Joan Miró, ‘Preparatifs d'Oiseau IV (Dupin 368)’, 1963, RoGallery
Joan Miró, ‘Preparatifs d'Oiseau IV (Dupin 368)’, 1963, RoGallery
Joan Miró, ‘Preparatifs d'Oiseau IV (Dupin 368)’, 1963, RoGallery
Joan Miró, ‘Preparatifs d'Oiseau IV (Dupin 368)’, 1963, RoGallery

In 1938, the Surrealist Joan Miró met the master printer Louis Marcoussis and quickly became enamored by etching, an intaglio technique of incising a design onto a metal plate. When travel pulled Miró away from Marcoussis’s studio, he sent him letters about his budding interests in the medium. “My dear friend,” he wrote, “I am in this beautiful country for a few days and am always thinking about this exciting technique of etching, which I will take up again as soon as I return, following your precious counsel.” Miró’s early etchings, produced during the turmoil of the Spanish Civil War, often explored a tension between darkness and color, incorporating different techniques such as aquatint and drypoint to heighten these contrasts. In 1967, Miró’s etching practice hit another breakthrough when he discovered that carborundum, an abrasive mineral, could give his prints even more depth and texture. These late carborundum prints are some of Miró’s most desirable etchings on the market, often selling in the high five-figure range at auction.

An abstract surreal work of birds by the Spanish modern art master Joan Miro (1893 - 1983). This aquatint is from 1963 and is signed and numbered by the artist in pencil. Paper size 19 x 23 inches. Reference: Dupin 368. Framed in a black wood frame with silver bevel and linen mat.

Signature: Signed and numbered in pencil

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