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Joan MiróEmehpylop (Cyclops), 19681968
1968
About the Item
Using his intuitive skill as a master artist, Miró combines dry-point with cement imprint to create a rich textural experience that is enhanced by beautiful and friendly visual imagery in Joan Miró Emehpylop (Cyclops), 1968. Unsure what this creature could possibly be, we are left to guess by inspecting the various attributes of its form—a large round clef creates the figure’s head in left profile, with a wide and curious eye, and strange linear appendages extending from the mouth and rear of the head—the figure begins to emerge. Bright spots of beautiful color surround the charming creature and provide vivid contrast with the rich black hues. These bursts of color provide a gentle sense of life and vivacity to the work, balancing and completing the composition.
Created in 1968, this color etching with drypoint and cement Imprint on Mandeure rag paper is hand-signed by Joan Miró (1893 - 1983) in pencil in the lower right and marked H.C. (Hors d’Commerce) (outside of commerce) in pencil in the lower left; aside from the numbered edition of 75 pulled on Chiffon du Mandeure rag paper.
Catalogue Raisonné:
Joan Miró Emehpylop (Cyclops), 1968 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices accompanying the final sale of the work):
1. Dupin, J. (1992). Miró Engraver, Vol. II 1961 – 1973. Listed and illustrated as catalogue raisonné no. 451.
2. Musée d’Art Moderne de la Ville de Paris (1974). Miró: l’œuvre graphique. Listed as catalogue raisonné no. 114.
About the Framing:
Joan Miró Emehpylop (Cyclops), 1968 is framed to museum-grade, conservation standards, presented in a complementary moulding and optical grade Plexiglas.
Joan Miró
With his wide-ranging oeuvre, comprising strikingly original paintings, prints, ceramics, sculptures, metal engravings and murals, Catalan modernist Joan Miró was a critical force in moving 20th-century art toward complete abstraction. Although often considered an early Surrealist because of his nonobjective imagery and evocation of the subconscious, he defies neat categorization.
Miró’s identity is largely rooted in the city of his birth: Barcelona. To this day, a number of his public artworks can be found there, including the 72-foot-tall statue Dona i Ocell (Woman and Bird), 1983. Female and avian forms, along with bright colors and the theme of Catalan pride, are recurring elements in his work.
The radical visual world Miró created with his expressive lines, signature symbols and biomorphic shapes influenced such American Abstract Expressionists as Jackson Pollock and Color Field painters like Mark Rothko and Barnett Newman.
Mirò continued to work and experiment until his death at the age of 90 in 1983. Five years before that, he was quoted saying, “I painted these paintings in a frenzy, with real violence so that people will know that I am alive, that I’m breathing, that I still have a few more places to go. I’m heading in new directions.”
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