Joan Miró, ‘Le prophète (The Prophet): two impressions’, 1958, Phillips

Both images: 5 7/8 x 4 3/4 in. (15 x 12 cm)
Both sheets: 11 x 8 7/8 in. (28 x 22.5 cm)

Signature: One with extensive printing annotations by Miró in pencil, and one annotated 'état avant modifications. Voir épreuve rehaussée par Miró (state before modifications. See proof enhanced by miro)' by Piero Crommelynck in pencil, with further annotations and diagrams in pencil on the reverse (both working proofs, before the edition of 75), printed by Crommelynck et Dutrou and published by Maeght, Paris, both unframed.

Jacques Dupin 157

Piero Crommelynck Collection, Paris
(inkstamp on reverse)

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