Joan Miró, ‘Two plates, from: Cartones’, 1965, Christie's

Both signed in pencil, numbered 31/75 and 66/75 respectively, published by P. Matisse, New York, the full sheets, both in very good condition; with Miro Sculptures (M. 755), lithograph in colours, 1971, on Arches wove paper, signed in pencil, numbered 122/150 (there was also an unsigned text edition), published by the Walker Art Center, Minneapolis, the full sheet, in very good condition
M. 452: Image 305 x 425 mm., Sheet 420 x 548 mm.
M. 453: Image 500 x 635 mm., Sheet 543 x 705 mm.
M. 755: Image & Sheet 860 x 730 mm.
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Mourlot 452, 453 & 755; see Cramer Books 103

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