Antoni Miro - Untitled

Referenced in the cover of the book Antologia (book not included).
The sculpture shows some scratches and other faults, the sculptor, read this before bid please.
ca 21x14cm.

His work, situated within social realism, begins in figurative Expressionism as a denunciation of human suffering. In the late 1960s, his interest in the social issue led him to a neofiguratism, with a message of criticism and denunciation that, in the seventies, he was fully identified with the Chronicle of the Realistic Art movement, inserted within the international currents of the Pop art and realism, taking as a starting point the propaganda images of industrial society and the linguistic codes used by the mass media.

If his painting is a painting of awareness, it is no less true that in his creative process there is an outstanding degree of "awareness of painting", in which various experiences, techniques, strategies and resources come together to form His particular plastic language, which is not exhausted as a "medium" for ideological communication, but in common agreement constitutes a record of a clear aesthetic communication, the artist was contemporary of the better artist as Banksy, Picasso, Dali or Chillida.

The different periods or series of his work as "Les nues" (1964), "La fam" (1966), "Los canguros" (1967), "Experimentaciones y Vietnam" (1968), "El hombre" (1970) , "Black America" ​​(1972), "The man today" (1973), "The dollar" (1973-80), "Paint painting" (1980-90) and "Vivace" since 1991, reject all kinds of oppression and cry for freedom and for human solidarity.

In 2007, the sculpture April 25, 1707 in memory of the Battle of Almansa was installed in Gandia. In 2010-2011 at the Museum of the University of Alicante an anthological sample was realized. In 2012, the IVAM devoted a retrospective. In 2013, a sculpture was opened by Ovidi Montllor, with whom he had shared friendship, on the new ride by Ovidi Montllor (Alcoy).