Joan Miro [Matarasso Gallery IN Nice Exhibition] 1957 Image size 62x48cm Original lithograph

Limited to 125 copies, signed by the artist.

This work is kept by our affiliated gallery in France. According to local (French) standards, the condition is good, but there may be differences in the criteria for evaluating the condition of aged items between France and Japan. Please consider purchasing after acknowledging the signs of age (stains, discoloration, creases, wrinkles, fading, etc.) as a vintage item. We have not inspected the actual item. **More detailed condition photos are available upon request, so please inquire before purchasing.** The work is currently stored in France, and it will take more than two weeks for delivery after your order. Due to the nature of the work, returns after purchase are not accepted.

A prominent painter of the School of Paris, born in Barcelona. Although he participated in the Surrealist movement in Paris and was heavily influenced by Surrealism, he created unique object forms that were not elongated and continuous, and formed a joyful world of Miro's unique abstract paintings with musicality. He expanded his activities to include painting, prints, ceramics, sculptures, and outdoor murals, achieving worldwide success.

1893 Born in Spain as the son of a jeweler and watchmaker.

1907 Enters La Llotja School of Art in Barcelona.

1912 Enters Francisco Gali School of Art.

1915 Begins painting unique portraits and landscapes while being influenced by French Fauvism.

1918 Holds a solo exhibition at Sala Dalmau.

1919 Travels to Paris and interacts with Picasso. Enjoys barbecues and Paris for the next 20 years.

1920 Participates in the Dada movement.

1923 Begins painting symbolic works, moving away from realism.

1924 Participates in the Surrealist movement with André Breton and others.

1926 Designs the stage for the Russian Ballet's Romeo and Juliet.

1930 Solo exhibitions in Paris, Brussels, and New York. Creates his first lithographs.

1931 Exhibition of objects and sculptures at a Paris gallery.

1933 Repeats his first etchings.

1936 Flees to France.

1940 Creates the "Constellations" series, establishing his unique visual language.

Moves to Mallorca, Spain.

1941 Museum of Modern Art, New York, holds a retrospective.

1946 Exhibits with Dalí, Picasso, and Gris in the "Four Spaniards" exhibition in Boston.

1947 First visit to New York, creates a large mural.

Around this time, he gained worldwide recognition and acclaim as a renowned painter, with retrospectives and exhibitions held, and museums around the world competing to acquire his works.

1949 Retrospective at Kunsthalle Bern.

1950 Solo exhibition of objects and prints at Galerie Maeght in Paris.

1951 Solo exhibitions in New York and Houston.

1953 Solo exhibitions at Galerie Maeght in Paris and Matisse Gallery in New York.

1954 Retrospective at Kaiser Wilhelm Museum in Germany.

1960 Creates ceramic mural for Harvard University.

1962 Major retrospective at the Musée National d'Art Moderne in Paris.

1966 Visits Japan for major retrospectives in Tokyo and Kyoto.

1967 Miró mural installed at the Guggenheim Museum in New York.

1973 Solo exhibition of sculptures and ceramics at the Maeght Foundation in Saint-Paul-de-Vence. "Miró Collection of the Museum of Modern Art" exhibition held at the Museum of Modern Art, New York.

1975 The Fundació Joan Miró - Centre for the Study of Contemporary Art, designed by Josep Lluís Sert, opens in Montjuïc Park, Barcelona.

1979 Retrospective of paintings, sculptures, drawings, and watercolors at the Maeght Foundation.

1983 "Joan Miró: Anys20" exhibition of paintings from the 1920s held at the Miró Foundation in Barcelona. Continues at his home in Palma de Mallorca.

The Fundació Joan Miró in Barcelona houses over 10,000 works, and his works are also held in museums worldwide, including the Centre Pompidou in Paris and the Metropolitan Museum of Art in New York.

 Work Description

This work, characteristic of the late 1950s to early 1960s, heavily features design through its combination of flat color planes, small dots, and stars. However, by placing a portrait in the center, it can also be said to express a certain concreteness and iconography. From this portrait figure, it might be possible to interpret it as a Christ-like idol, or as a pagan idol from Greece, Iran, or other cultures.