On 1 April 1939 Franco proclaimed victory in Madrid, political tensions continued to grow throughout Europe, and war seem inevitable. Coming from a relatively prosperous, property owning family, Miró was at great risk from the leftwing communist, anarchist, and republican militias (his brother-in-law was shot by a firing squad), and that his acceptance to paint a mural for the Spanish Republic's Pavilion at the 1937 International Exhibition was in fact a debt he owed the republican factions for granting him safe passage into France in 1936.
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However, one author suggest his more recent research shows Miró, due to economic limitations, was actually living in Catalonia full time from 1933 to the outbreak of the civil war in 1936. Miró produced an 18 by 12 foot (550 x 365 cm.) painting titled The Reaper (1937, now destroyed or lost) which was exhibited at the Spanish Pavilion with Picasso's Guernica, and hence, publicly signifying his Republican sentiments in a high profile forum that received considerable attention. Although Miró was not demonstratively political, on the occasion of the 1937 International Exhibition (World's Fair) in Paris, he accepted a commission for a mural from the Spanish Republic. With the outbreak of the Spanish Civil War in 1936, he remained in Paris in self-exile with his wife Pilar and daughter Dolores (b. Traditional accounts indicate that Joan Miró was dividing his time between Paris and his homeland, in Montroig and Barcelona, Catalonia, Spain in the early 1930s. At the same time they were a direct influence on an emerging generation of abstract expressionist artists, particularly Jackson Pollock and the "all-over" aesthetic. André Breton wrote that it was "the note of wild defiance of the hunter expressed by the grouse's love song" : 71 p. The exhibition appeared as a revelation to an apprehensive, exiled faction of the European avant-garde and intellectuals as the first indication concerning the status of art in Europe during World War II.
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Exhibiting the paintings in fascist Spain or occupied France were not viable options, so the series was discreetly exported to the USA in 1944 and first exhibited in New York City at the closing of the Second World War in 1945. Initiated only months after the violence and chaos of the Spanish Civil War in his homeland while Miró was exiled in France and later completed after retreating back to an uncertain reception in fascist Spain, as the Nazis invaded France.
the paintings boldly celebrate nocturnal themes of wonder, joy, nature, love, and escape, although they were painted during one of the most troubled periods of the artist life. "In sum, given that music, nature, and life itself are the artist's sources of inspiration" : 17 p. and "As an optical experience the Constellations are entirely unprecedented, having no forerunners even in Miró's own work". "one of the most brilliant episodes of his career", : 100 p. "perhaps the most intricate, most elaborately developed of all Miró's compositions", : 81 p. "The Constellations, as a group and singly, are among the miracles that art occasionally bestows", : 70 p. Art historians and museum curators have said of the paintings: "Universally considered one of the greatest achievements of his career", : 1 p. The Constellations are a series of 23 paintings on paper produced from January 1940 to September 1941 by the Spanish surrealist Joan Miró. L'étoile matinale ( Morning Star) 1940, Fundació Joan MiróĪrt Institute of Chicago, Cleveland Museum of Art, Fundació Joan Miró, Kimbell Art Museum, Metropolitan Museum of Art, Museum of Modern Art, Philadelphia Museum of Art, Toledo Museum of Art, Wadsworth Atheneum, and various private collections
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