![Print, Mirò l'oeuvre graphique, Joan Miró](https://media.artsper.com/artwork/2233598_1_s.jpg)
by Joan Miró
Print : eau-forte
32 x 50 cm 12.6 x 19.7 inch
Second NOT DISPLAYED BLUR TEXT
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About the artwork
Type
Numbered and limited to 2 copies
1 copy available
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Medium
Print: eau-forte
Dimensions cm • inch
32 x 50 cm 12.6 x 19.7 inch Height x Width x Depth
Support
Framing
Not framed
Tags
Artwork sold in perfect condition
Artwork location: France
Dimensions: 32 x 50 cm (image 13 x 30 cm).
Condition: very slight crease in the upper right margin which will be almost invisible to the frame.
Provenance: Genevieve and Jean Paul Kahn collection.
Type of work: Original print signed by hand by the artist in pencil at the bottom right, numbered 2/2, and annotated "Epreuve d'artiste".
This artist's proof was published in addition to the unsigned edition of 120 copies of illustration 11 of the tribute book to Paul Eluard "A poem in each book" published by Louis Broder in 1956. In the book, illustration 11 is positioned next to Paul Eluard's poem "Like two drops of water" taken from "the public rose" (1934). The work comes from the album called "Album A", Reprinted from the book in 20 copies. Each album contains, like the book, 16 prints (including this work by Joan Miro) but they were printed with wide margins and unlike the prints in the book, they are all signed or monogrammed by the artists. The album we have was the property of the publisher Louis BRODER. It stands out from the others because it is enriched in addition to the 16 large-margined illustrations with many other prints collected by the publisher throughout his collaboration with the artists on this book.
Explanatory photo 1: Comparison between Album A offprint of "a poem in each book" printed in 20 copies and the book "a poem in each book" printed in 120 copies.
Explanatory photo 2: Album A offprint of 20 copies having belonged to the publisher Louis Broder contained in a gray canvas box with a label stuck on the back and the first cover.
Explanatory photo 3: Proof of printing of Album A which indicates the maximum number of copies of prints contained in total in the 20 albums as well as the names of the artists. It is annotated in red pencil "Editor's copy B" because it belonged to Louis Broder.
Explanatory photo 4: Original print signed and printed with wide margins by Pablo Picasso, contained in album A
Explanatory photo 5: Original print signed and printed with large margins by Max Ernst, contained in album A
Explanatory photo 6: Book "a poem in each book" printed in 120 copies, containing the 16 prints unsigned by the artists (signatures on the proof of printing of the book)
Explanatory photo 7: Print by Pablo Picasso on double page, unsigned contained in the book "a poem in each book"
Explanatory photo 8: Print by Max Ernst unsigned contained in the book "a poem in each book"
About the seller
WD ART GALLERY Modern • France
Artsper seller since 2022
Vetted Seller
Imagine it at home
![Joan Miró, Sans titre (Un poème dans chaque livre Paul Eluard) ref BDNW2975 Joan Miró, Sans titre (Un poème dans chaque livre Paul Eluard) ref BDNW2975](https://media.artsper.com/artwork/1802898_1_l.jpg)
Discover more by the artist
Works in prints from Joan Miró
Presentation
A Catalan painter by excellence, Joan Miró was born in Barcelona in 1893 and died on the 25th of December, 90 years later in Palma de Majorque in 1983. His homeland gave meaningful influence to his art, whether it was through painting, sculpture, engraving, or ceramics.
Alongside his parents, Miró became immersed in the creative world. His father was a jeweler and his mother was a cabinet maker. Miró initially enrolled into commerce school, with his father's encouragement, before giving up this career to take evening lessons at the Fine arts school of Llotja, in Barcelona. By 1912, he was adamant to become a painter. He joined the Galli Academy in Barcelona, directed by Francisco Galli, a trained architect, and discovered the great artistic trends in Europe.
Initially, Joan Miró displayed a style of painting that was related to fauvism, then cubism, and finally, expressionism. It was only when he arrived in Paris in 1919, that he felt fulfilled, artistically speaking. Miró turned towards fantasy for good. He became friends with artists like Max Jacob, Antonin Artaud, Tristan Tzara and André Masson: a group of emerging artists who yielded to aesthetic conventions and were open towards a new language. Once he freed himself from requirements and conventional methods, Miró flourished through simplicity.
Fascinated by the subconscious, he naturally rubbed shoulders with a group of surrealists in 1924. His several gouache partners were called André Breton, Paul Eluard, and Philippe Soupault. He enjoyed their off-the-wall humor, playful, and provocative minds. This led Miró to becoming more spontaneous and frequently thinking outside the box.
His participation reached its peak in 1925 during the "Surrealist painting" exhibition. A collective exhibition with Marx Ernst, Paul Klee, and Man Ray at the Galerie Pierre in Paris, where he presented his highly impactful "Carnaval d'Arlequin" painting. His painting "Birth of the World" in 1925 was also a big hit and materialized the bridge between Miró's original Catalan land and his Parisian blossoming.
It was in 1928 that Miró's relationship with the surrealist movement became complicated. Gradually, there were political tensions between the acolytes until 1930. Some of the members were open about supporting the Communist Party and the others preferred to depict their struggle through painting. Slowly, Miró withdrew and devoted himself to collages, giant sculptures and ceramics.
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