Portrait of Hiberto Casany (The Chauffeur) - Joan Miró
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Beskrivning
An early 1918 portrait by Joan Miró, featuring bold Fauvist colours and a striking, expressive composition of his subject, Hiberto Casany.
Painted in 1918, this early work by Joan Miró captures the subject, Hiberto Casany, with a directness that reflects the influence of Fauvism and early modern European movements on the young artist. The composition is dominated by a bold, saturated yellow background, which pushes the figure forward and flattens the pictorial space. Miró employs non-naturalistic colour choices, particularly in the skin tones and the surrounding environment, to prioritise emotional expression over realistic representation.
Casany is depicted wearing a dark, textured coat and a bowler hat, his hands resting in his lap. The brushwork is energetic, with visible strokes that define the contours of the figure and the fabric of his clothing. A small, framed image of a motor car hangs on the wall behind him, serving as a literal reference to his profession as a chauffeur. This inclusion adds a narrative element to the portrait, grounding the stylised figure in a specific social context.
During this period, Miró was experimenting with various styles, moving away from his earlier academic training. The influence of Vincent van Gogh and the French Fauves is evident in the aggressive application of paint and the rejection of traditional shading. The portrait lacks the surrealist vocabulary that would later define Miró's career, yet it demonstrates his early mastery of colour and form. The work remains a clear example of his transition toward a more personal, subjective visual language. The contrast between the warm yellow ground and the dark, heavy tones of the sitter's attire creates a tension that draws the eye to the subject's gaze. It is a study in character, rendered with the confidence of an artist beginning to break free from conventional portraiture.
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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
Portrait of Hiberto Casany (The Chauffeur) - 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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