Joan Miró, ‘Les Pénalités de l'Enfer ou les Nouvelles-Hébrides (The Penalties of Hell or the New Hebrides)’, 1974, Phillips
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Joan Miró

Les Pénalités de l'Enfer ou les Nouvelles-Hébrides (The Penalties of Hell or the New Hebrides), 1974

The complete set of 25 lithographs (5 in black and 20 in colours), title page, text in French and justification, including an additional suite of six lithographs (one with additions in red ball-point pen), on Arches paper, the full sheets, folded and loose (as issued), the set of 25 contained in the original paper boards with the first lithograph printed on the front, spine and back, the additional suite contained in a beige paper folder titled documents 1929, all contained in the original orange cloth-covered box with the artist's and author's name printed on the spine.
Edition of 200
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About the work
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Phillips

Property Subject to Artist's Resale Right (see Conditions of Sale for further information)

Medium
Signature
Signed in red crayon and annotated ‘Exemplaire de Guy Veliot’ (printed) on the justification (the edition was 200, the first 50 copies were …
Joan Miró
Spanish, 1893–1983
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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.

Joan Miró, ‘Les Pénalités de l'Enfer ou les Nouvelles-Hébrides (The Penalties of Hell or the New Hebrides)’, 1974, Phillips
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About the work
Bibliography
P
Phillips

Property Subject to Artist's Resale Right (see Conditions of Sale for further information)

Property Subject to VAT Section 4: 5% (see Conditions of Sale for further information)

unfolded S. 27 x 75 cm (10 5/8 x 29 1/2 in.)
portfolio 40 x 29.5 x 6.5 cm (15 3/4 x 11 5/8 x 2 1/2 in.)

Please note that the additional …

Medium
Signature
Signed in red crayon and annotated ‘Exemplaire de Guy Veliot’ (printed) on the justification (the edition was 200, the first 50 copies were …
Joan Miró
Spanish, 1893–1983
Follow

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.

Joan Miró

Les Pénalités de l'Enfer ou les Nouvelles-Hébrides (The Penalties of Hell or the New Hebrides), 1974

The complete set of 25 lithographs (5 in black and 20 in colours), title page, text in French and justification, including an additional suite of six lithographs (one with additions in red ball-point pen), on Arches paper, the full sheets, folded and loose (as issued), the set of 25 contained in the original paper boards with the first lithograph printed on the front, spine and back, the additional suite contained in a beige paper folder titled documents 1929, all contained in the original orange cloth-covered box with the artist's and author's name printed on the spine.
Edition of 200
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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Surrealism