Joan Miro, Ubu Aux Baléares, 1971
Signed Joan Miro, Lithograph, Ubu Aux Baléares, 1971
|Artist:||Miro, Joan (1893 - 1983)|
|Title:||Ubu Aux Baléares, 1971|
Original Color Lithograph
|Image Size:||23 5/16 in x 18 15/16 in (59.2 cm x 48.1 cm)|
|Sheet Size:||25 in x 19 in (63.5 cm x 48.3 cm)|
|Framed Size:||41 in x 35 in (104.1 cm x 88.9 cm)|
|Signed:||This work is hand-signed by Joan Miró (Barcelona, 1893 - Palma, 1983) in pencil in the lower right.|
|Edition:||Numbered 51/120 in pencil in the lower left.|
|Condition:||This work is in excellent condition.|
One of twenty-three lithographs from the album Ubu Aux Baleares, this piece retains a remarkable sense of balance and harmony, making it one of the most aesthetically pleasing of the set. The entire composition is set in a horse-shoe shaped curve, as if the characters are participating in a town meeting. The images retain a lyrical quality, striking a conversation with each other and, in turn, inviting us to participate.
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Expressing the playful and vibrant quality of Miró's work, this piece uses minimal line and shape in a delicate balance of color and line. Using a lyrical quality of shape, the viewer can imagine this image as a constellation in the sky or cave art from the prehistoric era. Nicolas and Elena Calas stated of this series, "Miró's Ubu aux Baléares could be taken for graffiti in which face and body are reduced to circular and angular outlines; the limbs to straight or curved lines; eyes indicated by tiny circles and a nose by a narrow triangle. Upon closer scrutiny each print is a deft composition in which the black lines and white space within and between the figures is carefully balanced. A seemingly endless variety of grotesque encounters unfold while we slowly turn the pages. Miró draws the comic situation from the banalities of comedy." (Maeght IV 17)
Created in 1971, this color lithograph is from an album of twenty-three lithographs by the same title. Printed by Mourlot, Paris, this work was published by Téade, Paris and printed on Arches vellum. This work is hand-signed by Joan Miró (Barcelona, 1893 - Palma, 1983) in pencil in the lower right and numbered 51/120 in pencil in the lower left, aside from an edition of 6 copies H.C. numbered from I to VI.
Catalogue Raisonné & COA:
1. Maeght Éditeur, Joan Miró Lithographs, Vol. IV: 1969-1972. Listed on pg. 137 and illustrated as catalogue raisonné no. 770 on pg. 143.
2. Cramer, Patrick, Joan Miró, The Illustrated Books: Catalogue Raisonné, 1989. Listed and illustrated as catalogue raisonné no. 146 on pgs. 364 - 367.
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.