Bold Red Art for Your Home
Each signed in pencil, numbered 2/50 (there were also five artist's proofs and and 15 hors commerce copies), published by Editorial Gustavo Gili, Barcelona, the full sheets, with deckle edges at left and right, in very good condition, each framed; with the title-page and text, loose within the original white cloth-covered folder, with the justification pasted to the inside cover (as issued), the title screen-printed on the cover (portfolio).
Plate, Sheet 900 x 640 mm. (and similar)
Portfolio 955 x 675 mm.
From the Catalogue:
'The moon dark grey dressed in mourning is more a widow and brighter'
(Memory of a Fugue by Bach, J. Salvat-Papasseit, 1919)
The poet Joan Salvat-Papasseit (1894-1924) was one of the first Catalan writers to experiment with the modernist idiom, combining the influences of surrealism and futurism with a distinctively Catalonian literary style. Formally experimental and often whimsical, Papasseit’s texts parallel the art of Joan Miró, who greatly admired the poetry of his compatriot. For this series, published in 1974 to commemorate the 50th anniversary of Papasseit’s early death, Miro selected five poems, Interior (1919), El Record d’una fuga de Bach (1919), Les formigues (1921), El berenar a les roques (1922) and Proverbi (1924), as inspiration for the present five impressive etchings with aquatint.
—Courtesy of Christie's
Christie's Special Notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
Dupin 712-716; see Cramer Books 179
Editorial Gustavo Gili, Barcelona.
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
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