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Miró

IT WOULD BE DIFFICULT TO ARGUE that Joan Miró’s paintings, whether recent or distant in vintage, constitute much of an unknown to the art public of any cosmopolitan city in Western Europe or in the United States. Of Miró’s peers in this century probably only Matisse and Picasso have been exhibited as routinely in so many places for so many years, but the historical rhythm of Miró exhibitions in New York (culminating in two organized recently by the Guggenheim Museum and the Acquavella Gallery) has been particularly regular in its frequency and generous in its character. New York has honored Miró more than any city besides Paris, the place where Miró’s art was born and where its inevitable cessation will be felt to represent not only the death of a great painter but also the passing of an era of national artistic eminence.

Miró’s first one-man show in New York came in 1930, about ten years

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