Joan Miro, Etching from L'Issue Dérobée, 1974
Signed Joan Miro, Etching Aquatint, Etching from L'Issue Dérobée, 1974
|Artist:||Miro, Joan (1893 - 1983)|
|Title:||Etching from L'Issue Dérobée, 1974|
|Reference:||Dupin 688 and 692|
Original Color Etching, Aquatint and Embossing
|Image Size:||19 3/4 in x 12 1/4 in (50.2 cm x 32.4 cm)|
|Sheet Size:||19 3/4 in x 12 1/4 in (50.2 cm x 32.4 cm)|
|Framed Size:||35 1/4 in x 28 1/4 in (89.5 cm x 71.8 cm)|
|Signed:||This work is hand-signed twice by Joan Miró (Barcelona, 1893 - Palma, 1983) in pencil in the lower right on both the recto and verso.|
|Edition:||Inscribed 'H.C.' (aside from the edition of 220) in pencil in the lower left on both the the recto and verso; published and printed by Maeght, Paris on watermarked Arches vellum paper.|
|Condition:||This work is in very good condition, a bold impression with bright, vibrant colors.|
Evoking a sense of light-heartedness, this double-sided, embossed work is perhaps one of Miró's most intriguing prints. Though minimal at first glance, upon further observation we begin to notice subtle details that contribute a sense of charm and wonder. The embossing offers a strong sense of texture best viewed in person, while the double sided nature of the piece provides two different images within one work, making this piece truly multi-faceted.
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Combining the galactic and the corporeal, Miró invites the viewer to enter his whimsical world. On the front of this piece, the viewer witnesses a playful landscape composed of shapes and lines that gracefully dance across the page. The embossed land form in the background, conveyed from a bird's eye view, leaves the viewer with the impression that he or she is floating in space, looking down upon earth. A bright streak of red in the center of the mountainous form highlights the embossed figure while, to the left of the composition, speckles of subdued blues appear as stars in the night sky.
The etching on the reverse is littered with Miró's signature star bursts and shapes that evoke a light-hearted energy throughout the composition. This is a work that must be seen in person, for the embossed surface and the double-sided nature of the work are important elements that Miró incorporates into this piece, allowing for an engaging viewing experience.
Created in 1974, this two-sided original color etching, aquatint, and embossing is from the book L'Issue Dérobée. It is signed twice in pencil by Joan Miró (Barcelona, 1893 - Palma, 1983) in the lower right on both the recto and verso and inscribed H.C. in pencil in the lower left margin on both the recto and verso (aside from the total edition of 220). Published by Maeght, Paris and printed by Arte Adrien Maeght, Paris on watermarked Arches vellum. Typography in the book by Fequet-Baudier, Paris.
Catalogue Raisonné & COA:
1. Dupin, Jacques. Miró Engraver, Vol. III 1973 - 1975, Rizzoli: New York, 1989. Listed and illustrated as catalogue raisonné nos. 688 and 692 on pgs. 82,83, and 85.
2. Cramer, Patrick, Joan Miró, The Illustrated Books: Catalogue Raisonné, 1989. Listed and illustrated as catalogue raisonné no. 187 on pgs. 460 and 461.
3. A Certificate of Authenticity will accompany this work.
About the Framing:
|Style:||Surrealism, 20th Century Modern Surrealist Spanish Master|
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Biography of Joan Miro
Joan Miró Ferra was born April 20, 1893, in Barcelona. At the age of 14, he went to business school in Barcelona and also attended La Lonja’s Escuela Superior de Artes Industriales y Bellas Artes in the same city. Upon completing three years of art studies, he took a position as a clerk. After suffering a nervous breakdown, he abandoned business and resumed his art studies, attending Francesc Galí’s Escola d’Art in Barcelona from 1912 to 1915. Miró received early encouragement from the dealer José Dalmau, who gave him his first solo show at his gallery in Barcelona in 1918. In 1917, he met Francis Picabia.
In 1920, Miró made his first trip to Paris, where he met Pablo Picasso. From this time, Miró divided his time between Paris and Montroig, Spain. In Paris, he associated with the poets Max Jacob, Pierre Reverdy, and Tristan Tzara and participated in Dada activities. Dalmau organized Miró’s first solo show in Paris, at the Galerie la Licorne in 1921. His work was included in the Salon d’Automne of 1923. In 1924, Miró joined the Surrealist group. His solo show at the Galerie Pierre, Paris, in 1925 was a major Surrealist event; Miró was included in the first Surrealist exhibition at the Galerie Pierre that same year. He visited the Netherlands in 1928 and began a series of paintings inspired by Dutch masters. This year he also executed his first papiers collés and collages. In 1929, he started his experiments in lithography. Miro's first etchings date from 1933. During the early 1930s, he made Surrealist sculptures incorporating painted stones and found objects. In 1936, Miró left Spain because of the civil war; he returned in 1941. Also in 1936, Miró was included in the exhibitions Cubism and Abstract Art and Fantastic Art, Dada, Surrealism at the Museum of Modern Art, New York. The following year, he was commissioned to create a monumental work for the Paris World’s Fair.
Miró’s first major museum retrospective was held at the Museum of Modern Art, New York, in 1941. That year, Miró began working in ceramics with Josep Lloréns y Artigas and started to concentrate on prints; from 1954 to 1958, he worked almost exclusively in Miro prints and ceramics. He received the Grand Prize for Graphic Work at the Venice Biennale in 1954, and his work was included in the first Documenta exhibition in Kassel the following year. In 1958, he was given a Guggenheim International Award for murals for the UNESCO building in Paris. The following year, he resumed painting, initiating a series of mural-sized canvases. During the 1960s, he began to work intensively in sculpture. Miró retrospectives took place at the Musée National d’Art Moderne, Paris, in 1962, and the Grand Palais, Paris, in 1974. He also worked with carborundum around this time. In 1978, the Musée National d’Art Moderne exhibited over 500 works in a major retrospective of Miro original drawings. Joan Miro died December 25, 1983, in Palma de Mallorca, Spain.
Joan Miro prints and unique original works are commonly seen in museums and art galleries in USA and Europe.
Joan Miró created a large wool and hemp tapestry titled "The World Trade Center Tapestry" that adorned the lobby of 2 World Trade Center. It was destroyed by the collapse of the tower on September 11, 2001. ¹
¹ Lives and Treasures Taken. Library of Congress.