Joan Miro (Spanish, 1893 – 1983)
La Marchande de Couleurs (1981)
Etching, aquatint and carborundum on Arches paper (watermark Maeght)
Edition of 60
Papersize: 160.2cm 121.8cm
Signed and justified in pencil
Accompanied by certification of authenticity from Rosa Maria Malet, director of the Fundació Joan Miró, Barcelona (5 Oct, 2022)
Maeght editor, Paris. Printer: Morsang, Paris
Literature: Dupin, J. (2001). Miró Engraver, Vol. IV 1976-1983. Paris: Éditeur Daniel Lelong. Pg. 141. Ref: 1131.
Price: on request
La Marchande de Couleurs is emblematic of Miró’s late-period works, where he pushed the boundaries of printmaking techniques by incorporating carborundum to create texture and depth. Compared to earlier lithographs and etchings, this piece is more tactile and dynamic, reflecting the influence of Abstract Expressionism and his ongoing quest for innovation.
In comparison to works from his earlier periods, such as the Constellations series (1940-1941), La Marchande de Couleurs is more gestural and spontaneous. The forms are more abstracted and less narrative-driven, emphasizing the raw energy of line and color. This approach aligns with Miró’s belief that art should transcend traditional forms and embrace the elemental forces of nature and the subconscious.
According to Jacques Dupin, Miró’s biographer and close collaborator, the artist’s late works reflect “a return to the primitive, a reduction to the essential gestures of creation.” (Dupin, J. 2001, Miró Engraver, Vol. IV). La Marchande de Couleurs exemplifies this philosophy through its bold black lines, splashes of primary colors, and textured surfaces, which evoke both childlike spontaneity and sophisticated abstraction.
The use of primary colors (red, blue, yellow, and green) in La Marchande de Couleurs is a hallmark of Miró’s work, representing elemental forces of nature and life. The black forms act as a unifying structure, creating a sense of movement and rhythm across the composition. The scattered shapes and splashes of color suggest a cosmic dance, a recurring theme in Miró’s works, where he sought to capture the essence of life’s chaos and order.
The abstract forms can be interpreted as anthropomorphic figures, celestial bodies, or even fragments of a surreal landscape. This ambiguity invites viewers to engage with the artwork on a personal and emotional level, allowing for multiple interpretations.
