May 1968 - Joan Miró
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Beskrivning
A powerful, large-scale abstract work from 1968, featuring aggressive black gestural lines and primary colour washes that capture the energy of the era.
Created in 1968, this large-scale work by Joan Miró reflects the turbulent political climate of the late 1960s. The composition is defined by aggressive, sweeping black lines that dominate the canvas, suggesting a sense of urgency and unrest. Miró employs his characteristic visual vocabulary, including celestial orbs, handprints, and biomorphic shapes, which are set against a background of washes in primary colours. The paint appears to drip from the heavy black strokes, adding a visceral, raw quality to the surface of the work.
Unlike his earlier, more controlled surrealist paintings, this piece embraces a gestural approach. The application of paint is direct and unrefined, with visible splatters and runs that record the physical action of the artist. The juxtaposition of the chaotic black lines with the softer, blurred fields of yellow, red, and blue creates a tension between order and disorder. The inclusion of handprints serves as a personal, human index, grounding the abstract forms in a tangible reality. This work captures the spirit of the era, where traditional artistic boundaries were being pushed aside in favour of more immediate, expressive forms of communication. It remains a significant example of Miró's late period, where he moved away from precise detail to focus on the power of the mark and the emotional resonance of colour. The work does not rely on representational imagery to convey its message, but rather uses the interplay of line and hue to evoke the energy of a period defined by social change and protest.
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Tillverkning
Varje tryck produceras på beställning med 12-färgs gicléetryck på FSC-certifierat arkivpapper. Designade i Storbritannien och tryckta vid närmaste produktionsanläggning för att minska avfall och snabba upp leveransen.
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
May 1968 - 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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