Bold Red Art for Your Home
In excellent condition, with strong, fresh colors. Dupin 14; Cramer III.A. An impression of the definitive state from the periodical edition (apart from the separate hand-signed and numbered edition of 48). One of two pochoirs published in the art review Cahiers d'Art, Nos. 1-4, Paris. 1934, to illustrate the text “L'oeuvre de Joan Miro de 1917 a 1933”, by Christian Zervos, Maurice Raynal, Robert Desnos, Benjamin Peret, Ernest Hemingway, Rebe Gaffe, Raynar Hoppe, George Antheil, Will Grohmann, Vincente Huidobro, Pierre Guegen, J.J.Sweeney, Leonide Massine, Herbert Read, J.V.Foix, Jacques Viot and Anatole Jakovski. Published by Editions Cahiers d'Art, Paris; printed by Imprimerie Crété, Corbeil. Along with a number of other artists, such as Picasso and Gleizes, Miró became interested in the medium of the stencil print in the early 1930's. At this period he was concentrating on simplified highly anthropomorphic “dream” forms. The flowing shape made possible with the stencil, together with the smooth flat tones of the ink, were a perfect complement to this imagery. He worked very closely with the stencil cutter for the two pochoirs (stencil prints) that he made for Cahiers d'Art in 1934, and for the one he made in Spain for D'Aci i D'Alla in the same year. They are works of particular interest because no other color prints by Miró exist from this major period at the height of his Surrealism.
Publisher: Published by Editions Cahiers d'Art, Paris
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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