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Joan Miró Chien Bleu, 1959

$8,300

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The artwork is available for pickup from the gallery in Paris, France


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About the seller
Le Coin des Arts

Paris, France

Artsper seller since 2015
23 orders finalized
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Joan Miró, Chien Bleu
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About the work
  • Medium

    Print : eau-forte

  • Dimensions cm | inch

    83 x 62 cm

  • Support

    Print on paper

  • Framing

    Not framed

  • Type

    Numbered and limited to 300 copies
    1 remaining copy

  • Authenticity

    Work sold with an invoice from the gallery
    and a certificate of authenticity

  • Signature

    Hand-signed by artist

  • About the artwork

    Artwork sold in perfect condition

    Edition: 300, Publisher: Maeght, Catalog: Dupin 1714.

    According to Miro, This engraving after Miro is an etching, a complex technique which implements acid-based processes, which gives this background very particular on which stand out typical motifs of the artist; such as the blue star at the top right, which represents in Miro's universe, the spiritual. The dog is recognizable by two legs represented at the bottom, as well as of course by its blue color. He gives his title to the work. Some shapes drawn by the artist have the appearance of faces. Miro likes to simplify, to use this continuous line which links the different elements of the work together, as a unified and coherent whole. The colors are close to the primary colors appreciated by Miro. They are very fresh and energize the composition. The quickly brushed background affirms a certain brutality, a visible speed of execution. It is on this somewhat wild side of certain works by Miro at the same time. This background contrasts with the precision of the patterns, their meticulousness, close to the Miro of the 1920s.
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Origin: France
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Joan Miró

Spain Born in: 1883 Bestsellers Masterpieces

A Catalan painter by excellence, Joan Miró was born in Barcelona in 1893 and died on the 25th of December, 90 years later in Palma de Majorque in 1983. His homeland gave meaningful influence to his art, whether it was through paintingsculpture, engraving, or ceramics.

Alongside his parents, Miró became immersed in the creative world. His father was a jeweler and his mother was a cabinet maker. Miró initially enrolled into commerce school, with his father's encouragement, before giving up this career to take evening lessons at the Fine arts school of Llotja, in Barcelona. By 1912, he was adamant to become a painter. He joined the Galli Academy in Barcelona, directed by Francisco Galli, a trained architect, and discovered the great artistic trends in Europe.

Initially, Joan Miró displayed a style of painting that was related to fauvism, then cubism, and finally, expressionism. It was only when he arrived in Paris in 1919, that he felt fulfilled, artistically speaking. Miró turned towards fantasy for good. He became friends with artists like Max Jacob, Antonin Artaud, Tristan Tzara and André Masson: a group of emerging artists who yielded to aesthetic conventions and were open towards a new language. Once he freed himself from requirements and conventional methods, Miró flourished through simplicity.

Fascinated by the subconscious, he naturally rubbed shoulders with a group of surrealists in 1924. His several gouache partners were called André Breton, Paul Eluard, and Philippe Soupault. He enjoyed their off-the-wall humor, playful, and provocative minds. This led Miró to becoming more spontaneous and frequently thinking outside the box.

His participation reached its peak in 1925 during the "Surrealist painting" exhibition. A collective exhibition with Marx Ernst, Paul Klee, and Man Ray at the Galerie Pierre in Paris, where he presented his highly impactful "Carnaval d'Arlequin" painting. His painting "Birth of the World" in 1925 was also a big hit and materialized the bridge between Miró's original Catalan land and his Parisian blossoming.

It was in 1928 that Miró's relationship with the surrealist movement became complicated. Gradually, there were political tensions between the acolytes until 1930. Some of the members were open about supporting the Communist Party and the others preferred to depict their struggle through painting. Slowly, Miró withdrew and devoted himself to collages, giant sculptures and ceramics.

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Joan Miró, Joan Miro, Print

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Joan Miró, Lithograph III, Print

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Joan Miró, Couple D’Oiseaux II, Print

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Couple D’Oiseaux II, 1966
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Joan Miró, El Circulo de Piedra, Print

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Joan Miró, Miró Lóeuvre graphique, Print

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Joan Miró, Preparatifs d'Oiseau, Print

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Preparatifs d'Oiseau, 1963
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Joan Miró, Incisiva, Print

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Incisiva, 1980
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Joan Miró, Journal D'Un Graveur, Print

Joan Miró

Journal D'Un Graveur, 1975
57 x 45.5 x 0.1 cm
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Joan Miró, Journal d'un Graveur - Vol. 2 Plate 13, Print

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Journal d'un Graveur - Vol. 2 Plate 13, 1975
57 x 45.5 x 0.1 cm
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Joan Miró, Journal D'Un Graveur - Vol. 2 Plate 6, Print

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Joan Miró, Chien Bleu
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