Joan MiróSpanish, 1893–1983The Policeman
May one see it?
Yes, receiving visitors
Art Institute of Chicago
Room398Chicago, United States
On public display.
- Checked
- 3 days ago
- In this state since
- Aug 19, 2026
- Source
- The museum's own collection data
Particulars
- Accession number
- 1991.1499
What it shows
In the catalog
Sources
- Art Institute of Chicago: the museum's own open data · fetched 3 days ago
- Image: Art Institute of Chicago — © the artist or rights holder
Meanwhile, in the life of Joan Miró
The whole life1924
Joins the Surrealist circle
Miró joined the Surrealist circle, whose dream-like automatism suited his symbolic and poetic art, but chose not to become an official member so as to experiment freely; Breton called him “the most Surrealist of us all”.
1925
Friendship with Robert Desnos
Miró became friends with the poet Robert Desnos; they soon planned a livre d'artiste together, but the Spanish Civil War and World War II put the plans on hold. Desnos died in 1945, shortly after his release from the concentration camps.
second half of the 1920s
A language of signs and ideograms
In “Person Throwing a Stone at a Bird” and “Dog Barking at the Moon” (both 1926) a set of recurrent ideograms took shape: symbols of space — horizon, waves, heavenly bodies — and “mediating symbols” — birds, a ladder to the sky, an eye, an ear, a figure with giant feet.
1926
Designs for Diaghilev with Max Ernst
Miró collaborated with Max Ernst on designs for the ballet impresario Sergei Diaghilev.
