what did juan miro die from
Four years before his death, Joan was named Doctor Honoris Causa by the University of Barcelona. During the last couple years of his life, he suffered from heart disease, and he died on December 25, 1983 in Palma de Mallorca, Spain. He was 90.
Miró’s best friend was Max Ernst, another Surrealist artist and together, they were asked to design the costumes and set for the ballet Romeo and Julliet in 1926. It was performed in Paris by the Ballets Russes. Soon after, Joan started becoming interested in other types of art, like collages, lithographs, etchings, and engraving. His collage Spanish Dancer is the most well-known.
Bernier, Rosamond. Matisse, Picasso, Miró: As I Knew Them. New York: Alfred A. Knopf, 1991.
Diehl, Gaston. Miró. New York: Crown Publishers, 1988.
After completing the work, MirГі struggled to find a buyer in a Parisian modern art market that preferred Cubism. One dealer suggested cutting it into several smaller paintings for ease of sale. Fortunately, the artist had become friends with the writer Ernest Hemingway, then a struggling unknown, and, after hours of working the two would meet for boxing sessions to unwind. Hemingway was determined to buy The Farm and, after borrowing money and working as a grocery clerk, was able to purchase it and kept it throughout his life. As he wrote, “I would not trade it for any picture in the world. It has in it all that you feel about Spain when you are there and all that you feel when you are away and cannot go there.”
In a spare landscape that is both Surrealistic and humorously cartoonish, divided between rich chocolate earth and a black night sky, a whimsically distorted dog, depicted in bright colors, barks up at the moon above him. On the left, a ladder, depicted in white and yellow with red rungs, extends into the sky. The distortions of the moon and the dog, along with the improbability of the ladder, create a sense of play where everything both is and is not what it seems, while the white, red, and yellow, used for the four forms, creates some mysterious sense of connection between them.
In the 1950s, MirГі again began dividing his time between Spain and France. A large exhibition of his works was held at the Gallerie Maeght in Paris and subsequently at the Pierre Matisse Gallery in New York in 1953. However, from 1954-58 he worked almost exclusively on printmaking and ceramics, including two ceramic wall murals for the UNESCO building in Paris. In 1959, he, along with Salvador DalГ, Enrique Tabara, and Eugenio Granell participated in Homage to Surrealism, an exhibition in Spain organized by AndrГ© Breton. The 1960s were a prolific and adventurous time for MirГі as he painted the large abstract triptych Bleu (1961) and worked intensely in sculpture, in some instances revisiting and reinterpreting some of his older works. While he never altered the essence of his style, his later work is recognized as more mature, distilled, and refined in terms of form.
MirГі’s first solo show in Barcelona in 1918 was a complete disaster, his works ridiculed by both critics and the public, with not a single work sold. Utterly disappointed and seeking a more invigorating and receptive artistic world, he went to Paris in 1920, where he met a number of artists, including Max Jacob, Pablo Picasso, AndrГ© Masson, and Tristan Tzara. However, it wasn’t until three and a half months later when he went home to the Montroig farm that he was able to paint, saying, “I immediately burst into painting the way children burst into tears.” For the following decade, to maintain the balance between his Catalan inspiration and the Parisian art world, he subsequently began living in Paris for part of the year, while returning to Montroig every summer, as he said, “Paris and the countryside until I die.” Due to financial hardship, his life in Paris was difficult at first. Later describing those lean, early years, he quipped, “How did I think up my drawings and my ideas for painting? Well, I’d come home to my Paris studio in Rue Blomet at night, I’d go to bed, and sometimes I hadn’t had any supper.” Yet, it seems that physical deprivation enlivened the young MirГі’s imagination. “I saw things,” he explained, “and I jotted them down in a notebook. I saw shapes on the ceiling.”
In 1974, Miró created a tapestry for the World Trade Center in New York City together with the Catalan artist Josep Royo. He had initially refused to do a tapestry, then he learned the craft from Royo and the two artists produced several works together. His World Trade Center Tapestry was displayed at the building  and was one of the most expensive works of art lost during the September 11 attacks.  
In 1981, Miró’s The Sun, the Moon and One Star—later renamed Miró’s Chicago—was unveiled. This large, mixed media sculpture is situated outdoors in the downtown Loop area of Chicago, across the street from another large public sculpture, the Chicago Picasso. Miró had created a bronze model of The Sun, the Moon and One Star in 1967. The maquette now resides in the Milwaukee Art Museum.