Women and Birds at Sunrise - Joan Miró
Archival giclée
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Description
A classic 1946 surrealist composition by Joan Miró, featuring his signature use of primary colours, calligraphic lines, and symbolic, floating forms.
Joan Miró created Women and Birds at Sunrise in 1946, a period when his visual language had matured into a highly personal system of signs and symbols. The composition features a pale, ethereal blue background that suggests an expansive sky or a void, against which floating forms are arranged with deliberate precision. Miró employs a restricted palette of primary colours, specifically red, yellow, and blue, alongside black lines that define the boundaries of his figures.
The figures themselves are reduced to essential shapes: circles, triangles, and fluid, calligraphic lines that suggest the presence of women and birds without resorting to literal representation. A large, circular red form occupies the upper right, acting as the titular sunrise. Below it, the central cluster of shapes balances geometric rigidity with organic, curving lines. The eye is drawn to the concentric circles that function as eyes or celestial bodies, a recurring motif in the artist's work from this decade.
Miró often described his process as one of poetic construction, where he allowed forms to emerge from the canvas rather than imposing a pre-planned structure. This work demonstrates his ability to maintain a sense of equilibrium within an asymmetrical arrangement. The thin, black lines act as a connective tissue, linking the disparate elements into a cohesive whole. By stripping away unnecessary detail, Miró invites the viewer to engage with the rhythm of the shapes and the spatial relationships between them. The work avoids traditional perspective, opting instead for a flat, graphic quality that aligns with his interest in the primitive and the childlike. It remains a clear example of his mid-career style, where he successfully synthesised his earlier surrealist experiments into a refined, iconic aesthetic.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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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
Women and Birds at Sunrise - 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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