Joan Miro, Hommage a Joan Miró, 1973
Signed Joan Miro, Etching Carborundum, Hommage a Joan Miró, 1973
|Artist:||Miro, Joan (1893 - 1983)|
|Title:||Hommage a Joan Miró, 1973|
Original Color Etching and Carborundum
|Image Size:||27 in x 19 1/2 in (68.6 cm x 49.5 cm)|
|Sheet Size:||30 in x 23 in (76.2 cm x 58.4 cm)|
|Framed Size:||44 5/8 in x 37 in (113.3 cm x 94 cm)|
|Signed:||This work is hand-signed by Joan Miró (Barcelona, 1893 - Palma, 1983) in pencil in the lower right margin.|
|Edition:||One of 275 hors-commerce impressions annotated 'HC' in pencil in the lower left margin. Also annotated 'A JOSEP LLUIS SERT' and 'Cordialment' in pencil in the lower center margin.|
|Condition:||This work is in very good condition.|
Created in honor of Miró's own life and success, Hommage a Joan Miró is a superb example of Miró's mastery of his craft. Through his use of carborundum, Miró achieves an astonishing amount of textural intricacy, while the image itself brings to mind scientific creation, as if living organisms are merging and diverging before our eyes.
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Created in 1973, this original etching and carborundum was published by Sala Gaspar, Barcelona on the occasion of the celebration of Joan Miro's 80th Birthday. This work is one of 275 hors-commerce impressions annotated 'HC' in pencil in the lower left margin. Also annotated 'A JOSEP LLUIS SERT' and 'Cordialment' in pencil in the lower center margin. This piece is hand-signed by Joan Miró (Barcelona, 1893 - Palma, 1983) in pencil in the lower right margin with the publisher's blindstamp in the lower left corner. This work was printed by J.J. Torralba, Rubí (Barcelona) on watermarked Guarro paper.
Created in honor of Miró's own life and success, Hommage a Joan Miró is a superb example of Miró's mastery of his craft. This brilliant work abounds with textural intricacies and strong color contracts. In typical fashion, the viewer cannot pinpoint the identity of the swirling white lines and forms, but must use his or her imagination to conjure an image. This work relays the sense that the viewer is witnessing organisms from another planet under a microscope as they merge and diverge. The use of black and white allows the viewer's eye to focus on the lines and textures within the work, while the bright bursts of bluish purple and red contribute an additional sense of vibrancy and animation.
Catalogue Raisonné & COA:
1. Dupin, Jacques. Miró Engraver, vol. III 1973-1975, New York, 1989. Listed and illustrated as catalogue raisonné no. 868 on pg. 190.
2. 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.