Joan Miró, ‘Placa Miro-Artigas ’, ca. 1980, Fairhead Fine Art Limited
Joan Miró, ‘Placa Miro-Artigas ’, ca. 1980, Fairhead Fine Art Limited
Joan Miró, ‘Placa Miro-Artigas ’, ca. 1980, Fairhead Fine Art Limited

This item comes in the box of issue. stamped on this box is the authenticy document , with the Succession Miro stamp, which reads as follows: ”Placa Miro-Artigas. Aquesta placa de gres, es una, reproduccion d’una ceramica original de Miro-Artigas, de 40 x 40 cms. Realitzada en el any 1970.Ha estata cuita en al mateix forn de Llenya que l'original. L’Edicio consta de 500 pieces numerates del 1 al 500”
Note: This item is Multiple authorised by the succession Miro made after an original unique piece which was created in 1970. This prototype work is catalogued in the catalogue of works by Miro/Artigas.
In 1953 Miró and Artigas worked at Artigas's studio in Galicia near Barcelona. There they created "firestones" which they exhibited under their joint names including in 1956 a joint exhibition in New York. The following year the two worked on a mural for the UNESCO headquarters and for the University of Harvard. It was Artigas's role to render Miro's designs into the 585 ceramics plates.[1] The tiles that made up the two murals for the UNESCO building were created in Gallifa and Miro supervised their installation in Paris. They were originally displayed outside but they are now contained within a building built to preserve them. Miro was to win a Guggenheim Prize for one of the murals in 1958.The two worked together until Artigas's failing health meant that his son, Joan Gardy Artigas, took over his role. Jordi Artigas died in 1980 in his home city. In 1989 his son set up a Foundation in the name of his father which exists to improve both artists and their art.

Signature: Monogram

Manufacturer: The Miro Foundation, Barcelona, 1992

Poligrafa: “Miro Artigas ceramics” (Catalogue Raisonne ) Number 378 for the prototype.

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