Joan Miró

Throughout the 1920s, Miró fostered an autonomous identity amid the circle of artists active in Paris. Associating with the Dadaists and subsequently the Surrealists, Miró began to develop his artistic voice. Through his fellow Spaniard and good friend, Pablo Picasso, Miró would meet many of the luminaries that dominated this culturally thriving metropolis. During the 1970s he completed several projects with the Cuban poet and journalist Carlos Franqui. Franqui acted as an unofficial cultural ambassador for the Cuban Revolution in Europe from 1963, and through this role met artist such as Calder, Picasso and Miró.  Though he absorbed the surrounding ethos and appreciated the aesthetic advances made by Picasso, Miró maintained a singular voice. By the end of the decade, he had developed a poetic vocabulary that would influence the remainder of his oeuvre. His Dadaist roots are particularly evident in the present work with its poetic word fragments. The combination of lines and words of the present work challenge the conception of what constitutes an artwork and the power of language, undoubtedly influencing Contemporary artists including Roy Lichtenstein, Andy Warhol and Jean-Michel Basquiat (see fig. 1). 



ADOM has confirmed the authenticity of this work.