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Joan Miro

Spain (Barcellona 1893 -  Palma De Mallorca 1983 ) Wikipedia® : Joan Miro
MIRO Joan Peinture

Sotheby's /Feb 3, 2016
402,581.99 - 670,969.98
803,137.50

Find artworks, auction results, sale prices and pictures of Joan Miro at auctions worldwide.
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Variants on Artist's name :

Miro' Joan

Miiro Juan

Miro'

 

Artworks in Arcadja
14479

Some works of Joan Miro

Extracted between 14,479 works in the catalog of Arcadja
Joan Miro - Femme, Oiseaux

Joan Miro - Femme, Oiseaux

Original 1977
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Lot number: 1
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Joan Miró (1893-1983) Femme, oiseaux signed 'Miró' (centre right); dated and inscribed '23/II/77 Femme, oiseaux' (on the reverse) pencil and wax crayon on tinted paper 12 3/8 x 8 ½ in. (31.5 x 21.5 cm.) Executed on 23 February 1977 Provenance The artist's estate. Acquired from the above by the present owner in the early 1980s.
Joan Miro - Sans Titre Iii

Joan Miro - Sans Titre Iii

Original 1972
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Lot number: 360
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Joan Miró 1893 - 1983 SANS TITRE III signed Miró (lower right) watercolour, pen and ink, pastel and coloured crayon on paper 50 by 65cm. Executed between 29th December 1972 and 19th January 1973. Provenance Estate of the artist Acquired from the above by the present owner Literature Jacques Dupin & Ariane Lelong-Mainaud, Joan Miró Catalogue raisonné. Drawings 1973-76, Paris, 2013, vol. IV, no. 2486, illustrated in colour p. 41
Joan Miro - Une Femme

Joan Miro - Une Femme

Original
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Lot number: 1258
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Lot 1258: JOAN MIRO (Spanish, 1893-1983) "UNE FEMME". Color lithograph with pochoir (Mourlot #1712). Housed in a modern wood frame with linen mat under glass. Signed in pencil lower right "Miro" and numbered lower left "119/300", signed in plate lower right "Miro". SIZE: 17-7/8" x 14-5/8". Overall: 29" x 24" CONDITION: Very good condition, colors strong. Not examined out of frame. 50026-1
Joan Miro - Peinture

Joan Miro - Peinture

Original 1930
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Lot number: 45
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Joan Miró 1893 - 1983 PEINTURE indistinctly signed Miró and dated 1930 (lower left); signed Miró and dated 1930 on the reverse oil on paper laid down on canvas 36 by 27cm. 14 1/8 by 10 5/8 in. Painted in 1930. Provenance Galerie Marbeau, Paris Private Collection, Germany Private Collection, Amsterdam (acquired from the above in 2006) Exhibited Tokyo, Grande Gallery Odakyu; Nagano, Shinano Museum of Fine Arts: Osaka, Hanshin Department Store's Art Gallery; Funabashi, The Funabashi Seibu Museum of Arts; Sendai, Miyagi Museum of Art & Fukushima, Prefectural Museum of Modern Art, Retrospective Exhibition of Miró, 1984, no. 6, illustrated in colour in the catalogue Geneva, Galerie Jan Krugier, Artistes Espagnols du XXe siècle, 1989, no. 51, illustrated in colour in the catalogue (with incorrect medium) New York, Jan Krugier Gallery, Traces: Primitive and Modern Expressions, 2001-02, no. 1, illustrated in colour in the catalogue (with incorrect medium) Paris, Fondation Dina Vierny - Musée Maillol, Le Feu sous les cendres: de Picasso à Basquiat, 2005-06 (not in the catalogue) Literature Jacques Dupin, Joan Miró, Life and Work, London, 1962, no. 267, illustrated p. 522 (with incorrect medium) Elan Vital oder das Auge des Eros (exhibition catalogue), Haus der Kunst, Munich, 1994, no. 491, illustrated in colour pl. 350 (with incorrect medium) Jacques Dupin & Ariane Lelong-Mainaud, Joan Miró, Catalogue raisonné. Paintings, Paris, 1999, vol. I, no. 315, illustrated in colour p. 233 (with incorrect medium) Catalogue Note Painted in 1930, Peinture exemplifies the distinctive aesthetic and beguiling poetic language that characterise Miró’’’’s work during this period. Juxtaposing playful yet simplified forms against a monochromatic background, it brilliantly illustrates the artist’’’’s ongoing interrogation of pictorial representation and his engagement with Surrealist modes of expression. As in the artist’’’’s most successful works of the 1920s, this composition consists of a visual vocabulary of 'image-signs'. These images bear little resemblance to the natural world, and their function is more akin to that of words or music than to a literal representation of nature. The whimsical, enigmatic poetry of Miró’’’’ s vision made him unique amongst his fellow Surrealists. Whereas many of his contemporaries – following the ideology espoused by André Breton and his cohorts – generally worked in a figurative manner, for Miró the liberty granted by the Surrealist attitude to experimentation led him to become extremely imaginative with forms of representation, and eventually to embrace total abstraction (fig. 1). He met Breton in 1925 and participated in the Surrealists' first exhibition held at the Galerie Pierre in Paris that year. Breton's first Surrealist manifesto of 1924 proclaimed: 'I believe in the future resolution of these two states, seemingly so contradictory, which are dream and reality, into a kind of absolute reality, a surreality'. Breton commented that Miró 'may be looked upon as the most Surrealist among us' (A. Breton, 'Le Surréalisme et la peinture', quoted in J. Dupin, op. cit., p. 156). In the present work Miró retains the spirit of suggestive anthropomorphism that characterised much of his work in the earlier part of the decade (fig. 2). This might have been encouraged by the lyrical figuration of the imaginative landscapes and portraits that he painted in the years directly preceding 1930. Dupin described this stylistic experimentation as integral to the artist’’’’s creative development: ‘His creativity was an alternating current, and the energy of his mutations flowed from two equal and opposite poles. Contrasting styles and methods enhance and authenticate each other. Each grows by competing with the other, drawing its creative strength from the conflict, which is also a form of complicity […]. There is an ambivalence of style, but both styles come from a common nucleus’’’’ (J. Dupin, Joan Miró. A Retrospective (exhibition catalogue), The Solomon R. Guggenheim Museum, New York, 1987, p. 37). Although simplified into ‘image-signs’’’’, the constituent elements of the present work offer an interpretive possibility; Miró combines a multi-coloured circle and bold horizontal line reminiscent of a palette and paintbrush with the dynamically posed figure, suggesting a portrait of the artist at work. The careful balance of these three elements, with the ‘brush’’’’ acting as a fulcrum at the centre of the composition, imbues the work with a vibrant energy. Throughout the 1920s the artist had employed a limited number of backgrounds – from bare canvas, to luminous ultramarine blue and scumbled and stained ochre and brown grounds – and in the present work he once again adopts a rich, elemental brown elevating the oneiric qualities of the imagery. As Dupin elaborates: ‘In the ferment of blue or dark brown, the presence of a head or a horse is less significant than the exploration of emptiness by lines and dots and marks, the examination of the pictorial itself, which is carried out by the sorcery of pure gesture’’’’ (ibid., p. 38). Fig. 1 Joan Miró, Peinture (Tête), 1927, oil on canvas, Philadelphia Museum of Art, Philadelphia © Artists Rights Society (ARS), New York / ADAGP, Paris Fig. 2 Joan Miró, Peinture, 1925, oil on canvas, Philadelphia Museum of Art, Philadelphia © Artists Rights Society (ARS), New York / ADAGP, Paris Fig. 3 Portrait of Joan Miró, 1934. Photograph by Man Ray © Successió Miró / ADAGP, Paris and DACS London 2016. / © Man Ray Trust/ADAGP, Paris and DACS, London 2016. See More See Less
Joan Miro - Sans Titre

Joan Miro - Sans Titre

Original 1928
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Lot number: 242
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Lot Description Joan Miró (1893-1983) Sans titre dated '28.9.33.' (lower right) pencil on paper 6 3/8 x 8 3/4 in. (15.7 x 22.1 cm.) Drawn on 28 September 1933 Special Notice Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. Provenance Acquired by the father of the present owner, probably from André Breton in 1936. Pre-Lot Text PROPERTY FROM A PRIVATE EUROPEAN COLLECTION Exhibited Athens, First Surrealist Exhibition of Athens, March 1936. View Lot Notes >
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