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Souris rouge à la mantille (Dupin 751) by Joan Miró

Artwork by Joan Miró, Souris rouge à la mantille (Dupin 751)

Joan Miró
Souris rouge à la mantille (Dupin 751)

colour aquatint
signed and numbered 7/50 in the lower margin; printed by Morsang and published by Maeght, Paris
44.5 x 29 in ( 113 x 73.7 cm ) ( plate size )

Auction Estimate: $20,000.00$15,000.00 - $20,000.00

Price Realized $10,200.00
Sale date: May 30th 2024

Provenance:
Sinai Health Foundation, Toronto
Literature:
Roland Penrose, "Miró", London, 1985, pages 116–117
Jacques Dupin, "Miró Engraver: III. 1973-1975", Paris, 1992, catalogue no. 751
Along with Salvador Dalí and Pablo Picasso, the Catalan painter Joan Miró is celebrated as one of the foremost Spanish modern artists after gaining prominence for depicting his imaginary world full of strange figures and biomorphic forms that appear to float in space. As Miró described to a journalist in 1931: “I’m only interested in anonymous art, the kind that springs from the collective unconscious.” In this vibrant work, the main subject is a mouse shown in profile, with its piercing yellow gaze capturing the viewer’s attention. Despite its protruding snout and large ears filling up the upper register, the body of the mouse ultimately dominates the composition in a fiery shade of red. Miró’s characteristic biomorphic forms, shown here in blue, green and red tones, are dispersed randomly. His painterly black splatters scatter in different densities and directions, further animating the surface of the background and drawing the viewer’s eye to follow its meandering course.

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Joan Miró
(1893 - 1983)

HighlightsWatch Artist

Born in Barcelona, Spain, in 1893, Joan Miro showed a talent for drawing early in life and began studying at the age of seven, which eventually lead him to study at the Cercle Artistic de Sant Lluc. His first solo exhibition was at the Dalmau Gallery, where his work was met with harsh criticism and defacement. Influenced by artists abroad engaging in Surrealism, Dadaism, and Cubism, Miro was drawn to Montparnasse in Paris, where many ex-pat artists, musicians, and writers were gathering. While he continued to spend his summers in Catalonia, in 1920 Paris became his home for life. In 1924, Miro joined the Surrealist group. The already symbolic and poetic nature of Miro’s work, as well as the dualities and contradictions inherent to it, fit well within the context of dream-like automatism espoused by the group.