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Joan Miro Cover of Volume III of the “Journal De Gravure” Etching Framed
About the Item
Vintage Joan Miro Cover of Volume III of the “Journal De Gravure” Etching Framed
Miro, Joan - Journal d'un Gravure
1964-75
Etching in color on black ground printed on BFK Rives paper. The cover to Volume III of the three volume portfolio “Journal d'un Gravure” cach volume containing one etching and aquatint in color and fifteen drypoints which were signed, plus two unsigned etchings in color on black ground (one used as the cover for each volume). Printed by Maeght, Paris in 1975.
Circa 1975
Dimensions
H 22”
W 17.5”
With Frame
H 37"
W 32”
- Creator:Joan Miró (Artist)
- Dimensions:Height: 37 in (93.98 cm)Width: 32 in (81.28 cm)Depth: 2 in (5.08 cm)
- Style:Modern (In the Style Of)
- Materials and Techniques:Paper,Etched
- Place of Origin:
- Period:
- Date of Manufacture:1975
- Condition:Wear consistent with age and use. Good vintage condition: Most items are vintage/antique and may have small defects or signs of age. However, we strive to provide clear and honest descriptions and photographs for every item, including more info upon request.
- Seller Location:Chicago, IL
- Reference Number:1stDibs: LU6791237832102
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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