Miro Prints, Lithographs & Etchings with Carborundum

Exhibiting the artist's wonderfully detailed surrealist imagery, this work expresses a spirit of freedom and originality. Full of bright hues and contrasting tones with painterly applications of color, particularly noticeable in areas with pochoir hand coloring, this work is a dazzling display of the artist's mastery of composition and technique.

Created for a portfolio of 11 prints to be included in a volume by the same name, Miró's lithograph is calligraphic and abstract. Using lush black pathways and bright spots of color, he draws the viewer in.

Composed of a bold and vivid palette with active and gestural imagery, Miró intrigues the viewer with his interconnection of abstraction and figurative elements. Painterly in quality, this monumental piece captures the eye and evokes a sense of the lyrical and playful quality of the artist's work.

An exquisite example of Miró's unique surrealistic style, this fanciful print combines graceful lines, vibrant colors, and illusory forms to create an image that captures Miró's imaginative spirit. The hazy background contributes to the overall dreamlike state of this fascinating print.

Composed of a bold and vivid palette with active and gestural imagery, Miró intrigues the viewer with his interconnection of abstraction and figurative elements. Painterly in quality, this monumental piece captures the eye and evokes a sense of the lyrical and playful quality of the artist's work.

Both figurative and abstract, this print is a riot of color and form. The artist fills the composition with sweeping, thick strokes of his brush and delicate trails of dots.

Astounding in both size and imagery, this is undoubtedly one of Miró's most magnificent prints. From the bold, structured black lines in the foreground to the tie dye splatters of color in the background to the incredible texture achieved through the use of carborundum, La Calebasse (The Gourd) commands the attention of a room with its splendor.

This delightful work is the perfect example of Miró's fanciful, surrealist style. With bold black lines, vibrant blocks of color, and organic forms that appear to float throughout the composition, this piece undeniably brings a smile to our faces as it allows us to enter Miró's imaginative world.

Relaying a sense of impassioned animation, this vividly colored piece is part of the series Chanteur des Rues (Street Singer). Notable is Miró's use of color to transmit energy and emotion. The bold blue hue emerging from the street singer's mouth is a perfect example of this expression of sound and passion through color.

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.

Created as the frontispiece for a volume of poetry by Valentine Penrose (1898-1978), this beautiful piece is remarkable for its balanced composition and striking imagery. Miró depicts an exquisite form reminiscent of a bird, gracefully balanced on two legs with its wings at its side. Gazing out at us with a yellow eye, it instantly captures our attention, aptly serving as the frontispiece for a book of poetry.

Dominated by bold hues of black, red, blue, and green, this work clearly displays Miró's talent at manipulating color to create an engaging surrealist work. We find upon closer examination that this piece is somewhat mysterious; we constantly glimpse new faces and forms hidden throughout the composition.

With his curved lines, whimsical stars, and quilt-like patches of color, Miró creates a delightful surrealist work. Most notable is the dreamlike environment in which space and time appear distorted - we are forced to abandon our worries and immerse ourselves in Miró's enchanting world of fancy and fun.

Part of the album Quelques fleurs pour des amis (Some flowers for friends), this engaging piece stands out from other works in the series. Noteworthy for its absence of bold coloration, the black, white, and grey hues shroud this image with a sense of mystery. We are encouraged to focus on the formation and line work rather than bright splotches of color, as the somewhat foggy effect keeps us interested as we constantly search for further imagery within this striking work.

Tracé sur l'eau is considered Joan Miró's crowning achievements as one of the formidable surrealist artists of the 20th century. Filled with colorful works that echo "traces on the water," these exquisite works exemplify a softer side of Miró, evoking a calm, dreamlike sentiment.

This lively work was originally created as a movie poster for the film Umbracle, an experimental feature film by Catalan filmmaker Pere Portabella. Notable is the way in which Miró addresses the movie title as his subject, each letter vibrating with energy and conveyed through Miró's frenetic strokes.

With typical grace, Miró creates two playful creatures whose overlarge eyes and simplified forms evoke a child's state of mind. From an album of 24 color lithographs, this work beguiles with its lighthearted innocence.

One of twenty-four lithographs created for an illustrated album, this colorful print shows two playful creatures. Rounded noses, simplified forms and candy colors all return to the series' theme of childhood or 'enfance'.

Rendered with crayon color and single lines, Miró's fanciful creatures warm the hardest hearts. Overlarge snouts, stick-thin limbs and bold dashes are all marks of the artist's childlike genius.

Bold and vibrant, this delightful piece possesses a unique textural quality innate to the creative dry-point and cement imprint artistic process. In the center of the work emerges a playful and curious creature in left profile, instilled with a sense of animation and fun. This work is highly approachable due to its cheerful tone and gentle color balance.

This striking piece is instilled with a strong contrast between young and old, the innocent and the wise. The hunched stance of the central figure hints at age and maturity while childlike touches of color and form retain a sense of naiveté and carefree fun.

Originally created for a poster showcasing Miró's recent works at Galerie Maeght in 1953, this lively work is noteworthy for its mottled coloration that relays a strong sense of texture, particularly in the black and white speckled border. Another intriguing element to this work is Miró's use of a horizontally layered composition; he places an individual image within each layer yet retains a cohesive whole.

Created as a surrealist interpretation of Alfred Jarry's (1873-1907) notoriously unconventional play "Ubu Roi," this piece is exceptional for the sense of controlled chaos that Miró achieves. Varying from his usual primary colors, Miró here utilizes a more unusual color palette of pinks, soft oranges, and mint greens that contribute a lively yet dreamy quality to this animated work.

Created as a surrealist interpretation of Alfred Jarry's (1873-1907) notoriously unconventional play "Ubu Roi," this piece is perhaps one of the most playful in the series. On a green surface against a vibrant red background, fanciful figures float and glide in a dreamlike state. Despite the somewhat grim subject matter, Miró manages to transcend convention, finding a sense of fun within a tragic tale.

Illustrating the playful nature in Miró's work, this piece portrays an abstract study of line and color. Utilizing the brush and splatter technique along with line and form, this work is boldly designed with expressive lines and bright eye-catching colors.

Relaying the impression that the observer is also the observed, this piece comes to life with multiple eyes peering out behind bold black lines. This actively engaging work keeps us guessing and encourages us to find new form and meaning within its crevices.

Displaying a unique example of Miró's early work, this aquatint and engraving was based on by an original work of the same title, created in 1918. The image reveals the unexpected influences of Cezanne and Cubism on Miró's early aesthetic, exemplifying a rare aspect of Miró's artwork.

A delightfully jovial piece, the playful and childlike nature in Miro's work resonates in this richly colored image. With active lines and twittering forms, the energy and activity in this piece is endlessly engaging.

Aptly entitled After the Storm, this print relays the stillness and calm felt after a passing storm. The semi-translucent grey-purple background conveys the feel of rainclouds while the whimsical figures in the foreground appear to raise their arms in a gesture of joy and relief. This piece nostalgically reminds us of a winter day, where we can smell the freshness and sense the crisp coolness of the air, when the sun is just about to break through the clouds and the downpour has ceased.

Evoking a sense of light-heartedness, this double-sided, embossed work is perhaps one of Miró's most intriguing prints. Though minimal at first glance, upon further observation we begin to notice subtle details that contribute a sense of charm and wonder. The embossing offers a strong sense of texture best viewed in person, while the double sided nature of the piece provides two different images within one work, making this piece truly multi-faceted.

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.

With its striking calligraphic and painterly qualities, Miró depicts an unconventional sunset, stirring a nostalgic appreciation for the beauty of nature. We feel as though we are witnessing a sunset or sunrise through Miró's effective minimalist depiction - a black swirling line and a streak of turquoise convey the horizon while a single blotch of orange haloed in yellow defines the sun.

Boldly designed with accents of vibrant red and green, Miró's playful use of shape and color are highlighted in this work. Utilizing the texture of the wood for this image, the askew positioning of the elements in this piece relays a sense of motion and activity.

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.

One of twenty-three lithographs from the album Ubu Aux Baleares, this piece is perhaps the quirkiest of the set. Curious figures appear to engage in an animated conversation, their figures abstracted. Noteworthy for its somewhat humorous quality, we feel drawn to these characters that effortlessly bring a smile to our faces.

One of eleven lithographs from the book Miró, Obra Inedita Recent, this piece retains a remarkable sense of balance and harmony. Perhaps addressing the concept of inclusion and exclusion, Miró creates a black arc that simultaneously appears to welcome a coiled blue mass while denying the red and black shape in the upper right. This concept further echoes the childlike need to belong, exemplifying Mirós ability to symbolize concepts of great depth through the simplification of imagery.

One of two illustrations by Joan Miró for Pablo Neruda's poem, El Sobreviviente Visita Los Pájaros, this simple yet colorful image exemplifies Miró's ability to convey powerful imagery through simplicity. Miró gives life to this animated figure as it gazes out at us with one red eye.

One of two illustrations by Joan Miró for Pablo Neruda's poem, El Sobreviviente Visita Los Pájaros, this colorful piece is instilled with a sense of whimsy as a four legged creature gallops by. Miró uses a palette of primary colors against bold black lines to depict his subject, creating strong contrasts that instantly capture our attention and lead the piece to emanate with a sense of childlike fun.

Aptly entitled Astrology III, this piece is an excellent representation of Miró's earlier works. This wonderful piece is a visually engaging example of Miró's playful use of abstracted imagery. Set against a bright yellow background, cosmic figures meander throughout the composition, bringing to mind the curve of the crescent moon or the illumination of a bright star.

Gently guiding our eye around the composition, C-shaped, curving forms flit throughout the image. Miró utilizes a subdued color palette of soft, earthy hues, choosing to focus on these delicate figures that create a sense of subtle motion.

One of eleven lithographs from the book Miró, Obra Inedita Recent, this piece, reminiscent of clouds drifting across a blue sky, relays a sense of carefree calm. An activity often related to childhood, we find ourselves trying to find shapes and identities within Miró's abstract forms, much as we would try to find images within clouds in the sky. This piece addresses Miró's fascination with the recreation of childhood, encouraging us to engage in a creative, playful activity.

With its organic, free-form figures and strong textural elements, this charming work is an excellent addition to any collection. Representative of Miró's signature style, this piece stands out for its bold coloration, whimsical shapes, and childlike playfulness.

One of 17 drypoints in the album Flux de l'aimant, this piece was the result of a collaboration between the poet René Char (1907 - 1988) and Joan Miró (1893-1983) combining Miró's drypoints with Char's meditations upon Miró's art. Miró's free flowing lines leave this work open to interpretation yet suggest the form of a ghoulish figure sweeping down in a circular motion, creating a sense of animation and intrigue.

One of 17 drypoints in the album Flux de l'aimant, this piece was the result of a collaboration between the poet René Char (1907 - 1988) and Joan Miró (1893-1983) combining Miró's drypoints with Char's meditations upon Miró's art. This work is noteworthy for its sense of outward motion, as if each line is wound tight with energy waiting to explode. This is particularly suggested by the 3 arrows pointing outward to the left of the composition.

One of 17 drypoints in the album Flux de l'aimant, this piece was the result of a collaboration between the poet René Char (1907 - 1988) and Joan Miró (1893-1983) combining Miró's drypoints with Char's meditations upon Miró's art. This piece stands out from other in the series in that it appears as if composed from one long, flowing line; the forms appear continuous and connected as they seamlessly merge together.