Joan Miro (1893-1983) - Mujer y perro ante la luna






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Joan Miró’s surrealist work *Mujer y perro ante la luna* is a limited-edition pochoir from 1949, measuring 22 × 17 cm and unsigned.
Description from the seller
JOAN MIRÓ
Barcelona 1893-Palma de Mallorca 1983
Woman and dog before the moon (The Art and Spanish Artists since 1800). 1949
Pochoir made for the book "The Art and Spanish Artists since 1800", directed by Rafael Santos Torroella on March 15, 1949.
Dimensions 22 x 17 cm
Published and Printed by La Polígrafa, Barcelona 1949
In the 1930s, Joan Miró began experimenting with the pochoir printmaking technique (stencil in French) to create surreal works on paper. Unlike other printing methods favored by the artist, etching and lithography, pochoir allowed him to create prints that looked more like his colorful gouache paintings. To create pochoir prints, Miró worked with master engravers (including the renowned pochoir expert Daniel Jacomet) to cut stencils of intricate designs and brush them with ink before passing his designs to the press. The process, which requires a lot of labor, produced unique tactile impressions, and required a team of highly skilled experts to assist with hand-coloring. While pochoir fell out of favor in the mid-20th century due to its costly production, Miró continued to use the stencil technique throughout his career.
JOAN MIRÓ
Barcelona 1893-Palma de Mallorca 1983
Woman and dog before the moon (The Art and Spanish Artists since 1800). 1949
Pochoir made for the book "The Art and Spanish Artists since 1800", directed by Rafael Santos Torroella on March 15, 1949.
Dimensions 22 x 17 cm
Published and Printed by La Polígrafa, Barcelona 1949
In the 1930s, Joan Miró began experimenting with the pochoir printmaking technique (stencil in French) to create surreal works on paper. Unlike other printing methods favored by the artist, etching and lithography, pochoir allowed him to create prints that looked more like his colorful gouache paintings. To create pochoir prints, Miró worked with master engravers (including the renowned pochoir expert Daniel Jacomet) to cut stencils of intricate designs and brush them with ink before passing his designs to the press. The process, which requires a lot of labor, produced unique tactile impressions, and required a team of highly skilled experts to assist with hand-coloring. While pochoir fell out of favor in the mid-20th century due to its costly production, Miró continued to use the stencil technique throughout his career.
