Hermitage - Joan Miró
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A seminal 1924 Surrealist work by Joan Miró, featuring sparse, symbolic motifs floating against a vast, yellow field.
Painted in 1924, Hermitage belongs to a period in which Joan Miró moved away from the detailed, descriptive style of his earlier works towards a more sparse, symbolic language. The canvas is dominated by a flat, uniform field of yellow, which acts as a void or a stage for the scattered, floating motifs. These elements, rendered in thin, precise lines, include celestial bodies, geometric shapes, and biomorphic forms that defy literal interpretation.
Miró often drew inspiration from his family farm in Mont-roig del Camp, yet in this work, the subject matter is distilled into a personal iconography. The red circle, a recurring motif in his oeuvre, sits in the upper right, while a dark star occupies the upper left. Below, a central, dark, organic shape anchors the composition, surrounded by smaller, cryptic figures that suggest a narrative without providing a clear key. The use of space is deliberate, with the vast yellow expanse creating a sense of silence and isolation, fitting for the title.
This work demonstrates the artist's interest in the subconscious and the poetic potential of simple marks. By reducing his visual vocabulary to basic signs, Miró invites the viewer to engage with the painting as a collection of symbols rather than a representation of a physical place. The thin, calligraphic line quality ensures that each element remains distinct, preventing the composition from becoming cluttered despite the variety of forms. The work is a clear example of the transition towards the dream-like, automatic style that would define his later career, where the relationship between the figure and the ground is constantly renegotiated.
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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
Para mantener su obra de arte en las mejores condiciones:
- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
Hermitage - 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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