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Joaquin Mir TrinxetCoastal View
About the Item
Joaquín Mir Y Trinxet
Spanish, 1873-1940
Coastal View
Oil on board
11 ¾ by 16 in, w/ frame 25 ¼ by 29 ¼ in
Signed lower right
Joaquín Mir Trinxet was a Catalan Spanish artist. Living through a turbulent time in the history of his native Barcelona, he was known by the color of his paintings. They helped to define the Catalan art movement known as modernisme.
Mir Trinxet was born in Barcelona to a well-off Catalan family. His father was a representative of foreign firms, some of them from Nuremberg. Mir studied at the Llotja before joining the Colla del Safrà group with Canals, Nonell, and Pichot. Thanks to an agreement with them, he was able to work as a painter, and in 1899 Mir went to Mallorca with Santiago Rusiñol, where he met the mystic Belgian painter William Degouve de Nuncques, whose work would influence his own.
Working in isolated circumstances in Mallorca, Mir painted odd landscapes in which forms and chromatic colors merged. In his first exhibition in Barcelona in 1901, the critical reviews were positive, but the public found his paintings difficult to comprehend. He started in Mallorca a solitary artistic process, full of colors without forms, which finished when he suffered an accident in 1905.
In 1913 he returned to more realistic positions, receiving recognition for his work. From this period, his paintings tended to become more mystic, more abstract, and highly colored evocations of nature rather than topographical scenes.
Among the artists he met in this period of his life, and who influenced him, were Laureà Barrau, Santiago Rusiñol, Eugène Carrière, Pierre Puvis de Chavannes, and Ignacio Zuloaga.
He was one of the rare Spanish painters of the period who did not continue his artistic education in Paris. But he regularly visited Casas and Rusiñol, who lived together at the Moulin de la Galette in Montmartre, along with painter and art critic Miquel Utrillo and the sketch artist Ramon Canudas. Rusiñol chronicled these times in a series of articles "Desde el Molino" ("From the Mill") for La Vanguardia.
He had not the same influence from the French impressionists as Casas. The style that would become known as modernisme had not yet fully come together, but the key people were beginning to know one another, and successful Catalan artists were increasingly coming to identify themselves with Barcelona as much as with Paris.
Meanwhile, the bohemian circle that included Casas and Rusiñol began with greater frequency to organize exhibitions of their own in Barcelona and Sitges. With this increasing activity in Catalonia, he settled more in or around Barcelona.
Mir Trinxet contributed several murals to Casa Trinxet after his trip to Majorca with Santiago Rusiñol, where he met the mystic Belgian painter William Degouve de Nuncques in 1899, and before his move to Reus. He started his work in the house in 1903.
- Creator:Joaquin Mir Trinxet (1873 - 1940, Spanish)
- Dimensions:Height: 25.25 in (64.14 cm)Width: 29.25 in (74.3 cm)
- More Editions & Sizes:25 ¼ by 29 ¼ inPrice: $42,000
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Sheffield, MA
- Reference Number:Seller: 015671stDibs: LU700315909172
Joaquin Mir Trinxet
Joaquín Mir y Trinxet (in Catalan, Joaquim Mir i Trinxet) (Barcelona, January 6, 1873-Barcelona, April 27, 1940) was a Catalan painter. In Olot, his father's hometown, he was introduced to the landscape of the Vayreda school. He obtained several medals in exhibitions in Madrid and Barcelona. He also exhibited, among other cities, in Washington, Paris, New York, Amsterdam, Buenos Aires and Venice. His most personal style is based on a self-improvement and surely unconscious of impressionist painting, based on a free intuitive vision of the landscape based on spots and masses of color that synthesize the real appearance, often bordering on abstraction. Mir did not follow any artistic theory (contrary to the avant-garde trends of his time), nor did he choose the subject with aesthetics in mind. At the end of his life, he follows an almost impressionistic style. What he most appreciated and valued was the brushstroke, much more than the aesthetic content.
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