Joan Miro, Et l'oiseau s'enfuit vers les pyramides aux flancs ensanglantés par la chute de rubis (And the Bird Flew Off to the Pyramids, Their Sides All Covered with Blood From Falling Rubies), 1954
Signed Joan Miro, Etching Aquatint, Et l'oiseau s'enfuit vers les pyramides aux flancs ensanglantés par la chute de rubis (And the Bird Flew Off to the Pyramids, Their Sides All Covered with Blood From Falling Rubies), 1954
|Artist:||Miro, Joan (1893 - 1983)|
|Title:||Et l'oiseau s'enfuit vers les pyramides aux flancs ensanglantés par la chute de rubis (And the Bird Flew Off to the Pyramids, Their Sides All Covered with Blood From Falling Rubies), 1954|
Original Color Wash, Etching, and Aquatint on Rives BFK Watermarked Paper
|Image Size:||29 7/10 in x 12 3/5 in (75.5 cm x 32 cm)|
|Sheet Size:||29 7/10 in x 12 3/5 in (75.5 cm x 32 cm)|
|Framed Size:||approx. 42 in x 24 in (106.7 cm x 61 cm)|
|Signed:||This work is hand-signed and dated by Joan Miró (Barcelona, 1893 - Palma, 1983) in pencil in the lower right margin.|
|Edition:||Numbered 208/300 in pencil in the lower left margin.|
|Condition:||This work is in excellent condition.|
Combining familiar graphic forms with his endearing handwriting, the artist creates another successful print. The poetry of the title matches the harmonious shapes within the composition.
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The wonderfully evocative title of this etching and aquatint speaks for itself, as characters whose forms verge on the numeric stretch from one corner of the pyramid to the other. Against a mottled sky, one bird seems to experience multiple encounters in its flight path, cutting into the composition at left and diving out again at right.
Miró expresses his fanciful vision through calligraphic marks and bold blocks of color; the viewer can almost taste the ruby blood splashed on the bird's feathers. Geometric shapes evoke precious stones and the sky becomes the pyramid for which the subject aims. A title lettered in the artist's own hand beneath the image lends further personality to this excellent, playful impression of Et l'oiseau s'enfuit.
Created in 1954, this original color etching and aquatint was made after the artist's oil painting on canvas from 1952 of the same title. This work is hand-signed and dated by Joan Miró (Barcelona, 1893 - Palma, 1983) in pencil in the lower right margin and numbered 208/300 in pencil in the lower left margin.
Catalogue Raisonné & COA:
1. Dupin, Jacques. Joan Miró: Catalogue raisonné. Paintings, Volume III: 1942-1955. Paris: Successió Miró, 2001. Listed and illustrated as catalogue raisonné no. 901 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.