Joan MIRO
1893–1983, Spain/France
Also known as: Miró I Ferrà
Signature proven counterfeit
Lithograph, composition, untitled, signed "Miro" numbered 18/50, 65x87 cm. Police were contacted by staff at a minor auction house in Stockholm Sweden on the grounds that they had a lithograph signed Miro who appeared not to be genuine. The painting was submitted to the sale of the daughter of an elderly sick man who bought the lithograph in April 1990. The painting has been examined by experts and found to be a forgery and is now forfeit.
Signature proven counterfeit
Lithograph, Title: Ceramiques, signed "Miro" numbered EA, 1974, 42x62 cm. A private person submitted, in October 2007, this lithograph to a major auction house in Stockholm for sale. They became suspicious that it could be a forgery. Police were called who took the painting seized for further investigation. The lithograph was sent to Spain and was examined by Rosa Maria Malet, expert at the Centre d´Studio d´Art Contemporani, Fundació Joan Miró, in Barcelona. The assessment found that it is a forgery and not signed by Joan Miró. Submitter is not suspected of having committed the crime. Note: The district court decides that on the front of lithography, in close proximity to the signature, shall be permanently affixed word COUNTERFEIT and also be applied at the middle of the back. Thereafter, the lithograph is returned to the owner.
Signature proven counterfeit
"La Captive". In January 1991 Swedish police arrest a Swedish citizen suspected to have sold counterfeit artwork of Miro for about 10 million Swedish crowns (approximately Euro one million). The investigations in Sweden had shown that the forgery came from Denmark. 664 sheets of Joan Miro, 143 sheets of Marc Chagall and 1.251 sheets of Salvador Dali was found and also some correspondence and financial material. The main man in Denmark had sold for more than 3.3 mil. Danish crowns to foreign galleries. Many of Miro graphics was printed on paper without watermark, despite the fact that the catalog had stated that they were printed on paper with watermark. Several of the pieces were printed on paper manufactured after Miro's death. The case leeds to the U.S., where American police on 9.7.1991 seized between 60,000 and 100,000 forged graphics, including over 15,000 Miro. Investigation showed that the main man in Denmark in the years 1989 and 1990 had bought more than 1.000 pieces Miro graphics from a company in New York for a price of ca. 1.1 million U.S. dollar.
Signature proven counterfeit
Mixed media on paper, composition, signed "Miro", 33x26 cm. In the mid 1980s, the counterfeiting of Joan Miró and Antoni Tàpies appear on the market. Some were provided with certificate of authenticity by different people, who claimed to be experts on Mirò and Tàpies. Eventually it was understood that it was the fakes. All tracks led to an apartment in Södermalm in Stockholm in Sweden. The 39-year-old man was arrested by police. More counterfeit paintings signed Miró and Tàpies appeared. The buyers said that the paintings came from the 39-year-old man. Antoni Tàpies used sometimes by a special technique when he used his palms and soles, as elements in his paintings. Five of the fake paintings were done with this technology. Hand and footprints could be traced to the 39-year-old man - it was his own! He admitted now that it was he who carried out the forgeries. He stated that he made some 50 fakes. Of these, 34 pieces found in connection with the investigation. Even today, it pops up counterfeits, probably done by the same person. A couple of the fake Miró the paintings was sold at Christie's in New York for over 100,000 Swedish crowns each. All anträffade paintings were fake autographed pastiches done in order to mimic Tàpies and Miró painting. The 39-year-old man was sentenced in 1986 to prison terms of one year and three months for aggravated fraud for signature forgery.
Signature proven counterfeit
Mixed media on paper, composition, signed "Miro", 33x28 cm. In the mid 1980s, the counterfeiting of Joan Miró and Antoni Tàpies appear on the market. Some were provided with certificate of authenticity by different people, who claimed to be experts on Mirò and Tàpies. Eventually it was understood that it was the fakes. All tracks led to an apartment in Södermalm in Stockholm in Sweden. The 39-year-old man was arrested by police. More counterfeit paintings signed Miró and Tàpies appeared. The buyers said that the paintings came from the 39-year-old man. Antoni Tàpies used sometimes by a special technique when he used his palms and soles, as elements in his paintings. Five of the fake paintings were done with this technology. Hand and footprints could be traced to the 39-year-old man - it was his own! He admitted now that it was he who carried out the forgeries. He stated that he made some 50 fakes. Of these, 34 pieces found in connection with the investigation. Even today, it pops up counterfeits, probably done by the same person. A couple of the fake Miró the paintings was sold at Christie's in New York for over 100,000 Swedish crowns each. All anträffade paintings were fake autographed pastiches done in order to mimic Tàpies and Miró painting. The 39-year-old man was sentenced in 1986 to prison terms of one year and three months for aggravated fraud for signature forgery.
Signature proven counterfeit
Mixed media on paper, composition, signed "Miro", 33x25 cm. In the mid 1980s, the counterfeiting of Joan Miró and Antoni Tàpies appear on the market. Some were provided with certificate of authenticity by different people, who claimed to be experts on Mirò and Tàpies. Eventually it was understood that it was the fakes. All tracks led to an apartment in Södermalm in Stockholm in Sweden. The 39-year-old man was arrested by police. More counterfeit paintings signed Miró and Tàpies appeared. The buyers said that the paintings came from the 39-year-old man. Antoni Tàpies used sometimes by a special technique when he used his palms and soles, as elements in his paintings. Five of the fake paintings were done with this technology. Hand and footprints could be traced to the 39-year-old man - it was his own! He admitted now that it was he who carried out the forgeries. He stated that he made some 50 fakes. Of these, 34 pieces found in connection with the investigation. Even today, it pops up counterfeits, probably done by the same person. A couple of the fake Miró the paintings was sold at Christie's in New York for over 100,000 Swedish crowns each. All anträffade paintings were fake autographed pastiches done in order to mimic Tàpies and Miró painting. The 39-year-old man was sentenced in 1986 to prison terms of one year and three months for aggravated fraud for signature forgery.
Signature proven counterfeit
Gouache. This fake painting is sold in Stockholm in the early 80's for 40,000 Swedish crowns (approx. 4.000 Euro). Painted by a forger living in Stockholm. He was sentenced for having produced some 50 paintings by the artists Joan Miro and Antoni Tàpies. The man was convicted by his own hand-and footprints in the color of the Tapie-forgeries. After an expert assessment and judgment declared that the painting is not genuine. It is a forgery. This motif appears as the cover of the book Ruffels of abuses in gold frame.
Signature proven counterfeit
Gouache, composition, signed "Miro" 30/11/83, 38x57 cm. In December 1983, the police confiscated two gouache signed Miro. A renowned expert in Stockholm had been asked by an art dealer to make an expert assessment. The expert thought then that the two the paintings seemed suspicious. Several experts felt that the two gouacherna was not genuine. But there was a written statement from a reputable Swedish expert on Joan Miro who considered the works to be genuine. On the back is written: "This piece of art in my opinion is an original done by Joan Miro certifies ...". The continued reconnaissance work led to the forger was arrested in spring 1986. After an expert assessment and judgment declared that the painting is not authentic. It is a forgery.
Signature proven counterfeit
Signature proven counterfeit
In 2004 a large-scale art forgery case was exposed during the Salvador Dali centenary exhibition at the Wanha Satama fair centre in Helsinki. The art dealer concerned had forged and sold hundred of Dali graphics as well as graphics of some other internationally known artists as Rembrant, Braque, Chagall, Léger, Miro and Picasso. The exhibition was led by five persons, the owner and his son, two sellers and a woman. The police confiscated all the artwork. Both paintings and signatures were forged. This artwork of Miro was sold at a price of Euro 20.800.
Signature proven counterfeit
In 2004 a large-scale art forgery case was exposed during the Salvador Dali centenary exhibition at the Wanha Satama fair centre in Helsinki. The art dealer concerned had forged and sold hundred of Dali graphics as well as graphics of some other internationally known artists as Rembrant, Braque, Chagall, Léger, Miro and Picasso. The exhibition was led by five persons, the owner and his son, two sellers and a woman. The police confiscated all the artwork. Both paintings and signatures were forged.
Signature proven counterfeit
In 2004 a large-scale art forgery case was exposed during the Salvador Dali centenary exhibition at the Wanha Satama fair centre in Helsinki. The art dealer concerned had forged and sold hundred of Dali graphics as well as graphics of some other internationally known artists as Rembrant, Braque, Chagall, Léger, Miro and Picasso. The exhibition was led by five persons, the owner and his son, two sellers and a woman. The police confiscated all the artwork and sent away for examination to the Gala-Salvador Dalí Foundation in Spain. Both paintings and signatures were forged. This artwork of Miro was sold at a price of Euro 22.000.
Signature proven counterfeit
In 2004 a large-scale art forgery case was exposed during the Salvador Dali centenary exhibition at the Wanha Satama fair centre in Helsinki. The art dealer concerned had forged and sold hundred of Dali graphics as well as graphics of some other internationally known artists as Rembrant, Braque, Chagall, Léger, Miro and Picasso. The exhibition was led by five persons, the owner and his son, two sellers and a woman. The police confiscated all the artwork. Both paintings and signatures were forged. This artwork of Miro was sold at a price of Euro 27.000.
Signature proven counterfeit
In 2004 a large-scale art forgery case was exposed during the Salvador Dali centenary exhibition at the Wanha Satama fair centre in Helsinki. The art dealer concerned had forged and sold hundred of Dali graphics as well as graphics of some other internationally known artists as Rembrant, Braque, Chagall, Léger, Miro and Picasso. The exhibition was led by five persons, the owner and his son, two sellers and a woman. The police confiscated all the artwork. Both paintings and signatures were forged. This artwork of Miro was sold at a price of Euro 11.500.
Signature proven counterfeit
In 2004 a large-scale art forgery case was exposed during the Salvador Dali centenary exhibition at the Wanha Satama fair centre in Helsinki. The art dealer concerned had forged and sold hundred of Dali graphics as well as graphics of some other internationally known artists as Rembrant, Braque, Chagall, Léger, Miro and Picasso. The exhibition was led by five persons, the owner and his son, two sellers and a woman. The police confiscated all the artwork. Both paintings and signatures were forged. This artwork of Miro was sold at a price of Euro 21.000.
Signature proven counterfeit
Signature considered genuine
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Joan Miró i Ferrà (April 20,1893 – December 25,1983) was a world renowned Spanish Catalan painter, sculptor, and ceramist who was born in the sea port city of Barcelona.
Miro was the son of a watchmaking father and a goldsmith mother, he was exposed to the arts from a very young age. There have been some drwaings recovered by Miro dating to 1901, when he was only 8 years old. Miro enrolled at the School of Industrial and Fine Arts in Barcelona until 1910; during his attendance he was taught by Modest Urgell and Josep Pascó.
After overcoming a serious bout of typhoid fever in 1911, Miro decided to devote his life entirely to painting by attending the school of art taught by Francesc Galí. He studied at La Lonja School of Fine Arts in Barcelona, and in 1918 set up his first individual exhibition in the Dalmau Galleries, in the same city. His works before 1920 (the date of his first trip to Paris) reflect the influence of different trends, like the pure and brilliant colors used in Fauvism, shapes taken from cubism, influences from folkloric Catalan art and Roman frescos from the churches.
His trip to Paris introduced him to and developed his trend of surrealist painting. In 1921, he showed his first individual exhibition in Paris, at La Licorne Gallery. In 1928, he exhibited with a group of surrealists in the Pierre Gallery, also in Paris, although Miró was always to maintain his independent qualities with respect to groups and ideologies.
From 1929-1930, Miró began to take interest in the object as such, in the form of collages. This was a practice which was to lead to his making of surrealist sculptures. His tormented monsters appeared during this decade, which gave way to the consolidation of his plastic vocabulary. He also experimented with many other artistic forms, such as engraving, lithography, water colors, pastels, and painting over copper. What is particularly highlighted from this period, are the two ceramic murals which he made for the UNESCO building in Paris (The Wall of the Moon and the Wall of the Sun, 1957-59).
It was at the end of the 60´s when his final period was marked and which lasted until his death. During this time, he concentrated more and more on monumental and public works. He was characterized by the body language and freshness with which he carried out his canvasses, as well as the special attention he paid to material and the stamp he received from informalism. He concentrated his interest on the symbol, not giving too much importance to the representing theme, but to the way the symbol emerged as the piece of work. Miro had a very eccentric style that is the embodiment of his unique approach to his artwork.
In 1976 the Joan Miró Foundation Centre of Contemporary Art Study was officially opened in the city of Barcelona and in 1979, four years before his death, he was named Doctor Honoris Causa by the University of Barcelona.
Joan Miró
(Barcelona, 1893-Palma de Mallorca, España, 1983) Pintor, escultor, grabador y ceramista español. Estudió comercio y trabajó durante dos años como dependiente en una droguería, hasta que una enfermedad le obligó a retirarse durante un largo periodo en una casa familiar en el pequeño pueblo de Mont-roig del Camp.
De regreso a Barcelona, ingresó en la Academia de Arte dirigida por Francisco Galí, en la que conoció las últimas tendencias artísticas europeas. Hasta 1919, su pintura estuvo dominada por un expresionismo formal con influencias fauvistas y cubistas, centrada en los paisajes, retratos y desnudos.
Ese mismo año viajó a París y conoció a Picasso, Jacob y algunos miembros de la corriente dadaísta, como Tristan Tzara. Alternó nuevas estancias en la capital francesa con veranos en Mont-roig y su pintura empezó a evolucionar hacia una mayor definición de la forma, ahora cincelada por una fuerte luz que elimina los contrastes. En lo temático destacan los primeros atisbos de un lenguaje entre onírico y fantasmagórico, muy personal aunque de raíces populares, que marcaría toda su trayectoria posterior.
Afín a los principios del surrealismo, firmó el Manifiesto (1924) e incorporó a su obra inquietudes propias de dicho movimiento, como el jeroglífico y el signo caligráfico (El carnaval del arlequín). La otra gran influencia de la época vendría de la mano de P. Klee, del que recogería el gusto por la configuración lineal y la recreación de atmósferas etéreas y matizados campos cromáticos.
En 1928, el Museo de Arte Moderno de Nueva York adquirió dos de sus telas, lo que supuso un primer reconocimiento internacional de su obra; un año después, contrajo matrimonio con Pilar Juncosa. Durante estos años el artista se cuestionó el sentido de la pintura, conflicto que se refleja claramente en su obra. Por un lado, inició la serie de Interiores holandeses, abigarradas recreaciones de pinturas del siglo XVII caracterizadas por un retorno parcial a la figuración y una marcada tendencia hacia el preciosismo, que se mantendría en sus coloristas, juguetones y poéticos maniquíes para el Romeo y Julieta de los Ballets Rusos de Diaghilev (1929). Su pintura posterior, en cambio, huye hacia una mayor aridez, esquematismo y abstracción conceptual. Por otro lado, en sus obras escultóricas optó por el uso de material reciclado y de desecho.
La guerra civil española no hizo sino acentuar esta dicotomía entre desgarro violento (Cabeza de mujer) y evasión ensoñadora (Constelaciones), que poco a poco se fue resolviendo en favor de una renovada serenidad, animada por un retorno a la ingenuidad de la simbología mironiana tradicional (el pájaro, las estrellas, la figura femenina) que parece reflejar a su vez el retorno a una visión ingenua, feliz e impetuosa del mundo. No resultaron ajenos a esta especie de renovación espiritual sus ocasionales retiros a la isla de Mallorca, donde en 1956 construyó un estudio, en la localidad de Son Abrines.
Source: http://www.biografiasyvidas.com/biografia/m/miro.htm
Miro, Juan (1893-1983), spansk målare, grafiker och skulptör. Verksam i Paris och Barcelona, där han har eget museum. Från en föreställande bildvärld nådde Miro 1924 fram till ett nästan abstrakt måleri, en bildskrift med figurala tecken i rytmiska figurationer. Han arbetar främst med symboler och associationer från det undermedvetna. De spelas ut i djärva konstraster i rena och mättade färger, där det svarta har en stor betydelse. I början av 30-talet kulminerar lekfullheten, samtidigt som färgen får en större och kraft och spänning. Miros grafiska produktion är stor och imponerande, där han har arbetat med såväl litografi som etsning. Han har utfört skulpturer i brons, färg och terrakotta och gjort åtskilliga monumentalmålningar.
Source: http://www.bukowskis.com
Untitled (personnages Et étoiles). (1952)
Saint James Parc Au Crépuscule (1958)
Le Moulin Au Café (1954)
Lithographie Pour Le County Museum Of Art, Los Angeles (1969)
Archipel Sauvage Iii (1970)
Le Prophéte La Nuit (1965)
La Lutte Rituelle (1964)
L'oiseaux Mongol (1968)
Frontispice Pour A La Sante Du Serpent De René Char, 1954 (1954)
Frontispice Pour Les Brisants De Jacques Dupin. G.l.m. éditeur, Paris 1958 (Executed in 1958)
Lithograph I (1930)
Le Faune (1963)
Ur Maravillas Con Variationes Acrósticas En El Jardín De Miró (1975)
Strip-tease (Executed in 1959)
Komposition Med Handavtryck
Le Grand Carnassier
Personnages Et Oiseau Dans La Nuit (Executed ca.1944)
Peinture (femme, Journal, Chien) (1925)
Dormeurs Réveillés Par Un Oiseau (1939)
Femme (1969)
Le Bélier Fleuri, Ur: "dérriere Le Miroir No 193-194" (1971)
Personnage Au-dessus De L'horizon (1965)
Polyphème (Executed 1968)
Personnage Dans Le Soleil (1948)
La Petite Fille Devant La Mère (1967)
Ma De Proverbis (1970)
Ubu Aux Baléares (1971)
La Ruisselante Lunaire (1976)
Le Marteau Sans Maitre, Suite Comprising 23 Unsigned Colour Etching/aquatints (Executed 1976)
La Taupe Hilare (1975)
Une Femme (1958)
Utan Titel, Ur: "le Lézard Aux Plumes D'or" (1967)
Le Vendangeur (1964)
Untitled (1948)
L étrangère (Executed 1958)
Le Marteau Sans Maitre (Executed 1975)
Raymond Queneau (Executed 1975)
L Oiseau Destructeur (Executed 1969)
Le Prophète Encerclé (Executed 1965)
From The Series, Maravillas Con Variationes Acrosticas (1975)
Céramiques De Miró Et Artigas (1974)
Le Lezard Aux Plumes D Or (1971)
Manoletina (1969)
Série Ii: Rouge Et Lavis Bleu (1961)
Personnage Dans Un Chardin Ii (1951)
Album 13 (1948)
La Boîte Alerte (1959)
Komposition
From Homenatge A Joan Prats
Salvat Papasseit
From Homenatge A Joan Prats
Maravillas Con Variaciones Acrôsticas En El Jardin De Miró
Demi-mondaine à Sa Fenêtre
Album 13 (1948)
Les Coccinelles
Untitled From “joan Miró Lithographe Ii
Untitled From Joan Miró Lithographe Ii
A Toute épreuve
Untitled From Joan Miró Lithographe Ii
Untitled From Joan Miró Lithographe Ii
Without Title.
(2) Ubu Roi Xi, La Nuit L'ours
Affiche Pour L'exposition Sobreteixims
Komposition Med Fåglar
Cahier D Ombres (1971)
L Oiseau Destructeur (1969)
Les Femmes (1948)
Les Hommes (1948)
Les Révolutions Scéniques Du Xxe Siècle, One Plate (1975)
Les Révolutions Scéniques Du Xxe Siècle, One Plate (1975)
Strindberg (1976)
Le Calin Catalin (1881)
La Première Nuit Du Printemps (1981)
Les Amoureux Et Luna Park Ii (1981)
La Triple Roue Ii (1981)
La Luge Des Amants Ii (1981)
