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Par dessus la haie,
1975
by Joan Miró
Print : aquatint, eau-forte
44.5 x 70 cm 17.5 x 27.6 inch
$8,118
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About the artwork
Type
Numbered and limited to 50 copies
1 copy available
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Dimensions cm • inch
44.5 x 70 cm 17.5 x 27.6 inch Height x Width x Depth
Support
Framing
Not framed
Tags
Artwork sold in perfect condition
Artwork location: France
Etching and aquatint, 1975
Edition : 7/50
Publisher : Maeght, Paris
Printer : Morsang, Paris
Catalog : [Dupin 735]
44.50 cm. x 70.00 cm. | 17.52 in. x 27.56 in. (paper)
18.00 cm. x 43.00 cm. | 7.09 in. x 16.93 in. (image)
Arches Paper
The broad, dark, almost hatched brushstrokes stand like a barrier between the abstract world and an elusive reality. Yet it's beyond this barrier that the magic happens: vivid flashes of red, blue and yellow pierce the darkness, like flashes of imagination that refuse to be contained.
Every curve, every lightly drawn line seems to vibrate with spontaneous energy. The geometric shapes suggest a dreamlike universe, where the laws of gravity and structure no longer exist. Here, Miró invites us to see beyond the surface, to symbolically cross that obscure hedge and discover a world of free, colorful fantasy.
Certificate of authenticity
Excellent condition
Handsigned by the artist in pencil
Ref : LCD6585
About the seller
Professional art gallery • France
Artsper seller since 2015
Vetted Seller
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Presentation
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 painting, sculpture, 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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