Mauve de la Lune, 1952

by Joan Miró

Print : lithography 25.4 x 18.9 inch

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Joan Miró, Mauve de la Lune

About the artwork


Numbered and limited to 300 copies


Hand-signed by artist


Invoice from the gallery

Certificate of Authenticity from the gallery


Print: lithography

Dimensions cm inch

25.4 x 18.9 inch Height x Width x Depth


Not framed


Abstract artworks



Artwork sold in perfect condition

Origin: France

Draw: 61/300. Publisher: Maeght (Paris). Printer: Maeght (Paris). Catalog: Maeght 1704. After Miro. Signed in the plate and by hand, dated "1952". Miró (1893-1983) invented through his art an alphabet of signs that defines his universe. This alphabet is gradually formed after the Spanish Civil War and the Second World War, two tragic events that upset Mirò. This work, Mauve de la Lune, dates from 1952, a time of consecration for Miró, who lives in Barcelona. For the artist, who had lived in Paris for a long time, it was essential to be in Spain at that time in order to oppose Franco's dictatorship in his country. This lithograph has a particular brown background, quickly brushed without meticulousness, some lighter gaps temper this rough aspect and bring luminosity. Three elements stand out: first the moon, surrounded by a delicate mauve halo. On the right, a bird which symbolizes the poetic for Miró and finally, a character with a childish outline. From the head of this character, there is a line with a sphere at the end, which connects it to the moon. On the other side of the head, three hairs, reminiscent of the artist's self-portrait kept at the Joan Miró Foundation. Self-portrait started in 37 and largely reworked in 60. Three stars complete the composition, they represent the spiritual. Here we find all of Miro's delicate poetry and all of his primitive power, the childlike and almost mystical character of Miró's art.
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Collector’s Guide

Joan Miró

Joan Miró

Spain • Born in: 1883

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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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