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Joan Miro Ferra was an influential 20th-century painter, sculptor, ceramicist and printmaker, who was born in in the Catalan region of Spain, near Barcelona. He began drawing as a young boy, and later attended a business school, as well as La Lonja School of Fine Arts. At the latter school, he was encouraged by two teachers; one encouraged him to revive the spirit of primitive Catalan art, combining it with modern discoveries and techniques.

This was in the beginning of the 20th century, at the time modern art was just beginning in Europe, and the creative climate was energetic and progressive. As a youth, he was exposed to the rich folklore of Catalonia, which later influenced his images, such as how he saw all-natural forms as beings, including pebbles and trees. He was also exposed to complete interiors of ninth to twelfth-century frescoed churches in visits to the Museum of Catalonia in Barcelona, with their relatively crude execution and their simple, flat and cartoon-like imagery.

They also used primary colors, all heavily outlined in black, with a darkly shaded surrounding field, as well as the also modern treatment of space as a flat surface rather than the traditional illusion of depth in an image perspective, etc.

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All of these elements can be seen in Miro's work, as well as the use of differences of scale, where one form is disproportionately larger than others, a method often used by children when they make the objects most important to them the biggest objects in the image. After 3 years of business school, Miro took a job as an accounting clerk in a drugstore, which was the type of position his parents chose for him.

He was overworked there, and became seriously ill, verging on a 'nervous breakdown,' followed by a bout of typhoid fever. His parents then took him to their new country farm, Montroig, in a secluded village in Catalonia. The state of his health caused his parents to allow him to do what he most wanted to do - paint.

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He attended the Academy Gali in Barcelona a free-spirited academy with the influence of contemporary foreign painters, where there was also interest in literature and music. The individual expression was encouraged; Miro also learned to draw by the sense of touch alone, rather than by sight. At this time around , Dada was beginning, and Miro began reading avant-garde Surrealist poets such as Apollinaire and Pierre Reverdy.