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Email to FriendSigné Joan Miro, Gravure à l'eau-forte, Flux de l'Aimant VII (Magnetic Flow No. 7), 1964  |
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| Artiste: | Miro, Joan (1893 - 1983) |
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| Titre: | Flux de l'Aimant VII (Magnetic Flow No. 7), 1964 |
| Moyen: | Gravure à l'eau-forte |
| Taille d'image: | 24 in x 19 7/8 in (61 cm x 50.5 cm) |
| Taille de feuille: | 24 in x 19 7/8 in (61 cm x 50.5 cm) |
| Taille encadrée: | 37 in x 33 in (94 cm x 83.8 cm) |
| Signé: | This work is initialed 'M' by Joan Miró (1893-1983) in pencil in the lower right. |
| Edition: | Numbered from the edition of 75 in pencil in the lower left [from the total edition of 95 copies (75 signed and numbered on Rives vellum paper; 20 copies annotated H.C. numbered I to XX)]; published by Maeght éditeur, Paris and printed by Maeght, Levallois-Perret. |
| Condition: | This work is in very good condition. |
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Prix
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Article# 2967
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| MFA SALE | 50% Off: $3,000 |
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One of 17 drypoints in the album Flux de l'aimant, this piece was the result of a collaboration between the poet René Char (1907 - 1988) and Joan Miró (1893-1983) combining Miró's drypoints with Char's meditations upon Miró's art. Miró's free flowing lines leave this work open to interpretation yet suggest the form of a ghoulish figure sweeping down in a circular motion, creating a sense of animation and intrigue. |
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| Description historique: | |
Free-flowing lines dances across the composition in this whimsical work. In physics, magnetic flux (or magnetic flow) is the term used to describe the total amount of magnetic field in a given region. The term flux was chosen because the power of a magnet appears to "flow" out of a magnet at one pole and return to the other pole in a circulating pattern. To René Char and Joan Miró, Flux de l'aimant (Magnetic Flow) is a metaphor for something else, a stab at understanding and visualizing the way that poetry and art work upon those who experience them as electricity works upon magnetic fields. In this work, Miró hints at the circulating pattern of magnetic flux, creating a work with a sense of spherical motion. The ghoulish figure on top hovers above the playful forms beneath it and appears as if about to swoop down to the left. Miró's slightly uneven lines appear as if vibrating with energy, charged and ready to release at any moment, creating a work instilled with a sense of suspense and animated activity. Created in 1964, this work is one of 17 drypoints in the album Flux de l'aimant. Flux de l'aimant was a collaboration between the poet René Char and Joan Miró (1893-1983) combining Miró's drypoints (in color and black and white) with Char's meditations upon Miró's art. This work is initialed 'M' by Joan Miró (1893-1983) in pencil in the lower right and numbered from the edition of 75 in pencil in the lower left [from the total edition of 95 copies (75 signed and numbered on Rives vellum paper; 20 copies annotated H.C. numbered I to XX)]; published by Maeght éditeur, Paris and printed by Maeght, Levallois-Perret. DOCUMENTED AND ILLUSTRATED IN: About the Framing: | |
| Style: | Surrealism, 20th Century Modern Surrealist Spanish Master |
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La biographie de Joan Miro
Joan Miro (1893 - 1983)
Joan Miró Ferra was born April 20, 1893, in Barcelona. At the age of 14, he went to business school in Barcelona and also attended La Lonja’s Escuela Superior de Artes Industriales y Bellas Artes in the same city. Upon completing three years of art studies, he took a position as a clerk. After suffering a nervous breakdown, he abandoned business and resumed his art studies, attending Francesc Galí’s Escola d’Art in Barcelona from 1912 to 1915. Miró received early encouragement from the dealer José Dalmau, who gave him his first solo show at his gallery in Barcelona in 1918. In 1917, he met Francis Picabia.
In 1920, Miró made his first trip to Paris, where he met Pablo Picasso. From this time, Miró divided his time between Paris and Montroig, Spain. In Paris, he associated with the poets Max Jacob, Pierre Reverdy, and Tristan Tzara and participated in Dada activities. Dalmau organized Miró’s first solo show in Paris, at the Galerie la Licorne in 1921. His work was included in the Salon d’Automne of 1923. In 1924, Miró joined the Surrealist group. His solo show at the Galerie Pierre, Paris, in 1925 was a major Surrealist event; Miró was included in the first Surrealist exhibition at the Galerie Pierre that same year. He visited the Netherlands in 1928 and began a series of paintings inspired by Dutch masters. This year he also executed his first papiers collés and collages. In 1929, he started his experiments in lithography. Miro's first etchings date from 1933. During the early 1930s, he made Surrealist sculptures incorporating painted stones and found objects. In 1936, Miró left Spain because of the civil war; he returned in 1941. Also in 1936, Miró was included in the exhibitions Cubism and Abstract Art and Fantastic Art, Dada, Surrealism at the Museum of Modern Art, New York. The following year, he was commissioned to create a monumental work for the Paris World’s Fair.
Miró’s first major museum retrospective was held at the Museum of Modern Art, New York, in 1941. That year, Miró began working in ceramics with Josep Lloréns y Artigas and started to concentrate on prints; from 1954 to 1958, he worked almost exclusively in Miro prints and ceramics. He received the Grand Prize for Graphic Work at the Venice Biennale in 1954, and his work was included in the first Documenta exhibition in Kassel the following year. In 1958, he was given a Guggenheim International Award for murals for the UNESCO building in Paris. The following year, he resumed painting, initiating a series of mural-sized canvases. During the 1960s, he began to work intensively in sculpture. Miró retrospectives took place at the Musée National d’Art Moderne, Paris, in 1962, and the Grand Palais, Paris, in 1974. He also worked with carborundum around this time. In 1978, the Musée National d’Art Moderne exhibited over 500 works in a major retrospective of Miro original drawings. Joan Miro died December 25, 1983, in Palma de Mallorca, Spain.
Joan Miro prints and unique original works are commonly seen in museums and art galleries in USA and Europe.
Joan Miró created a large wool and hemp tapestry titled "The World Trade Center Tapestry" that adorned the lobby of 2 World Trade Center. It was destroyed by the collapse of the tower on September 11, 2001. ¹
Historical Joan Miró exhibitions
¹ Lives and Treasures Taken. Library of Congress.
