Joan Miró i Ferrà

JOAN MIRÓ (Barcelona, 1893 - Palma de Mallorca, 1983).
"Tribute to Joan Prats", 1971.
Lithography on Guarro paper. Copy IIII/XXV.
Bibliography: Patrick Cramer, "Joan Miró Lithographer IV, 1976-1981".
Publisher and printer: Polígrafa.
Measurements: 75 x 100 cm; 88 x 114 cm (frame).
This work belongs to the series "Homage to Joan Prats", composed of fifteen lithographs. The composition is presented as an intense hatching of shapes, colors and textures, where black figures of dynamic character intertwine with chromatic bursts of red, green, blue and yellow. The resulting image oscillates between chaos and equilibrium, generating a sensation of energy in constant movement. This work is a tribute to Joan Prats, a close friend and fervent supporter of Miró's career, and is evidence of the artist's profound investigation into the territories of the subconscious and the creative imagination. The complex interaction between shapes and colors summons the viewer to immerse himself in the painter's symbolic and playful universe, where the dreamlike and the poetic converge in a deeply evocative visual experience.
Joan Miró was trained in Barcelona, between the Escuela de la Lonja and the Galí Academy. Already in the early date of 1918 he held his first exhibition, in the Dalmau Galleries in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of surrealist poets and painters, he matures his style; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this moment on, his style began an evolution that led him to more ethereal works, in which organic forms and figures were reduced to abstract dots, lines and spots of color. In 1924 he signed the first surrealist manifesto, although the evolution of his work, too complex, does not allow him to be ascribed to any particular orthodoxy. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum dedicated a retrospective to him that would be his definitive international consecration. During the fifties he experimented with other artistic media, such as engraving, lithography and ceramics. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. Today his work can be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofia Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.