The Gold of the Azure - Joan Miró
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Beschreibung
A 1967 abstract composition by Joan Miró, featuring a large blue form suspended against a field of golden yellow, populated by celestial symbols.
The Gold of the Azure, painted in 1967, represents the mature period of Joan Miró. During this stage of his career, the artist moved away from the dense, figurative compositions of his early years toward a more sparse, symbolic vocabulary. The canvas is dominated by a field of flat, golden yellow, which acts as a void or a celestial space. Suspended within this space is a large, textured blue form, which appears to vibrate against the yellow background.
Miró populates this space with his characteristic lexicon of signs. Thin, black lines trace star-like shapes, while solid black circles and curved strokes suggest celestial bodies or microscopic organisms. The composition avoids traditional perspective, opting instead for a flat, graphic arrangement that prioritises the relationship between colour and form. The blue shape, rendered with a visible, swirling texture, provides a tactile contrast to the smooth application of the yellow paint.
This work reflects the artist's interest in the cosmos and the subconscious. By reducing his visual language to basic shapes and lines, Miró creates a sense of weightlessness. The interplay between the primary colours and the stark black markings creates a rhythmic balance across the surface of the canvas. The work is not concerned with representing a physical place, but rather with evoking a state of mind or a cosmic event. It remains a clear example of how Miró utilised simplicity to communicate complex ideas about the universe and human perception.
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Fertigung
Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
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
The Gold of the Azure - 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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