1972 Original FINE LITHOGRAPH Spanich JOAN MIRO French RARE ART BOOK XXe SIECLE

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Seller: judaica-bookstore ✉️ (2,805) 100%, Location: TEL AVIV, IL, Ships to: WORLDWIDE, Item: 276324016265 1972 Original FINE LITHOGRAPH Spanich JOAN MIRO French RARE ART BOOK XXe SIECLE. DESCRIPTION :  Please notice : Offered here is the FRENCH Version - Similar to the scanned one but in FRENCH rather than ENGLISH. Here for sale is an EXQUISITE French ART BOOK , Being an HOMMAGE to JOAN MIRO - "  XXe SIECLE - NUMERO SPECIAL - HOMMAGE a JOAN MIRO " . This luxurious edition which was published in PARIS in 1972 by XXe SIECLE  publishing co , 50 years ago includes an ORIGINAL COLORFUL LARGE double page MOURLOT LITHOGRAPH , Especialy created for the issue of the XXe SIECLE. Printed by MOURLOT Imprimeur PARIS 1972.   The LARGE exquisite ALBUM is throughout ILLUSTRATED and PHOTOGRAPHED in COLOR and B&W .  Contains 132 pages of COLORFUL and B&W pieces. ALL the reproductions and articles are dedicated to the ART of JOAN MIRO . With texts and quotations in FRENCH by  Hemingway, Ionesco, A. Jouffroy, Joan Miro, G. Limbour, H. Matarasso, R. Penrose, Pieyre de Mandiargues, Tapies, Waldberg, etc.  ORIGINAL dark yellow cloth HC . Gilt embossed headings. Illustrated thick chromo DJ .12.5 x 10" . 132 throughout illustrated chromo pages. ORIGINAL double page COLOR MOURLOT LITHOGRAPH .Very good condition in and out . Used. Inner condition including the LITOGRAPH is FINE. Tightly bound. Absolutely clean. Cloth HC intact. Very slight foxing of end pages. Tiny tears at margings of DJ. ( Pls look at scan for accurate AS IS  images )  Book will be sent inside a protective packaging .  

IMPORTANT REMARK : Several copies on the market lack the ORIGINAL MOURLOT LITHOGRAPH  - This RARE copy includes the ORIGINAL LITHOGRAPH  in excellent condition.

AUTHENTICITY : This BOOK including the original LITHOGRAPH is fully guaranteed ORIGINAL , NOT a reproduction or a recent reprint , It holds a life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.

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SHIPPMENT : Shipp worldwide via registered airmail is $29 ( Sorry but the book is large and  heavy ). Book will be sent inside a protective packaging . Handling around 5-10 days after payment. 

Joan Miró i Ferrà (/mɪˈroʊ/ mi-ROH,[1] US also /miːˈroʊ/ mee-ROH,[2][3] Catalan: [ʒuˈam miˈɾo j fəˈra]; 20 April 1893 – 25 December 1983) was a Spanish painter, sculptor and ceramicist born in Barcelona. A museum dedicated to his work, the Fundació Joan Miró, was established in his native city of Barcelona in 1975, and another, the Fundació Pilar i Joan Miró, was established in his adoptive city of Palma de Mallorca in 1981. Earning international acclaim, his work has been interpreted as Surrealism but with a personal style, sometimes also veering into Fauvism and Expressionism.[4] He was notable for his interest in the unconscious or the subconscious mind, reflected in his re-creation of the childlike. His difficult-to-classify works also had a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supporting bourgeois society, and declared an "assassination of painting" in favour of upsetting the visual elements of established painting.[5] Contents 1 Biography 1.1 Career 1.2 Late life and death 1.3 Mental health 2 Works 2.1 Early fauvist 2.2 Magical Realism 2.3 Early surrealism 2.4 Surrealist pictorial language 2.5 Livres d'Artiste 3 Styles and development 3.1 Experimental style 4 Exhibitions 5 Legacy and influence 6 Recognition 7 Art market 8 Gallery 9 References 10 Further reading 11 External links Biography[edit] Born into a family of a goldsmith and a watchmaker, Miró grew up in the Barri Gòtic neighborhood of Barcelona.[6] The Miró surname indicates possible Jewish roots (in terms of marrano or converso Iberian Jews who converted to Christianity).[7][8] His father was Miquel Miró Adzerias and his mother was Dolors Ferrà.[9] He began drawing classes at the age of seven at a private school at Carrer del Regomir 13, a medieval mansion. To the dismay of his father, he enrolled at the fine art academy at La Llotja in 1907. He studied at the Cercle Artístic de Sant Lluc[10] and he had his first solo show in 1918 at the Galeries Dalmau,[11] where his work was ridiculed and defaced.[12] Inspired by Fauve and Cubist exhibitions in Barcelona and abroad, Miró was drawn towards the arts community that was gathering in Montparnasse and in 1920 moved to Paris, but continued to spend his summers in Catalonia.[6][13][14][15] Career[edit] Joan Miró, April 1917, Portrait of Vincent Nubiola (Portrait de Vincenç Nubiola), oil on canvas, 104 x 113 cm, Folkwang Museum Joan Miró, 1918, La casa de la palmera (The House with the Palm Tree), oil on canvas, 65 x 73 cm, Museo Nacional Centro de Arte Reina Sofía. Exhibited at Galerie La Licorne, Paris, 1921, reproduced in the catalogue[16] Joan Miró, 1918, Portrait of Heriberto Casany (Le chauffeur), oil on canvas, 70.2 x 62 cm, Kimbell Art Museum. Exhibited at Galerie La Licorne, Paris, 1921, reproduced in the catalogue[16] Joan Miró, 1919, Nu au miroir (Nude with a Mirror, Naakt met een spiegel), oil on canvas, 113 x 102 cm, Kunstsammlung Nordrhein-Westfalen. Exhibited at Galerie La Licorne, Paris, 1921, reproduced in the catalogue[16] Joan Miró, 1920, Les cartes espagnoles (The Spanish Playing Cards), oil on canvas, 63.5 x 69.5 cm, Minneapolis Institute of Arts. Exhibited at Galerie La Licorne, Paris, 1921, reproduced in the catalogue[16] Joan Miró, 1920, Horse, Pipe and Red Flower, oil on canvas, 82.6 × 74.9 cm, Philadelphia Museum of Art. Exhibited Exposició d'Art francès d'Avantguarda, Galeries Dalmau, 26 October – 15 November 1920, reproduced in the catalogue[17] Miró initially went to business school as well as art school. He began his working career as a clerk when he was a teenager, although he abandoned the business world completely for art after suffering a nervous breakdown.[18] His early art, like that of the similarly influenced Fauves and Cubists, was inspired by Vincent van Gogh and Paul Cézanne. The resemblance of Miró's work to that of the intermediate generation of the avant-garde has led scholars to dub this period his Catalan Fauvist period.[19] A few years after Miró's 1918 Barcelona solo exhibition,[11] he settled in Paris where he finished a number of paintings that he had begun on his parents' summer home and farm in Mont-roig del Camp. One such painting, The Farm, showed a transition to a more individual style of painting and certain nationalistic qualities. Ernest Hemingway, who later purchased the piece, compared the artistic accomplishment to James Joyce's Ulysses and described it by saying, "It has in it all that you feel about Spain when you are there and all that you feel when you are away and cannot go there. No one else has been able to paint these two very opposing things."[20] Miró annually returned to Mont-roig and developed a symbolism and nationalism that would stick with him throughout his career. Two of Miró's first works classified as Surrealist, Catalan Landscape (The Hunter) and The Tilled Field,[21] employ the symbolic language that was to dominate the art of the next decade.[22] Josep Dalmau arranged Miró's first Parisian solo exhibition, at Galerie la Licorne in 1921.[13][23][24] In 1924, Miró joined the Surrealist group. The already symbolic and poetic nature of Miró's work, as well as the dualities and contradictions inherent to it, fit well within the context of dream-like automatism espoused by the group. Much of Miró's work lost the cluttered chaotic lack of focus that had defined his work thus far, and he experimented with collage and the process of painting within his work so as to reject the framing that traditional painting provided. This antagonistic attitude towards painting manifested itself when Miró referred to his work in 1924 ambiguously as "x" in a letter to poet friend Michel Leiris.[25] The paintings that came out of this period were eventually dubbed Miró's dream paintings. Miró did not completely abandon subject matter, though. Despite the Surrealist automatic techniques that he employed extensively in the 1920s, sketches show that his work was often the result of a methodical process. Miró's work rarely dipped into non-objectivity, maintaining a symbolic, schematic language. This was perhaps most prominent in the repeated Head of a Catalan Peasant series of 1924 to 1925. In 1926, he collaborated with Max Ernst on designs for ballet impresario Sergei Diaghilev. Miró returned to a more representational form of painting with The Dutch Interiors of 1928. Crafted after works by Hendrik Martenszoon Sorgh and Jan Steen seen as postcard reproductions, the paintings reveal the influence of a trip to Holland taken by the artist.[26] These paintings share more in common with Tilled Field or Harlequin's Carnival than with the minimalistic dream paintings produced a few years earlier. Miró married Pilar Juncosa in Palma (Majorca) on 12 October 1929. Their daughter, María Dolores Miró, was born on 17 July 1930. In 1931, Pierre Matisse opened an art gallery in New York City. The Pierre Matisse Gallery (which existed until Matisse's death in 1989) became an influential part of the Modern art movement in America. From the outset Matisse represented Joan Miró and introduced his work to the United States market by frequently exhibiting Miró's work in New York.[27][28] Until the outbreak of the Spanish Civil War, Miró habitually returned to Spain in the summers. Once the war began, he was unable to return home. Unlike many of his surrealist contemporaries, Miró had previously preferred to stay away from explicitly political commentary in his work. Though a sense of (Catalan) nationalism pervaded his earliest surreal landscapes and Head of a Catalan Peasant, it was not until Spain's Republican government commissioned him to paint the mural The Reaper, for the Spanish Republican Pavilion at the 1937 Paris Exhibition, that Miró's work took on a politically charged meaning.[29] In 1939, with Germany's invasion of France looming, Miró relocated to Varengeville in Normandy, and on 20 May of the following year, as Germans invaded Paris, he narrowly fled to Spain (now controlled by Francisco Franco) for the duration of the Vichy Regime's rule.[30] In Varengeville, Palma, and Mont-roig, between 1940 and 1941, Miró created the twenty-three gouache series Constellations. Revolving around celestial symbolism, Constellations earned the artist praise from André Breton, who seventeen years later wrote a series of poems, named after and inspired by Miró's series.[31] Features of this work revealed a shifting focus to the subjects of women, birds, and the moon, which would dominate his iconography for much of the rest of his career. Shuzo Takiguchi published the first monograph on Miró in 1940. In 1948–49 Miró lived in Barcelona and made frequent visits to Paris to work on printing techniques at the Mourlot Studios and the Atelier Lacourière. He developed a close relationship with Fernand Mourlot and that resulted in the production of over one thousand different lithographic editions. In 1959, André Breton asked Miró to represent Spain in The Homage to Surrealism exhibition alongside Enrique Tábara, Salvador Dalí, and Eugenio Granell. Miró created a series of sculptures and ceramics for the garden of the Maeght Foundation in Saint-Paul-de-Vence, France, which was completed in 1964. In 1974, Miró created a tapestry for the World Trade Center in New York City together with the Catalan artist Josep Royo. He had initially refused to do a tapestry, then he learned the craft from Royo and the two artists produced several works together. His World Trade Center Tapestry was displayed at the building[32] and was one of the most expensive works of art lost during the September 11 attacks.[33][34] In 1977, Miró and Royo finished a tapestry to be exhibited in the National Gallery of Art in Washington, DC.[35][36] In 1981, Miró's The Sun, the Moon and One Star—later renamed Miró's Chicago—was unveiled. This large, mixed media sculpture is situated outdoors in the downtown Loop area of Chicago, across the street from another large public sculpture, the Chicago Picasso. Miró had created a bronze model of The Sun, the Moon and One Star in 1967. The maquette now resides in the Milwaukee Art Museum. Late life and death[edit] In 1979 Miró received a doctorate honoris causa from the University of Barcelona. The artist, who suffered from heart failure, died in his home in Palma (Majorca) on 25 December 1983.[37] He was later interred in the Montjuïc Cemetery in Barcelona. Mental health[edit] It has been established through the analysis of personal texts written by Joan Miró that he has experienced multiple episodes of depression throughout his life.[38] He experienced his first depression when he was 18 in 1911.[39] Much of the literature refers to this as if it was a small setback in his life, while it appeared to be much more than that.[40] Miró himself stated: ‘'I was demoralized and suffered from a serious depression. I fell really ill, and stayed three months in bed’’.[41] There is a clear connection between his mental health and his paintings, since he used painting as a way of dealing with his episodes of depression. It supposedly even made him more calm and his thoughts less dark. Joan Miró said that without painting he became ‘‘very depressed, gloomy and I get ‘black ideas’, and I do not know what to do with myself’’.[42] The influence of his mental state is very well visible in his painting Carnival of the Harlequin. He tried to paint the chaos he experienced in his mind, the desperation of wanting to leave that chaos behind and the pain created because of that. Miró painted the symbol of the ladder here which is also visible in multiple other paintings after this painting. It is supposed to symbolize escaping.[43] The relation between creativity and mental illness is very well studied.[44] Creative people have higher chances of suffering from a manic depressive illness or schizophrenia, as well as higher chance to transmit this genetically.[45] Even though we know Miró suffered from episodic depression, it is uncertain whether he also experienced manic episodes, which is often referred to as bipolar disorder.[46] Works[edit] Joan Miró, Carrer de Pedralbes, drawing, published in Troços, Segona sèrie, N. 4, March 1918 Early fauvist[edit] His early modernist works include Portrait of Vincent Nubiola (1917), Siurana (the path), Nord-Sud (1917) and Painting of Toledo. These works show the influence of Cézanne, and fill the canvas with a colorful surface and a more painterly treatment than the hard-edge style of most of his later works. In Nord-Sud, the literary newspaper of that name appears in the still life, a compositional device common in cubist compositions, but also a reference to the literary and avant-garde interests of the painter.[47] Magical Realism[edit] Starting in 1920, Miró developed a very precise style, picking out every element in isolation and detail and arranging them in deliberate composition. These works, including House with Palm Tree (1918), Nude with a Mirror (1919), Horse, Pipe and Red Flower (1920), and The Table – Still Life with Rabbit (1920), show the clear influence of Cubism, although in a restrained way, being applied to only a portion of the subject. For example, The Farmer's Wife (1922–23), is realistic, but some sections are stylized or deformed, such as the treatment of the woman's feet, which are enlarged and flattened.[48] The culmination of this style was The Farm (1921–22). The rural Catalan scene it depicts is augmented by an avant-garde French newspaper in the center, showing Miró sees this work transformed by the Modernist theories he had been exposed to in Paris. The concentration on each element as equally important was a key step towards generating a pictorial sign for each element. The background is rendered in flat or patterned in simple areas, highlighting the separation of figure and ground, which would become important in his mature style. Miró made many attempts to promote this work, but his surrealist colleagues found it too realistic and apparently conventional, and so he soon turned to a more explicitly surrealist approach.[49] Early surrealism[edit] In 1922, Miró explored abstracted, strongly coloured surrealism in at least one painting.[50] From the summer of 1923 in Mont-roig, Miró began a key set of paintings where abstracted pictorial signs, rather than the realistic representations used in The Farm, are predominant. In The Tilled Field, Catalan Landscape (The Hunter) and Pastoral (1923–24), these flat shapes and lines (mostly black or strongly coloured) suggest the subjects, sometimes quite cryptically. For Catalan Landscape (The Hunter), Miró represents the hunter with a combination of signs: a triangle for the head, curved lines for the moustache, angular lines for the body. So encoded is this work that at a later time Miró provided a precise explanation of the signs used.[51] Surrealist pictorial language[edit] Through the mid-1920s Miró developed the pictorial sign language which would be central throughout the rest of his career. In Harlequin's Carnival (1924–25), there is a clear continuation of the line begun with The Tilled Field. But in subsequent works, such as The Happiness of Loving My Brunette (1925) and Painting (Fratellini) (1927), there are far fewer foreground figures, and those that remain are simplified. Soon after Miró also began his Spanish Dancer series of works. These simple collages, were like a conceptual counterpoint to his paintings. In Spanish Dancer (1928) he combines a cork, a feather and a hatpin onto a blank sheet of paper.[49] Dona i Ocell, 1982, Barcelona, Spain Livres d'Artiste[edit] Miró created over 250 illustrated books.[52] These were known as "Livres d' Artiste." One such work was published in 1974, at the urging of the widow of the French poet Robert Desnos, titled Les pénalités de l'enfer ou les nouvelles Hébrides ("The Penalties of Hell or The New Hebrides"). It was a set of 25 lithographs, five in black, and the others in colors. In 2006 the book was displayed in "Joan Miró, Illustrated Books" at the Vero Beach Museum of Art. One critic said it is "an especially powerful set, not only for the rich imagery but also for the story behind the book's creation. The lithographs are long, narrow verticals, and while they feature Miró's familiar shapes, there's an unusual emphasis on texture." The critic continued, "I was instantly attracted to these four prints, to an emotional lushness, that's in contrast with the cool surfaces of so much of Miró's work. Their poignancy is even greater, I think, when you read how they came to be. The artist met and became friends with Desnos, perhaps the most beloved and influential surrealist writer, in 1925, and before long, they made plans to collaborate on a livre d'artiste. Those plans were put on hold because of the Spanish Civil War and World War II. Desnos' bold criticism of the latter led to his imprisonment in Auschwitz, and he died at age 45 shortly after his release in 1945. Nearly three decades later, at the suggestion of Desnos' widow, Miró set out to illustrate the poet's manuscript. It was his first work in prose, which was written in Morocco in 1922 but remained unpublished until this posthumous collaboration."[This quote needs a citation] The Fundació Joan Miró Museum on Montjuïc in Barcelona. The building is by rationalist architect Josep Lluís Sert. Pájaro lunar (Moon Bird), 1966, Reina Sofia Museum, Madrid Pilar and Joan Miró Foundation in Palma de Mallorca. Pictured is Miró's former workshop, built by Josep Lluís Sert. Styles and development[edit] In Paris, under the influence of poets and writers, he developed his unique style: organic forms and flattened picture planes drawn with a sharp line. Generally thought of as a Surrealist because of his interest in automatism and the use of sexual symbols (for example, ovoids with wavy lines emanating from them), Miró's style was influenced in varying degrees by Surrealism and Dada,[18] yet he rejected membership in any artistic movement in the interwar European years. André Breton described him as "the most Surrealist of us all." Miró confessed to creating one of his most famous works, Harlequin's Carnival, under similar circumstances: How did I think up my drawings and my ideas for painting? Well I'd come home to my Paris studio in Rue Blomet at night, I'd go to bed, and sometimes I hadn't any supper. I saw things, and I jotted them down in a notebook. I saw shapes on the ceiling...[53] Miró's surrealist origins evolved out of "repression" much like all Spanish surrealist and magic realist work, especially because of his Catalan ethnicity, which was subject to special persecution by the Franco regime. Also, Joan Miró was well aware of Haitian Voodoo art and Cuban Santería religion through his travels before going into exile. This led to his signature style of art making.[citation needed] Experimental style[edit] Joan Miró was among the first artists to develop automatic drawing as a way to undo previous established techniques in painting, and thus, with André Masson, represented the beginning of Surrealism as an art movement. However, Miró chose not to become an official member of the Surrealists to be free to experiment with other artistic styles without compromising his position within the group. He pursued his own interests in the art world, ranging from automatic drawing and surrealism, to expressionism, Lyrical Abstraction, and Color Field painting. Four-dimensional painting was a theoretical type of painting Miró proposed in which painting would transcend its two-dimensionality and even the three-dimensionality of sculpture.[citation needed][54] Miró's oft-quoted interest in the assassination of painting is derived from a dislike of bourgeois art, which he believed was used as a way to promote propaganda and cultural identity among the wealthy. Specifically, Miró responded to Cubism in this way, which by the time of his quote had become an established art form in France. He is quoted as saying "I will break their guitar," referring to Picasso's paintings, with the intent to attack the popularity and appropriation of Picasso's art by politics.[55] The spectacle of the sky overwhelms me. I'm overwhelmed when I see, in an immense sky, the crescent of the moon, or the sun. There, in my pictures, tiny forms in huge empty spaces. Empty spaces, empty horizons, empty plains – everything which is bare has always greatly impressed me. —Joan Miró, 1958, quoted in Twentieth-Century Artists on Art In an interview with biographer Walter Erben, Miró expressed his dislike for art critics, saying, they "are more concerned with being philosophers than anything else. They form a preconceived opinion, then they look at the work of art. Painting merely serves as a cloak in which to wrap their emaciated philosophical systems."[56] In the final decades of his life Miró accelerated his work in different media, producing hundreds of ceramics, including the Wall of the Moon and Wall of the Sun at the UNESCO building in Paris. He also made temporary window paintings (on glass) for an exhibit. In the last years of his life Miró wrote his most radical and least known ideas, exploring the possibilities of gas sculpture and four-dimensional painting. Exhibitions[edit] Throughout the 1960s, Miró was a featured artist in many salon shows assembled by the Maeght Foundation that also included works by Marc Chagall, Giacometti, Brach, Cesar, Ubac, and Tal-Coat. The large retrospectives devoted to Miró in his old age in towns such as New York (1972), London (1972), Saint-Paul-de-Vence (1973) and Paris (1974) were a good indication of the international acclaim that had grown steadily over the previous half-century; further major retrospectives took place posthumously. Political changes in his native country led in 1978 to the first full exhibition of his painting and graphic work, at the Museo Nacional Centro de Arte Reina Sofía in Madrid. In 1993, the year of the hundredth anniversary of his birth, several exhibitions were held, among which the most prominent were those held in the Fundació Joan Miró, Barcelona, the Museum of Modern Art, New York, the Museo Nacional Centro de Arte Reina Sofía, Madrid, and the Galerie Lelong, Paris.[57] In 2011, another retrospective was mounted by the Tate Modern, London, and travelled to Fundació Joan Miró and the National Gallery of Art, Washington, D.C.. Joan Miró, Printmaking, Fundación Joan Miró (2013). And two exhibitions in 2014, Miró: From Earth to Sky at Albertina Museum, and Masterpieces from the Kunsthaus Zürich, National Art Center, Tokyo. Exhibitions entitled Joan Miró: Instinct & Imagination and "Miró: The Experience of Seeing" were held at the Denver Art Museum from 22 March – 28 June 2015 and at the McNay Art Museum from 30 September 2015 – 10 January 2016 (respectively), showing works made by Miró between 1963 and 1981, on loan from the Museo Nacional Centro de Arte Reina Sofía in Madrid.[58][59][60][61][62] In Spring 2019, the Museum of Modern Art, New York, launched Joan Miró: Birth of the World.[63] Running until July 2019, the exhibit showcases 60 pieces of work from the inception of Miró's career, and including the influence of the World Wars. The exhibit features 60-foot canvasses as well as smaller 8-foot paintings, and the influences range from cubism to abstraction.[64] Legacy and influence[edit] Miró has been a significant influence on late 20th-century art, in particular the American abstract expressionist artists that include: Motherwell, Calder, Gorky, Pollock, Matta and Rothko, while his lyrical abstractions[65] and color field paintings were precursors of that style by artists such as Helen Frankenthaler, Olitski and Louis and others.[66] His work has also influenced modern designers, including Paul Rand[67] and Lucienne Day,[68][self-published source?] and influenced recent painters such as Julian Hatton.[69] One of Man Ray's 1930s photographs, Miró with Rope, depicts the painter with an arranged rope pinned to a wall, and was published in the single-issue surrealist work Minotaure. In 2002, American percussionist/composer Bobby Previte released the album The 23 Constellations of Joan Miró on Tzadik Records. Inspired by Miró's Constellations series, Previte composed a series of short pieces (none longer than about 3 minutes) to parallel the small size of Miró's paintings. Privete's compositions for an ensemble of up to ten musicians was described by critics as "unconventionally light, ethereal, and dreamlike".[70] Recognition[edit] In 1954 he was given the Venice Biennale print making prize, in 1958 the Guggenheim International Award.[18][71] In 1981, the Palma City Council (Majorca) established the Fundació Pilar i Joan Miró a Mallorca, housed in the four studios that Miró had donated for the purpose.[72] In October 2018, the Grand Palais in Paris opened the largest retrospective devoted to the artist until this date. The exhibition included nearly 150 works and was curated by Jean Louis Prat.[73] Art market[edit] Today, Miró's paintings sell for between US$250,000 and US$26 million; US$17 million at a U.S. auction for the La Caresse des étoiles (1938) on 6 May 2008, at the time the highest amount paid for one of his works.[74] In 2012, Painting-Poem ("le corps de ma brune puisque je l'aime comme ma chatte habillée en vert salade comme de la grêle c'est pareil") (1925) was sold at Christie's London for $26.6 million.[75] Later that year at Sotheby's in London, Peinture (Etoile Bleue) (1927) brought nearly 23.6 million pounds with fees, more than twice what it had sold for at a Paris auction in 2007 and a record price for the artist at auction.[76][77] On 21 June 2017, the work Femme et Oiseaux (1940), one of his Constellations, sold at Sotheby's London for 24,571,250 GBP.[78] ****** Joan Miró Spanish, 1893–1983 Works Exhibitions Publications Joan Miró’s painting The Hunter (Catalan Landscape) brings together the real and the imaginary, abstraction and figuration, and image and text in a way that would characterize much of his work to come. In the canvas—a landscape filled with personal symbols and evocations of life on his family’s farm in Montroig, Spain, such as a tree trunk sprouting a leaf and the eponymous hunter carrying a freshly killed rabbit—he rendered the everydayness of the farm with a poetic intensity. This impetus to reveal the marvelous in the quotidian attracted the attention of André Breton, the founder of Surrealism, who acquired The Hunter in 1925. Breton would later deem Miró’s arrival in Paris in the early 1920s “an important stage in the development of surrealist art.” 1 Indeed Miró’s studio in Paris soon became an “avant-garde laboratory”2 and gathering place for artists and writers, including André Masson (whose studio adjoined Miró’s), Antonin Artaud, and Robert Desnos. According to Breton, the Surrealists sought to liberate “the real functioning of the mind” through “a pure psychic automatism,” free of “any control exercised by reason.”3 Their approach to art making, as defined by Breton, inspired Miró. He later recounted, “Rather than setting out to paint something, I begin painting and as I paint the picture begins to assert itself….,The first stage is free, unconscious.” But, he continued, “The second stage is carefully calculated.”4 The Birth of the World reflects this blend of spontaneity and deliberation. Although its brushy, atmospheric background was freely applied, the individual motifs and their arrangement were sketched out in advance. In this and many of his following works, Miró attempted to give free rein to the unconscious, as the Surrealists did, at the same time as he sought to formulate a new pictorial language. Beginning in the late 1920s, Miró embarked on a period of experimentation with mediums and techniques, attacking the limits of painting in order to reinvigorate it. He successively made works on unprimed canvases, white grounds, flocked paper, cardboard, Masonite, and copper; collages, paintings based on collage, and so-called “drawing collages”; and constructions and objects. These experiments also included engagements with art history and with language. In Dutch Interior (I), part of a series based on 17th-century Dutch genre paintings, Miró reimagined illusionistic space, compressing and flattening the scene of the original painting into planes of non-naturalistic, unmodulated color. Later, the aerial, calligraphic “Hirondelle Amour” exemplified his peinture-poésie, or painting-poetry, as biomorphic forms and words seem to float in suspension above a blue expanse. Still Life with Old Shoe brought an end to an intense, decade-long period of experimentation, as Miró announced his intention to do “something absolutely different.”5 The canvas, which he painted in Paris as the Spanish Civil War raged in his home country, marked his temporary return to working from life. It straddles the line between still life and landscape, even as the saturated, acidic colors and disproportionately scaled objects undermine its title’s—and Miró’s—proclaimed adherence to reality. By 1939, World War II had come to the European continent. In this climate of danger and human catastrophe, Miró created the Constellations, a series of 23 gouaches on paper, including The Escape Ladder, which gave form to the transcendence and escape he longed for during those years. Interweaving his distinctive visual vocabulary with cosmic and earthly themes, these intimately sized works were easily transportable. In flight from the German invasion, he carried the earliest gouaches in the series, begun in France, back with him to the relative safety of Spain. Breton would later reflect that “Miró, at this hour of extreme anguish unfurl[ed] the full range of his voice,” sounding the same “note of wild defiance of the hunter expressed by the grouse’s love song.”6 After the war, Miró gained international recognition as he continued to experiment freely with different mediums, including ceramics, printmaking, book illustration, and sculpture.  ****  Joan Miró Spanish artist Print  Cite  Share  More By Walter Erben • Edit History Joan Miró See all media Born: April 20, 1893 Barcelona Spain Died: December 25, 1983 (aged 90) Palma Spain Notable Works: “Blue II” “Constellations” “Dog Barking at the Moon” “Dutch Interiors” “Farm” “Head of a Woman” “The Policeman” “The Reaper” “The Tilled Field” ... (Show more) Movement / Style: Surrealism abstract art See all related content → TOP QUESTIONS Why is Joan Miró so famous? What is Joan Miró famous for? How was Joan Miró educated? What was Joan Miró’s family like? How did Joan Miró die? Joan Miró, (born April 20, 1893, Barcelona, Spain—died December 25, 1983, Palma, Majorca), Catalan painter who combined abstract art with Surrealist fantasy. His mature style evolved from the tension between his fanciful, poetic impulse and his vision of the harshness of modern life. He worked extensively in lithography and produced numerous murals, tapestries, and sculptures for public spaces. Early life and artistic training Miró’s father was a watchmaker and goldsmith. Both his father’s background as an artisan and the austere Catalan landscape would be of great importance to Miró’s art. According to his parents’ wishes, Miró attended a commercial college. He then worked for two years as a clerk in an office until he had a mental and physical breakdown. His parents took him for convalescence to an estate they bought especially for this purpose—Montroig, near Tarragona, Spain—and in 1912 they allowed him to attend an art school in Barcelona. His teacher at this school, Francisco Galí, showed a great understanding of his 18-year-old pupil, advising him to touch the objects he was about to draw, a procedure that strengthened Miró’s feeling for the spatial quality of objects. Galí also introduced his pupil to examples of the latest schools of modern art from Paris as well as to the buildings of Antoni Gaudí, Barcelona’s famous Art Nouveau architect. From 1915 to 1919 Miró worked in Spain—in Barcelona, at Montroig, and on the island of Majorca—painting landscapes, portraits, and nudes in which he focused on the rhythmic interplay of volumes and areas of colour. He experimented with the boldly colourful Fauvist style, but his treatment of form was geometric, influenced by the work of Paul Cézanne and the Cubist artists. From early in his career Miró sought to establish means of metaphorical expression—that is, to discover signs that stand for concepts of nature in a transcendent, poetic sense. He wanted to portray nature as it would be depicted by a child equipped with the intelligence of an adult; in this respect, he had much in common with the Surrealists and Dadaists, two schools of modern artists who were striving to achieve similar aims by more intellectual means than those used by Miró. Paris and early work From 1919 onward Miró lived alternately in Spain and Paris. He was one of the many artists who made their way from abroad to Paris during the first two decades of the 20th century. Most of these foreign artists elected to become French citizens after coming into contact with the exciting French artistic metropolis, but Miró remained attached to his Catalan homeland. In the early 1920s Miró combined meticulously detailed realism with abstraction in landscapes such as the renowned Farm (1921) and The Tilled Field (1923–24). He gradually removed the objects he portrayed from their natural context and reassembled them as if in accordance with a new, mysterious grammar, creating a ghostly, eerie impression. From 1925 to 1928, under the influence of the Dadaists, Surrealists, and Paul Klee, Miró painted “dream pictures” and “imaginary landscapes” in which the linear configurations and patches of colour look almost as though they were set down randomly, as in The Policeman (1925). In paintings such as Dog Barking at the Moon (1926), he rendered figures of animals and humans as indeterminate forms. Miró signed the manifesto of the Surrealist movement in 1924, and the members of the group respected him for the way he portrayed the realm of unconscious experience. The poet André Breton, the chief spokesman of Surrealism, stated that Miró was “the most Surrealist of us all.” After a trip in 1928 to the Netherlands, where he studied the 17th-century Dutch realist painters in the museums, Miró executed a series of works based on Old Master paintings titled Dutch Interiors (1928). In the 1930s Miró became more experimental, working with techniques of collage and sculptural assemblage and creating sets and costumes for ballets. He designed tapestries in 1934, which led to his interest in the monumental and in murals. His paintings began to be exhibited regularly in French and American galleries. Joan Miró Joan Miró, portrait by Carl Van Vechten, c. 1935. Library of Congress, Washington, D.C. (LOT 12735, no. 821) At the time of the Spanish Civil War in the late 1930s, Miró was living in Paris. Although he typically was not political in his work, the turmoil in his native country inspired him to embrace social criticism. For example, he depicted a peasant revolt in The Reaper, a mural he painted for the pavilion of the Spanish Republic at the Paris World Exhibition of 1937. He also imbued his pictures of this period, such as the nightmarish Head of a Woman (1938), with a demonic expressiveness that mirrored the fears and horrors of those years. Mature work and international recognition During World War II Miró returned to Spain, where he painted Constellations (1941), a series of small works scattered with symbols of the elements and the cosmos, expressing the happy collaboration of everything creative. During the last year of the war (1944), Miró, together with his potter friend José Lloréns Artigas, produced ceramics with a new impetuosity of expression: their vessels were often intentionally misshapen and fragmented. Joan Miró Joan Miró. Robert Stiggins—Hulton Archive/Getty Images Beginning in 1948, Miró once again divided his time between Spain and Paris. That year he began a series of very poetic works based on the combined themes of woman, bird, and star. In 1949 and 1950 he created some paintings that were wildly spontaneous in character, while executing others with punctilious craftsmanship. He used both approaches in his increasingly large sculptures, amalgamating all of his earlier figurations to form erotic fetishes or signals towering into space. In the years following World War II Miró became internationally famous; his sculptures, drawings, and paintings were exhibited in many countries. He was commissioned to paint a number of murals, notably for the Terrace Hilton Hotel in Cincinnati, Ohio (1947), and for Harvard University in Cambridge, Massachusetts (1950). His ceramic experiments culminated in the two great ceramic walls in the UNESCO building in Paris (1958), for which he received the Great International Prize of the Solomon R. Guggenheim Foundation. In 1962 Paris honoured Miró with a major exhibition of his collected works in the National Museum of Modern Art. The Catalan architect José Luis Sert built for him the large studio of which he had dreamed all of his life on Majorca. Among his later works were several monumental sculptures, such as those he executed for the city of Chicago (unveiled 1981) and for the city of Houston (1982). Joan Miró: detail of Dona i Ocell (“Woman and Bird”) Detail of Dona i Ocell (“Woman and Bird”), mosaic sculpture by Joan Miró; in Barcelona. © Solnikov/Shutterstock.com In spite of his fame, however, Miró, a taciturn, introverted man, continued to devote himself exclusively to looking and creating. His art had developed slowly from his first attempts at expression to the apparently playful masterpieces of his later period. In his late works Miró employed an even greater simplification of figure and background; he sometimes created a composition merely by setting down a dot and a sensitive line on a sea-blue surface, as in Blue II (1961). The whimsical or aggressive irony of his earlier work gave way to a quasi-religious meditation. In 1980, in conjunction with his being awarded Spain’s Gold Medal of Fine Arts, a plaza in Madrid was named in Miró’s honour.[106].     

ebay 4619 folder 165

  • Condition: Used
  • Condition: Very good condition in and out . Inner condition including the LITOGRAPH is FINE. Tightly bound. Absolutely clean. Cloth HC intact. Very slight foxing of end pages. Tiny tears at margings of DJ. ( Pls look at scan for accurate AS IS images )
  • Artist: Joan Miro
  • Type: ORIGINAL ART BOOK + LITHOGRAPH
  • Year of Production: 1972
  • Original/Licensed Reproduction: Original
  • Theme: Art

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