Miró Wall Art

Seeing as I did a bit of wall art recently I thought I would include a great piece of wall art.  If you have any wall art photos that you would like to share with the world please send them to me and I will add them to this post.

Executer Llorens Artigas leaning against mural designed by artist Joan Miro on wall of UNESCO courtyard near the Secretariat Building.

Miro at work on the Unesco building in Paris


Louise Bourgeois

Louise Bourgeois was born on December 25, 1911, in Paris. As a teenager, Bourgeois assisted her parents in their tapestry-restoration business, making drawings that indicated to the weavers the repairs to be made. In 1932, she entered the Sorbonne to study mathematics, but abandoned that discipline for art. In the mid- to late 1930s, she studied at the École des Beaux-Arts, Académie de la Grande-Chaumière, École du Louvre, Atelier Fernand Léger, and other Parisian schools. In 1938, Bourgeois married an American, the art historian Robert Goldwater, and moved to New York. There, she studied for two years at the Art Students League and was soon participating in print exhibitions.


After moving to a new apartment in 1941, Bourgeois began to make large wood sculptures on the roof of her building. In 1945, her first solo show, comprised of twelve paintings, was held at the Bertha Schaefer Gallery in New York and her work was first included in the Whitney Annual (later the Whitney Biennial). In the mid- to late 1940s, she worked at Stanley William Hayter’s printshop, Atelier 17, where she met Le Corbusier, Joan Miró, and other Europeans exiled by World War II. In 1949, she exhibited works from her Personage series in the first show of her sculpture, at Peridot Gallery in New York.

In 1951, Bourgeois became an American citizen. Continuing her mode of abstracted figuration instilled with psychological and symbolic content, she remained stylistically distinct from New York School developments. She did, however, join American Abstract Artists in 1954. In the 1960s, she taught in public schools and at Brooklyn College and Pratt Institute in New York. She would continue to teach at colleges and universities during the following decade. In the late 1960s, Bourgeois’s imagery became more explicitly sexual as she explored the relationship between men and women and the emotional impact of her troubled childhood (her father had had a ten-year affair with her governess). From 1967 until 1972, she made trips to Pietrasanta, Italy, to work in marble.


With the rise of feminism and the art world’s new pluralism, her work found a wider audience. In the 1970s, she began to do Performance [more] pieces—among them A Banquet/A Fashion Show of Body Parts (1978), in which she wrapped art historians and students in white drapery with sewn-in anatomical forms—and expanded the scale of her three-dimensional work to large environments.

The first retrospective of Bourgeois’s work was organized by the Museum of Modern Art in New York (1982–83), and her first European retrospective was assembled by the Frankfurter Kunstverein (1989). Bourgeois was selected to be the American representative to the 1993 Venice Biennale. Her collected writings were published in 1998. In 2000, three thirty-foot-high towers by Bourgeois, commissioned by the Tate Modern in London—I Do, I Undo, and I Redo—were featured in that museum’s inaugural exhibition. Many of her large-scale works have been exhibited as public art, including three spider sculptures installed at Rockefeller Center in New York in 2001 under the aegis of the Public Art Fund.

Bourgeois’s achievements have been recognized with, among other honors, a fellowship from the National Endowment for the Arts (1973), membership in the American Academy of Arts and Sciences (1981), a grand prize in sculpture from the French Ministry of Culture (1991), and the National Medal of Arts (1997). Bourgeois lives and works in Manhattan.

Claude Monet

Claude Monet was born in 1840, the eldest son of a Parisian shopkeeper. The family moved in 1845, and he spent his childhood in the port town of Le Havre. Monet took his early painting lessons there from the painter Eugene Boudin. Boudin, who specialised in scenes of people strolling on beaches, worked up sketches out-of-doors and encouraged Monet to do the same. Monet was soon converted. At the age of 19, Monet enrolled at the Academie Suisse (founded by a retired model of David).

Water lillies

In 1858, he spent some time in Paris, studied briefly with Gleyre and met and befriended Pissarro and Manet. He spent the two years between 1860 and 1862 in military service in Algeria, then returned to Paris. Once back in Paris, he studied full-time under Gleyre and became close friends with Renoir, Sisley and Bazille – also students of Gleyre.

The period from 1867 to 1870 was coloured by extreme financial hardship. The birth of his illegitimate son Jean in 1867 occurred under such dire financial circumstances that, during a particularly brutal siege of poverty and hunger in 1868, Monet attempted suicide. At this time, the friendship of comrades like Bazille (who bought Women in the Garden) and Renoir (who actually stole bread for the Monet family) were his sole consolation. The gulf between his most laboured paintings and official acceptance seemed unbridgeable.

Impression: soleil levant

In September of 1870, following France’s declaration of war against Prussia, Monet took refuge with his friend Pissarro in London. It is during this time that he painted his views of Hyde park, the Pool of London and the Thames at Westminster. While in England, Pissarro and Monet visited the museums. They were especially entranced with the works of Rossetti and Watts, and they also spent some time studying the works of Turner and Constable.

Monet had a lifelong love of water, and he once joked that he would like to be buried in a buoy. By 1871, Monet had settled in Argenteuil so he could paint along the banks of the Seine River. Once there, he fixed up a boat with an easel and painted his way up and down the Seine, searching for the means to capture his impressions of the interplay of light, water and atmosphere.

Discouraged by the lack of recognition by the Salon, the Impressionists banded together as the “Societe anonyme des artistes peintres, sculpteurs, graveurs” in 1874. They exhibited their work together just before the annual Salon that year, and it was there that the term ‘Impressionist’ was coined. Monet had exhibited his painting Impression: Sunrise`, and a derisive critic fumed that “The Impressionists apply paint like tongue lickings”. The first exhibition was a financial failure, and none of the exhibitions were particularly successful, but they continued to exhibit together until 1886.

Saint-Georges Majeur au crépuscule

In 1883 Monet moved to Giverny. Caillebotte had communicated his love of gardening to Monet, and here Monet translated that enthusiasm into a remarkable garden. Painting the lilies in the pond of his garden hundreds of times between 1900 and 1926, they are the culmination of a lifetime in which the out-of-doors had become his studio. In 1916 he began the ‘cyclorama’ Nympheas, which he intended to donate to the French Nation (providing they displayed it suitably and bought his Women in the Garden. Arrangements were finally made and agreements signed for the twelve 13 foot long/6 foot tall panels to be displayed in the Orangerie. Monet continued to visit and work on the panels until his death at Giverny in 1926.