Joan Miró, ‘Femme sur la place d’un cimitière’, 1981, DICKINSON
Joan Miró, ‘Femme sur la place d’un cimitière’, 1981, DICKINSON
Joan Miró, ‘Femme sur la place d’un cimitière’, 1981, DICKINSON
Joan Miró, ‘Femme sur la place d’un cimitière’, 1981, DICKINSON
Joan Miró, ‘Femme sur la place d’un cimitière’, 1981, DICKINSON

artist’s proof, 1/1

Signature:  signed and justified

Manufacturer: Fundició Parellada, Barcelona

Madrid, Centro de Arte Reina Sofía, Miró en los colecciones del Estado, Oct. – Dec. 1987, no. 88.
Frankfurt, Schirn Kunsthalle, Miró: Gemälde, Plastiken, Zeichnungen und Graphik, 14 May – 31 July 1988, no. 88.
Paris, Centre Culturel Espagnol, Le rêve interrompu de Miró, Oct. – Dec. 1988, no. 42.
Palma de Mallorca, Llonja, Escultures de Miró, 21 Dec. 1990 – Feb. 1991, no. 22.
Palma de Mallorca, Pelaires, Centre Cultural Contemporani, Lluna Miró: un segle, April 1993.
Palma de Mallorca, Fundació Pilar i Joan Miró, Poesia a l’espai: Miró i l’escultura, 30 March – 2 June 1996.
Budapest, Szépművészeti Múzeum, Joan Miró 1893 – 1983, 7 July – 30 Sept. 2004, no. 17.
Yorkshire Sculpture Park, Miró: Sculptor, 17 March – 6 Jan. 2013.

M.J. Salazar, A. Beristain, Miró en las colecciones del Estado, exh. cat., Centro de Arte Reina Sofía, Madrid, 1987, no. 88 (illus. p. 103).
A. Beristain, M.J. Salazar, A. Franzke, H. Gassner, Miró: Gemälde, Plastiken, Zeichnungen und Graphik, exh. cat., Schirn Kunsthalle, Frankfurt, 1988, no. 88 (illus. p. 119).
M.J. Salazar, D. Fernández Miró, A. Jauffroy, Le rêve interrompu de Miró, exh. cat., Centre Culturel Espagnol, Paris, 1988, no. 42, p. 133 (illus. p. 133).
J. M. Palou, P. Ortega, Escultures de Miró, exh. cat., Llonja, Palma de Mallorca, 1990, no. 22, p. 136 (illus. p. 137).
R. M. Malet, J. Dupin, Lluna Miró: un segle, exh. cat., Pelaires Centre Cultural Contemporani, Palma de Mallorca, 1993, p. 58 (illus. p. 59).
P. J. Rico, W. Jeffett, Poesia a l’espai: Miró i l’escultura, exh. cat., Fundació Pilar i Joan Miró, Palma de Majorca, 1996, no. 69 (illus. p. 185).
T. Türk, P, Ujvári, Joan Miró 1893 – 1983, exh. cat., Szépmüvészeti Múzeum, Budapest, 2004, no. 17, p. 86 (illus.).
E. Fernández Miró, P. Ortega Chapel, Joan Miró, Sculptures: Catalogue raisonné, 1928 – 1982, Paris, 2006, p. 341, no. 366.

The Miró Family

About Joan Miró

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. Miró used color and 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. While he prized artistic freedom, Miró revered art history, basing a series of works on the Dutch Baroque interiors of Hendrick Sorgh and Jan Steen. In turn, Miró has inspired many artists—significantly Arshile Gorky, whose bold linear abstractions proved a foundational influence on Abstract Expressionism.

Spanish, 1893-1983, Barcelona, Spain, based in Paris and Catalonia, Spain