack the popularity and appropriation of Picasso's art by politics.<ref>[https://web.archive.org/web/20070511215426/http://findarticles.com/p/articles/mi_m1248/is_n9_v82/ai_15828114 Robert S. Lubar, ''Miro's defiance of painting'', Joan Miró, Museum of Modern Art, New York, NY; Centre Pompidou, Paris], Art in America, September 1994</ref>

<blockquote>The spectacle of the sky overwhelms me. I'm overwhelmed when I see, in an immense sky, the crescent of the moon, or the sun. There, in my pictures, tiny forms in huge empty spaces. Empty spaces, empty horizons, empty plains – everything which is bare has always greatly impressed me. —Joan Miró, 1958, quoted in ''Twentieth-Century Artists on Art''</blockquote>

In an interview with biographer [[Walter Erben]], Miró expressed his dislike for [[art critic]]s, saying, they "are more concerned with being philosophers than anything else.  They form a preconceived opinion, then they look at the work of art.  Painting merely serves as a cloak in which to wrap their emaciated philosophical systems."<ref name=":0">Walter Erben, ''Miró'', André Sauret, Prestel Verlag, Monte-Carlo, Munich, 1960, re-edition 1980, Taschen, 1998, {{ISBN|3822873497}}</ref>

In the final decades of his life Miró accelerated his work in different media, producing hundreds of ceramics, including the [[Wall of the Sun and Wall of the Moon|''Wall of the Moon'' and ''Wall of the Sun'']] at the [[UNESCO]] building in Paris. He also made temporary window paintings (on glass) for an exhibit. In the last years of his life Miró wrote his most radical and least known ideas, exploring the possibilities of [[gas sculpture]] and four-dimensional painting.