Joan Miró / Trois Sœurs Présenté par Denis Bloch Fine Art

Joan MIRÓ - Trois Sœurs

Présenté par Denis Bloch Fine Art

  • Année
    1938
  • Technique
    Pointe-sèche
  • Dimensions de l'image
    0,0 x 0,0 cm / 0.0 x 0.0 in
  • Dimensions du Papier
    26,0 x 19,0 cm / 10.2 x 7.5 in
  • Tirage
    30
  • Prix
    Sur demande
  • Référence
    Sans référence
  • Visite(s)
    185
  • État
Joan MIRÓ - Trois Sœurs

Trois Soeurs, 1938 by Joan Miró is Drypoint print made in black and white. This print is signed on the lower right margin of the print and numbered out of an edition of 30 on the lower left. The dimensions given are the dimensions of the image size. Printed by by Lacouriere, Paris. Published by Pierre Loeb and Pierre Matisse. Dupin 25.

Joan Miró rejected the constraints of traditional painting, creating works “conceived with fire in the soul but executed with clinical coolness,” as he once said. Widely considered one of the leading Surrealists, though never officially part of the group, Miró pioneered a wandering linear style of Automatism—a method of “random” drawing that attempted to express the inner workings of the human psyche.

In Trois Soeurs, Miró used form in a symbolic rather than literal manner, his intricate compositions combining abstract elements with recurring motifs like birds, eyes, and the moon. “I try to apply colors like words that shape poems, like notes that shape music,” he said. In turn, Miró has inspired many artists—significantly Arshile Gorky whose bold linear abstractions proved a foundational influence on Abstract Expressionism.

Miró’s influence, however, was never lost on his contemporaries or his followers. He embraced the early automatic practice of the Surrealists, bringing to it his cool artistic intellect and attention to detail—“conceived with fire in the soul but executed with clinical coolness,” to use the artist’s own words.

His automatism and biomorphic figures intertwined to become one of Surrealism’s dominant modes of painting, influencing contemporary painters such as Ernst,and Dalí. Alexander Calder’s mobiles also recall Miró paintings, rendered in hanging, open-form sculpture. Miró spent significant time in New York in the 1940s, where he and other Surrealist émigrés inflamed the imaginations of the next generation’s Abstract Expressionism.

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