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Composed of concrete made to look like travertine marble, the starkly modern building is softened by reflecting pools, cool planes, ramps and staircases. Its high, narrow windows afford surprising views from the hilltop site. Most originally, huge marble panels are used as translucent walls, softly lighting the trapezoidal exhibition spaces.

Upon entering, you’re greeted by three whimsical bronzes and a very much larger monumental piece, which are all vaguely anthropomorphic. Downstairs, the giant Woman and Bird was executed by Miró with ceramist Llorenç Artigast.

A special room is set aside near the entrance to reveal the steps Miró took in creating the various components of his graphic images.

Several works on paper are displayed, most exhibiting the signature primary colours and splashes for which the artist is known.

Dominating one room is a five-panel sketch on paper, the study for a mural in the UNESCO building in Paris, co-created with Llorenç Artigast in 1955–8. The work won the Guggenheim award.

Many of these works are mixed media – oil, acrylic, chalk and pastel. Some may have been inspired by Japanese Zen action painting. Some are blue – for Miró the most universal and optimistic colour – while some black and white works are an aggressive response to the tragedies of the Spanish Civil War.

The temporary exhibition spaces feature the works of such up-and-coming artists as Paloma Navares.

In the garden, groups of rocks resembling water lilies “float” in a pool, while in other niches works by modern and avant-guarde artists can be found.

Gardens in front of Miró’s house

Above one of the garden pools, a black rectangle encloses a ceramic mural by Miró, with shapes gyrating in space. Taking up a whole wall in the café is a mural of the sun and other celestial bodies.

Miro’s studio looks like the artist just stepped outside for a break from work in progress. Objects that inspired Miró are all around: Hopi kachina dolls, Mexican terracottas, a bat skeleton and various everyday items.