Joan Miro, Le ciel du forgeron, 1964
Signed Joan Miro, Etching, Le ciel du forgeron, 1964
|Artist:||Miro, Joan (1893 - 1983)|
|Title:||Le ciel du forgeron, 1964|
Original Color Drypoint, Etching, and Embossing
|Image Size:||23 7/8 in x 18 3/4 in (60.6 cm x 47.6 cm)|
|Sheet Size:||26 in x 18 3/4 in (66 cm x 47.5 cm)|
|Framed Size:||39 1/4 in x 32 in (99.7 cm x 81.3 cm)|
|Signed:||This work is hand-signed by Joan Miró (Barcelona, 1893 - Palma, 1983) in pencil in the lower right margin.|
|Edition:||Numbered from the edition of 75 in pencil in the lower left margin.|
|Condition:||This work is in excellent condition a fine impression with bold lines and bright colors.|
This captivating piece contrasts the structured and mechanical with the free flowing and natural. Loose lines snake throughout the composition behind an embossed, metallic form. We cannot quite pinpoint the subject of this striking work but are intrigued by the unusual textural and linear elements that seem contradictory yet co-exist harmoniously within this bold print.
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Playfully composed with lyrical lines and a unique use of embossing, this work expresses the vibrant and energetic quality of Miró's work. Utilizing accents of bright colors with dark black lines, the object imprinted in the center of the page is reminiscent of mechanical objects. Meandering lines travel throughout this piece, enticing the viewer to move their eye throughout the image.The use of vivid hues of red, yellow, and green in the upper left creates a balance with the muted grey form embossed in the center.
Calling to mind natural and mechanical objects, this work is diverse in technique and style. Jacques Dupin stated of Miró's work from this period, "To him, printing is also and above all an occasion to break away from solitary work and engage with others in a dialogue from which he expects a personal enrichment his imagination, in order to spread out, needed to react to a free intrusion of spots, drippings and accidents which provide the initial shock, an interpellation of the un-formal and the unformulated " (Dupin 7-8)
Created in 1964, this color drypoint, etching, and embossing was printed on Arches wove paper. Numbered from the edition of 75 in pencil in the lower left margin, this work is hand-signed by Joan Miró (Barcelona, 1893 - Palma, 1983) in pencil in the lower right margin. Printed by Maeght, Levallois-Perret, this work was published by Maeght Éditeur, Paris.
Catalogue Raisonné & COA:
1. Dupin, Jacques, Miró Engraver, Vol II, 1961-1973, 1989. Listed and illustrated as plate 364 on pg. 54.
2. Maeght Éditeur, Lithographies Gravures Orginales, 1989. Listed on pg. 140.
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.