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Print on textured canvas
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WahooArt use the latest printing technology to produce archival-quality textured cotton canvas prints that will give pleasure on your wall for a long time to come. Textured print gives to your painting reproduction a brushstroke/texture effect, which gives incredible look of a real oil canvas masterpiece.
WahooArt.com use only the most modern and efficient printing technology on our 100% cotton canvas 400Gsm, based on the Giclee printing procedure. This innovative high-resolution printing technique results in durable and spectacular looking prints of the highest quality. WahooArt.com only uses the highest quality inks, with extreme UV resistance. Your artwork will hold its beautiful colors for up to 75 years!
Textured print perfectly suits for Fine Art reproductions! WahooArt Team suggest to orderacrylic print for colorful,familly and modernphotos.
- FAQ 1/2 - FAQ 2/2 - Giclée print of your own
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Loading Joan Miró biography....
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More information on this artwork on this websites
Joan Miró - BLUE I
twitter.com/microphys/status/923172197857931264?la... “Triptych Bleu I, Joan Miró, 1961”
Joan Miró - BLUE I
Joan Miró - BLUE I
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WahooArt.com (Joan Miró)
Arts & Entertainment > Hobbies & Creative Arts > Artwork
https://EN.WahooArt.com/Art.nsf/Buy?Open&RA=AVH52W
WahooArt.com-A-AVH52W-PrintsOnCanvas-21x16.1inches-W218Y-EN-USD
PrintsOnCanvas [{A-AVH52W}]-Dim(21 x 16.1 inches (53.3 x 40.9 cm))-DC(BGYKD05)-Shipping(Slow)-NAMEPLATE-GlossyTextured-FRAME(W218Y)-Joan Miro-BLUE I
https://WahooArt.com/Art.nsf/O/AVH52W/$File/Joan-Miro-BLUE-I.jpg
Blue I, II, III is a triptych created in 1961. It is a set of three-part display abstract oil painting by the Spanish modern artist Joan Miró. The paintings are named Blue I, Blue II, Blue III and are very similar. All three are enormous painting 355 cm x 270 cm each and currently owned by the Musée National d'Art Moderne in the Centre Pompidou in Paris.
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In 1961, after three trips to the United States and exhibitions at the Galerie Maeght in Paris and Pierre Matisse Gallery in New York, Miro began further purifying the deepening his earlier discoveries. This development had been heralded by Blue I, II, III. It reflects, above all, the supreme confidence the artist had attained in composing and coloring his paintings. The style is unmistakable. Miro was playing with codes that describe the movement of objects in a uniquely simple way. For example, a certain trajectory might be represented by a line, generally a thin one, ending in a dot or in a pair of parentheses. This latter symbol was often used by Miro as a kind o container, to keep energy from escaping. What is more, they look in two different directions, referring back to Miro's last pictures of the 1950s - full of sudden movements and primaeval symbols - while at the same time looking forward to a completely new artistic freedom, a spontaneous attitude towards the material and colours, in a hitherto unprecedented way.