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, 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:||Joan Miro (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|
|Medium:||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:||43 1/2 in x 24 3/4 in (110.5 cm x 62.9 cm)|
|Edition:||Numbered from the edition of 300 in pencil in the lower left margin.|
|Signature:||This work is hand-signed and dated by Joan Miró (Barcelona, 1893 - Palma, 1983) in pencil in the lower right margin.|
|Condition:||This work is in excellent condition.|
Item # 3542
|Have One To Sell?|
Historical Description of this artwork
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:
This work is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the final sale of the work).
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:
This work is framed to museum-grade, conservation standards, presented in a complementary moulding and finished with linen-wrapped mats and optical grade Plexiglas.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
You may also like
Miró Pl. 4 from La Mélodie Acide (The Acid Melody), 1980 Joan Miró Color lithograph on Japan NacréREQUEST PRICE/SUBMIT BEST OFFERW-5657
Exhibition at the Galerie Matarasso, Nice, 1957 Joan Miro Hand Signed Color Lithograph for saleREQUEST PRICE/SUBMIT BEST OFFERW-5856
El Sobreviviente Visita Los Pájaros I (The Survivor Visits the Birds I), 1972 Joan Miro Hand Signed Color Etching and AquatintSOLDItem # 4615
La lune pres de paraitre, from ‘Hai-Ku’, 1967 Joan Miro Hand Signed Color Lithograph for saleSOLDItem # 5325
Soleil Ébouillanté (The Scalding Sun), 1969 Joan Miro Hand Signed Etching &amp; Aquatint with CarborundumSOLDItem # 4987
Exhibition at the Galerie Matarasso, Nice, 1957 Joan Miro Hand Signed Color LithographSOLDItem # 4776
Homenatge à Joan Prats (Homage to Joan Prats), 1975 Joan MiroSOLDItem # 4310
We have openings for a few new members each day. Members receive exclusive offers on our entire inventory. Join Now!
Miró's whimsy and childlike sensibility are unmatched. A signed original Miró print,
aquatint, lithograph or etching can carry an entire room. His large-scale graphic works are an excellent
Sell Your Miro
Sell your Miro fine art with us. We offer free evaluations.
Artistic Styles of Miro
Surrealism, 20th Century Modern Surrealist Spanish Master
Joan Miro Complete Biography
News About Miro
LA Art Show 2017
Masterworks Fine Art strives to be the best source of fine art for our clients and collectors all over the world. We also want to be an educational resource to the art community. We have educational fine art material for students and researchers, and we will continue to donate fine art to charities. You can see some of our donations made by Masterworks Fine Art. We believe the most direct way to accomplish this is by establishing a lifetime of personal and professional relationships with our clients. More About Us »
Joan Miro Biography
Combining Abstract Art with Surrealism, Joan Miró’s oeuvre is internationally respected. Born April 20, 1893, in Barcelona, Spain, Joan Miró Ferra was exposed to art at an early age through his watchmaker father. At the age of 14, he went to business school in Barcelona while also attending La Lonja’s Escuela Superior de Artes Industriales y Bellas Artes. Choosing business over art, he took a position as a clerk, but suffered a nervous breakdown. Abandoning business, he resumed his art studies and attended Francesc Galí’s Escola d’Art in Barcelona from 1912 to 1915. Receiving early encouragement from the dealer José Dalmau, Miró’s first show occurred at his gallery in 1918 where his work was ridiculed and defaced. His works during this time reflected the influence of Fauvism and folkloric Catalan art as is seen in Chapel of Sant Joan d’Horta (1917), but he was also drawn to Cubism and Surrealism.
Those artistic interests led Miró to move to Paris in 1920, but he continued to spend his summers in Catalonia. In Paris, Miró met Pablo Picasso, and other important emerging artists and poets, encircling himself with creative types. Dalmau organized Miró’s first solo show in Paris, at the Galerie la Licorne in 1921 and his work was included in the Salon d’Automne of 1923. Strongly symbolic and poetic in nature, Miró’s art fit well within the context of the dream-like erratic tendencies espoused by Surrealism and in 1924 he joined the Surrealist group, though always remained on the periphery of Surrealism. Such works included Catalan Landscape (The Hunter) (1923) and the Tilled Field (1924).
This is around the time Miró began to develop an antagonistic attitude towards painting, and started to explore other techniques and mediums. In 1926, while collaborating with Max Ernst on designs for a ballet they pioneered the technique of grattage, in which pigment is troweled onto the canvas and in 1928 Miró began executing his first papiers collés and collages. During the early 1930s, Miró would delve into sculpture, incorporating painted stones and found objects into his three-dimensional works. This was also the time when he started his experiments in lithography, and his first etchings date to 1933, both mediums of which would comprise a majority of his oeuvre.
Joan Miró Etchings:
By 1930, Miró had developed his own unique style of imagery derived from elements of Catalan folk art and the art of children and this was suited wonderfully for the etching medium as the fluid line work and fanciful figures enabled him to create crisp details. A constant experimenter however, the etchings are a wonderful precursor of what was to come for his printmaking skills later in his life.
Finding international success, with the opening of the Pierre Matisse Gallery in New York, Miró became an influential part of the Modern Art Movement in America. With the outbreak of the Spanish Civil War however in 1936, Miró had to flee Spain and remained in France where he was commissioned to create a monumental work for the Paris World’s Fair. Then World War II broke out and he was forced to relocate to Normandy, then fled back to Spain in 1940. During this time, Miró created his famous twenty-three gouache series Constellations (1940).
The Museum of Modern Art, New York held Miró’s first major museum retrospective in 1941, and that same year Miró began working in ceramics with Josep Lloréns y Artigas. Always trying to find new ways to express himself, it was during 1948–49 when Miró lived in Barcelona, and made frequent visits to Paris that he began to experiment with his printmaking techniques at the Mourlot Studios and the Atelier Lacourière. Such printmaking techniques would result in his later mastering of aquatints and carborundum, some of the most difficult graphic works to create.
Joan Miró Lithographs:
Miró’s close relationship with Fernand Mourlot resulted in the creation of over one thousand different lithographic editions. His process of automatic drawing, allowing the hand to move randomly on the surface, leaving the artwork to chance, enabled him to create works that were genuine reflections of himself, an integral part of his popularity. A popularity that still remains today as they make for 91% of all of his works bought on the market, with a complete set of Le lézard aux Plumes d’Or (1971) selling for over $147, 510 in 2002 from Christie’s.
A true master of the printmaking medium, Miró 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 and the following year he resumed painting, initiating a series of mural-sized canvases. During the 1960s, he began to work intensively in sculpture and was particularly captivated by glass as is evidenced in his commissioned mural Personnage Oiseaux (1972-1978) which combines one million pieces of marble and Venetian glass. A man whose art rose to international acclaim with the help of the Surrealist movement, Miró was honored with many retrospectives during his lifetime and worked until he passed away of heart disease in December 25, 1983, in Palma de Mallorca, Spain.
Joan Miró Aquatints:
With his most coveted etching and aquatint Équinoxe (1967) selling for $74,000 in 2007 and the series Michel Leiris, Fissures (1969) that sold for $92,500 in 2001 at Christies, Miró’s aquatints are quite valuable. In the experimentation that followed his lithographs, Miró produced hundreds of aquatints, a process that presents variations of darkness on the paper. These experiments allowed for him to better represent the dualities and contradictions within his artwork.
Joan Miró Carborundum:
A method of printmaking that produces variations of dotted effects, Miró embraced this medium as it allowed him to create works that were rich in texture and variety. Trying not to adhere to any artistic movement during the 1970s, this method proved diverse as it gave him an artistic range when combined with the etching and aquatint. With the series such as Barcelona (1972-1973) selling for over $72,500 in 2005 and the work Les grandes manoeuvres (1973) selling for over $52,000 in 2010, this medium makes for some of his most valuable in printmaking.