Bold Red Art for Your Home
The Edition consisted of 205 signed and numbered copies and 25 HC (Not for sale) additional copies. Ours is a proof outside these editions on smaller margined paper.
Printed by: Mourlot Freres, Paris
Note: This was part of a series of 13 Lithographs entitled “Ubu Roi. Ubu Roi (Ubu the King or King Ubu) is a play first performed in Paris at the Théâtre de l'Œuvre, causing a riotous response in the audience as it opened and closed on December 10, 1896. It is considered a wild, bizarre and comic piece, significant for the way it overturns cultural rules, norms, and conventions. For those who were in the audience on that night to witness the response, including William Butler Yeats. it seemed an event of revolutionary importance. It is now seen by some to have opened the door for what became known as Modernism in the twentieth century. It is a precursor to Dada, Surrealism and the Theatre of the Absurd. It is the first of three stylised burlesques in which Jarry satirises power, greed, and their evil practices — in particular the propensity of the complacent bourgeossie to abuse the authority engendered by success.
The title is sometimes translated as King Turd; however, the word "Ubu" is actually merely a nonsense word that evolved from the French pronunciation of the name “Herbert" which was the name of one of Jarry's teachers who was the satirical target and inspirer of the first versions of the play.
Series: Ubu Roi
Publisher: Terriade, 1966
Maeght: “Joan Miro Lithographs” Volume III (Catalogue Raisonne) - number 492, page 98
Patrick Cramer “Joan Miro: The Illustrated books” Number 108, page 282/284
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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