La Melodie Acide
Original lithographs
1980
Edition of  1,500
Signed in the plate
33 x 25 cm
£300 each including frame

I
 

II
 

III SOLD
 

IV
 

V SOLD

VI
 

VII
 

VIII SOLD
 

IX
 

X
 

XI
 

XII
 

XIII
 

XIV SOLD

As a young man, Miró was drawn towards the arts community that was gathering in Montparnasse and in 1920 moved to Paris. There, under the influence of Surrealist poets and writers, he developed his unique style: organic forms and flattened picture planes drawn with a sharp line. Generally thought of as a Surrealist because of his interest in automatism and the use of sexual symbols, Miró’s style was influenced in varying degrees by Surrealism and Dada, yet he rejected membership to any artistic movement in the interwar European years. Miró confessed to creating one of his most famous works, Harlequin's Carnival, while hallucinating due to a lack of food.

By not becoming an official member of the Surrealists, Miró was free to experiment with any artistic style that he wished without compromising his position within the group and being accused of not being a “true” Surrealist. He pursued his own interests while the art world, both within and between groups which politicked and jockeyed for prominence. Miró’s artistic autonomy, in that he did not adhere to any one particular style, is reflected in his work and his willingness to work with several media.

In 1926, he collaborated with Max Ernst on designs for Sergei Diaghilev. With Miró's help, Ernst pioneered the technique of grattage, in which he troweled pigment onto his canvases.

Joan Miró won the 1954 Venice Biennale printmaking prize, and in 1980 he received the Gold Medal of Fine Arts from King Juan Carlos of Spain. In 1959, André Breton asked Miró to represent Spain in The Homage to Surrealism together with works by Enrique Tábara, Salvador Dalí, and Eugenio Granell.

In his final decades Miró accelerated his work in different media producing hundreds of ceramics, including the Wall of the Moon and Wall of the Sun at the UNESCO building in Paris. He also made temporary window paintings (on glass) for an exhibit.

In the last years of his life Miró wrote his most radical and least known ideas, exploring the possibilities of gas sculpture and four-dimensional painting.

Many of his pieces are exhibited today in the Fundació Joan Miró in Montjuïc, Barcelona; he is buried nearby, at the Montjuïc cemetery.