Catalogus
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| Uitgever | Royal Mint of Spain (Real Casa de la Moneda) |
|---|---|
| Jaar | 2012 |
| Type | Non-circulating coin |
| Waarde | Log in om details te zien |
| Valuta | Log in om details te zien |
| Samenstelling | Log in om details te zien |
| Gewicht | Log in om details te zien |
| Diameter | Log in om details te zien |
| Dikte | Log in om details te zien |
| Vorm | Log in om details te zien |
| Techniek | Log in om details te zien |
| Oriëntatie | Log in om details te zien |
| Graveur(s) | Log in om details te zien |
| In omloop tot | Log in om details te zien |
| Referentie(s) | Log in om details te zien |
| Beschrijving voorzijde | Log in om details te zien |
|---|---|
| Schrift voorzijde | Log in om details te zien |
| Opschrift voorzijde | Log in om details te zien |
| Beschrijving keerzijde | The reverse reproduces Joan Miró's painting 'Personajes y pájaros con un perro' (Characters and Birds with a Dog), Catalogue Raisonné No. 1887, created in 1978 and housed in the Fundació Joan Miró, Barcelona. The composition showcases Miró's mature surrealist vocabulary, featuring his characteristic biomorphic figures, stylized birds, and bold primary colors rendered in sculptural relief across the coin's field. The legend 'Pintores Españoles' arcs across the design, identifying the broader commemorative series dedicated to Spanish painters, while the denomination '10 EURO' and the Madrid Mint mark 'M' are also present. The artwork's dynamic, playful energy and abstract forms are faithfully adapted to the circular format of the coin. |
| Schrift keerzijde | Log in om details te zien |
| Opschrift keerzijde | Log in om details te zien |
| Rand | Log in om details te zien |
| Muntplaats | Log in om details te zien |
| Oplage | 2012 M - BE - Proof - 10,000 |
| Aanvullende informatie |
This coin belongs to Spain's long-running series honoring figures from its twentieth-century artistic canon, issued here to commemorate Joan Miró. The series has drawn criticism in numismatic circles for inconsistent production quality, but the Miró issues specifically benefit from the subject matter — his flat, bold forms translate more cleanly to die work than the painterly textures that plague some companion issues in the same program.
Miró spent much of the Franco dictatorship in self-imposed exile, primarily in France, returning permanently to Mallorca only after 1956. The Spanish state's posthumous embrace of him on official coinage is, to put it mildly, an irony worth noting.