Joan Miro, Une Femme (A Woman)
Signed Joan Miro, Lithograph, Une Femme (A Woman)
|Artist:||Miro, Joan (1893 - 1983)|
|Title:||Une Femme (A Woman)|
Original Lithograph Pochoir
|Image Size:||14 3/4 in x 18 1/4 in (37.5 cm x 46.4 cm)|
|Sheet Size:||25 1/2 in x 18 3/4 in (64.77 cm x 47.63 cm)|
|Framed Size:||35 1/4 in x 30 in (89.5 cm x 76.2 cm)|
|Signed:||This work is hand-signed by Joan Miró (Barcelona, 1893 - Palma, 1983) in pencil in the lower right margin and also signed in the stone in the lower right of the work.|
|Edition:||Numbered from the edition of 300 in pencil the lower left corner.|
|Condition:||This work is in excellent condition.|
A noteworthy work for both its subject matter and exquisite exploitation of the lithographic plate, this image offers a vivid impression of Miro's playful abstract style.
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Inspired by the 1932 painting (oil on wood) titled, Une Femme, this work was published by Maeght Editeur, Paris and printed on Arches wove paper. The publisher’s blind stamp appears in the lower left corner of the sheet. In addition the work is numbered from the edition of 300 in pencil in the lower left margin. Hand-signed by Joan Miró (Barcelona, 1893 - Palma, 1983)in the lower right margin, the work is also signed in the stone in the lower right.
A note worthy work for both its subject matter and exquisite exploitation of the lithographic plate, this image offers a vivid impression of the original oil on wood. Displaying Miró’s continual exploration of line and color this image documents the artist’s struggle between representational and connoted forms. Using a varied palette of warm, cool and neutral hues, Miró creates a work that plays with the realm of fancy, seducing the viewer’s imagination. With her flowing hair and playful features, the woman’s sexual organs are colorfully depicted against the neutral tones of her body. The background of the work is rendered in a vibrant and highly textured green, which is offset by the orange and yellow of the ground and the vibrant hues of the abstracted rectangular sun.
This work can be related to a series of female explorations Miró created in 1932. Of these works Dupin states Miró, “treats the female body in a series of extraordinarily daring variations, unequaled in their plastic felicity. Miró’s line has never been surer or freer, it is at the same time dominated by the consciousness of form. The musicality of the line combines with the plasticity of the figures to produce effects of ease and elegance. The arabesque is sovereign but it is supported by long straight lines…The arabesque serves to explore and to celebrate the inexhaustible riches of the female body; it has no other freedom but that granted it by the curves and inflections of the nude, explored with delirious scrupulousness” (Dupin, 240) .
Catalogue Raisonné & COA:
1. Dupin, Jacques. Joan Miró Life and Work. Listed on page 526 as cat. 320.
2. Dupin, Jacques. Joan Miró, Catalogue Raisonné. Painting, 2000 listed as plate 403.3. A Certificate of Authenticity will accompany this work.
About the Framing:
|Style:||20th Century Master, Surrealism|
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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.