Nude with Mirror - Joan Miró
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Beschreibung
An early work by Joan Miró from 1919, featuring a figure with a mirror, characterised by geometric forms and decorative patterns.
Painted in 1919, Nude with Mirror belongs to the early period of Joan Miró, before he fully embraced the surrealist vocabulary for which he is known. This work displays the influence of his Catalan roots, combined with a rigorous approach to form that echoes the structural experiments of Cubism. The figure is seated on a decorated stool, holding a small hand mirror. Her anatomy is rendered with geometric precision, using simplified volumes and clear outlines that define the torso and limbs against the flat, terracotta-toned background.
The composition is notable for its attention to decorative detail, particularly in the rendering of the stool. The seat features a butterfly motif and floral patterns, while the base is adorned with vertical stripes and geometric borders. This interest in pattern and texture contrasts with the smooth, simplified planes of the figure's skin. The floor is covered by a blue rug with distinct, repetitive linear designs, which anchors the figure within the space.
Miró employs a controlled palette, relying on the warmth of the background to balance the cooler blues of the rug. The figure's hair is styled in a single braid, adding a sense of order to the composition. This painting demonstrates a transition in Miró's practice, where he moves away from traditional representation toward a more personal, symbolic language. The work remains a clear example of his early technical discipline, showing his ability to synthesise disparate visual elements into a coherent image. By focusing on the interplay between the human form and the surrounding decorative objects, Miró creates a scene that is both static and visually active, inviting the viewer to observe the specific choices made in the arrangement of colour and shape.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Nude with Mirror - Joan Miró
Artist Biography
Joan Miro
He grew up in Barcelona, the son of a goldsmith and watchmaker. He studied at the Escola de Belles Arts and at Francesc Gali's art school, where Gali made students draw objects by touch, blindfolded, to develop their sense of form. Miro went to Paris in 1920 and fell in with the Surrealists. Andre Breton called him 'the most Surrealist of us all', which was a compliment. Miro's paintings from this period look like dreams transcribed by someone who has never seen a dream depicted before: biomorphic shapes, stars, eyes, birds, and moons floating on flat fields of colour.
The Constellations series, twenty-three small gouaches painted during the Second World War, are his masterwork. He started them in Normandy as the German army advanced, continued in Palma de Mallorca after fleeing, and finished them in Barcelona. Each one is dense with interlocking forms connected by fine black lines, like a musical score or a star chart.
His late work includes monumental ceramics, tapestries, and public sculptures. The Barcelona airport has a floor mosaic. The Joan Miro Foundation on Montjuic, designed by his friend Josep Lluis Sert, opened in 1975. He burned canvases, stabbed them, walked on them. He was eighty-five and still trying to murder painting.
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