Joan Miró

(Barcelona, 1893 – Palma de Mallorca, 1983)

L’adorateur du soleil (Sun Worshipper)

1969

engraving (etching, aquatint and carborundum) on Arches paper (49/75)

105.3 x 67.9 cm

Inv. no. 600

BBVA Collection Spain



The years 1968 and 1969 were particularly salient in Joan Miró’s graphic output. Around this time, the artist made two key changes in comparison with his prior works: firstly, a significant increase in size and, secondly, experimentation with new printmaking techniques, especially the inclusion of carborundum, which lent the composition a newfound materiality and volume.

While technically speaking, Miró tried out methods he had not used before, which helped him to achieve innovative results, on an iconographic level he continued to explore the usual subject matters of his artistic vocabulary. Worth underscoring are the organic surrealist forms, as well as the gesturality of Eastern calligraphy, evincing the artist’s fascination with the culture of Japan, a country he had visited in 1966 and where he would travel again, precisely in 1969.

L’adorateur du soleil (Sun Worshipper) is a prime example of the type of engraving Miró was working on at the time. This large-format piece is enlivened by an interesting contrast between powerful areas of solid colour and the grey blotches, whose splashes recall
, specifically the
technique made famous by Jackson Pollock (1912-1956). The various elements scattered around the piece—most notably the large blue and red circles, as well as the corporeal black structure at the centre of the composition—invite beholders to linger and delve deeper into Miró’s personal universe.