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UnknownEt in Arcadia ego Pencil and charcoal on paper J. Miro1905
1905
$1,426.51
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£1,069.31
£1,782.1840% Off
€1,200
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CA$1,972.11
CA$3,286.8640% Off
A$2,146.87
A$3,578.1140% Off
CHF 1,146.05
CHF 1,910.0940% Off
MX$25,917.61
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About the Item
Title: Et in Arcadia ego
Artist: Signed “J. Miró”
Technique: Pencil and charcoal on paper
Paper size: 49 × 39 cm (19.3 × 15.4 in)
Framed size: 64 × 53 cm (25.2 × 20.9 in)
Date: December 30, 1905
Condition: Good condition overall, with minor signs of natural paper oxidation (foxing) and slight surface waviness. Framed with modern protective backing.
Provenance: Private collection. Framing label from “Quadrella”, Mataró (Catalonia).
DESCRIPTION
Academic-style drawing of notable technical skill and precision, depicting an allegorical scene inspired by Greco-Roman classicism. Two figures stand beside a stone monument inscribed with the Latin phrase “IN ARCADIA EGO”, a baroque memento mori that evokes the idea of death being present even in idyllic places. The male figure, crowned with laurel and holding a staff, points to the inscription, accompanied by a semi-nude female figure who may represent a muse, a spirit, or Death personified in a serene form.
The composition, chiaroscuro, and anatomical treatment reflect solid academic training, with advanced mastery of the human form, drapery, and spatial arrangement. The work recalls the classical studies of the 19th and early 20th centuries, common in academic art schools.
The piece is signed “J. Miró” and dated 30-12-1905, which has prompted speculation regarding the author’s identity:
A plausible attribution is Joaquim de Miró i Argenter (Sitges, 1849 – 1914), a Catalan painter from the Luminist school, active during that time and known to sign his works as “J. Miró.” His production included classical themes and compositions that resonate with the style of this drawing.
A more speculative hypothesis is that it could be an early student work by Joan Miró, who was 13 years old in December 1905. Although it is documented that he took evening drawing classes while attending business school at the time, the technical quality and compositional maturity of this drawing seem beyond the reach of a young, untrained artist. Furthermore, Joan Miró did not typically sign his early work as “J. Miró,” and no academic-style drawings from this period are known.
In either case, the work is of high aesthetic and historical interest, blending classical tradition, philosophical symbolism, and the mystery of an enigmatic signature that invites further research.
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