Joan Miró, ‘Composition No 3 Album 19.’, 1961, William Weston Gallery Ltd.

Numbered XI (11) from the first XV (15) proof impressions (which were reserved for Miró). The issued edition was 75 impressions. The lithographs were printed at the studio of Maeght Editeurs, Paris 1961.
The 1961 sequence of lithographs, issued under an overall title of ‘Album 19’, mark a major highpoint in the post-war work in colour lithography by Miró. It was at this date that he was focusing on ways to introduce textures and non hand-drawn elements into his prints. For lithography this entailed taking textural ‘rubbings’ off ‘found objects’ - the surrealist concept of ‘random creation’. In this work can be seen a texture created by ‘rubbing’ from a random piece of metal grill.
Extremely fine strong impression with bold fresh colours. On pale cream wove Arches paper. Drawn and printed to full sheet size.

Signature: Signed in pencil with the monogram

About Joan Miró

Joan Miró rejected the constraints of traditional painting, creating works “conceived with fire in the soul but executed with clinical coolness,” as he once said. Widely considered one of the leading Surrealists, though never officially part of the group, Miró pioneered a wandering linear style of Automatism—a method of “random” drawing that attempted to express the inner workings of the human psyche. Miró used color and form in a symbolic rather than literal manner, his intricate compositions combining abstract elements with recurring motifs like birds, eyes, and the moon. “I try to apply colors like words that shape poems, like notes that shape music,” he said. While he prized artistic freedom, Miró revered art history, basing a series of works on the Dutch Baroque interiors of Hendrick Sorgh and Jan Steen. In turn, Miró has inspired many artists—significantly Arshile Gorky, whose bold linear abstractions proved a foundational influence on Abstract Expressionism.

Spanish, 1893-1983, Barcelona, Spain, based in Paris and Catalonia, Spain