Hir6:,,,H,s.rk$
frsm thc Iet,Eccti.cn
-fuffiffiT.. _loan
Mir.i accelerated his intuitive"
mid-tr94ft frequently swtuching to shapes
with roughly rlehned lmundaries
and in rlre l9?0s" draurng
arr-making process while exptroning
drar swallorn,
rhe dlrraurics of the greasy crayorrs"
coulpos!tlon.
rle
*piersonages-
q.hole space of the
L,pon Mit6's returr to Pads
fur. 19,+E
lrc creared color lidxrgraphs at hdourlot
Bro*lers in prepararion tor his lirst exhibirion at Galenie Maeghr. Afterward*s" cotor I ithography became
one qrihis malor meJiums- The greasy"
[nks, anJ liquids used in lirhograpFuc
prinmaking. A majrrr Sr-rrealist arrisr
A prolfic printrna&er who reveled in
li*rql-aphic crayons" black
whn:e birth was celeL"rared in several
expeniurendng n-ith <iitterent mediums,
wscl:r.,and rubbrng inks worked weli
centennial exhibitions in 1993" rhe
h4ir6 rnade or.er 7(80 etchings, litho-
tbr him" expanding his draqfing procesi
Spaoiard conjureJ frgm his uncon-
graFhs, u-ooJcuts. anJ screenprints as
and exten ling his spontaneiry ln iorm-
sciorls cllnd a Emiverse cf pictcrial signs
single sheets. iolio contributions,
rng images- Worklng otten q,idr his
nhich
or iilustrarions fbr hooks- -A,ccording
fingers loadeJ n'ith ink or liquid" he
gryerical" abmract coorgrositions- His
rothe arrist, his rnrork inprinmaking,
rnanipulated his printmak ing materiais
aesthetic" roored in the Parisran
cerarnics" and orher unfamiliar rnedi-
tor grearer exfression. for greater
Surrealist movernent of rhe rni.i- i 92&
urns actad to enrich and revitalize his
funnredlacy; with his vocatrulary
reaction to Ehe mcreasing comp[exiw
parntmg. Hls nrmEmalung actrYrEv ivas sporadic untii the lare i9t&" lrorn'ever-
iorurs, he created a -new wor[d," but
of a perio.I r*'hich t.rn rnany artists
,4lrhough the dare
seemed ro caII t-or an art less represen-
he rnade
mrional than intcrpregire an.I intro-
i-or a
he composed into colorfli.rl and
through the 194&. er"olved rrut of a
in 1929 his frm prinm-lithographsrs
unclear"
spective- From rhe 192& until his
hrok of poerrr-, L'Arbre des wWWeE&-\.,t y the Dadaist writer Tiistan
dearh rn t9&1, Ntir6 pursued this
Tzara q,hich
proerry cf signs
*rrh single-rnin.{eJ
in
u-as
put'lrshed in
triquiJ. or
of
he delighred in exploring the mean*s
oi*creadon"
as s,el!.
igiil-
[93E- the French artrst Louis
h,{arcoussis taught hirn ttrc techniques
devorion-
of erching and drypoinr which N4ir6 Eorn in the ancient Catalaa ciry of
used in makmg a group of g'rinm
BarceXcna, Mir6 was rhe son of a gol.I-
tr"ear-
smith, a time-honoreri occupauon
v,rorkurg on a series of 50 lithographs
ceintinuing fm thiee decades" Galerie
A i-ew'years
*rar I9"t]. later. in he was
Beginningwith rhis first shovr and
linlced wirh rhe beeinnings ot ccppen-
in blacL, t}te BeruefumcSeries, prin[e<.l
fo{aeghr put lished color lithographs
plate engrar-lng in dle lir-tr cenrury-
dre floi!.'uring year- tn i947" futird
by idir6 and camlogues oihis cuffent
Toward the enJ ofllus early arr raining
nenen'ed old rriendships wirh exparnare
exhibitions, in rhe gallery's ilhxmated
in Barceiona anJ aner inirlai expooure rhere t.r rnodern art. I4ir6 iwrrnersed Erimself rrom I9!5 ro 19l8 in paintrng
Surreafists and urorked with Stanley
<rrgarr,
W illiam tr-layrer at hrs prinuoaking
dedicarcd to the artist x,hme w<rrk was
Post-lrnpressronisric canvases, ureeting
srtr.Iio" Areiier i ?, ur New' York" q"hi!e qorkfurg on a mural l.rr rhe Terrace
on vieu"- In I950, an untirled print (car. I ) appeared as the cover of tlre
ffvant-&arde arrists arui rvriters, readiing
Fla:a Hote! in Cmcinnari. Finally.
N{ay-}une issue" a catalogue .il an
adranced n oeE -t, and rl.iting rng.lern
the folirrw,ing year he begaa his long
exiribit ion oi sculpture anJ prinus.
associatinn ucrtrh Galerie N{aeght,
Turo nrore colrrr [idrcgraphs on l,iew
am
exhihitlons Br"rhe spring
o8 !910
Derritre le'lviiroir, erery
issue
he had made hL. iirsr rlsir to *re ca+'flal
otmrrlern art,
Paris. where
in
1921 he
a
(c*ts- Z erul
mair f'rinr publxherrd leadmg
s*ll"ry ior
Picasso and cther Schooi
of
J)
xee
gtrblished in the
June-Augrxt 1953 number, ugrcn *re rrcasit-rn oitr\{ir6 s rhinl one-lters(ln
beean speniing several rnontlm a Eeafi
Paris painters- Fronn then orl" Frint-
his contacts wiuh Ficasscr influenced
makrng
hirn profounJ-li", *n"I he Eradually beco*e ac.luarnre.l wirh *re Parnsian
end an importam caralyst f<rr &{fuii's
exhibitii:n at Galerie ildaeght- The marks o{tris frngers on the stone sratrix
arrl"tic expression-
are also seen in ariorlrer untitled r*rork
ktasre
a
prr)minent mcans
{cat. 4}. frrrm a 1951 usue of DErri,ive Ie
al"allt-garJe.
AiJ of the *-ork" in
. .
-4--+:]-
!n dre Eate'teens
jt-:
rhemr wene pmnred at
;.r.,.
frf,rd
earlt'
cxh-rhirion are
ctrlor lirfiographs:rnd alrt",.xt all of
-'r+:+:1-.
.,t,.
fiis
192Ck fotir6
of parrrtmrigs on car{hoar{ from 1950-
lti+urlor Brothers.
an esBtilished print u'orkrh,.:rp kr Paris
Mir.i
speciaiizing in tine art fiirieograg&v"
in his projecrs u-ith n-nter:; and fooets.
ccrmluercial print-
a ratre r"e!-rnire fuom
ing in France in the
p:rtraits, and
the eariie."t of the pnnts on i icur uere
\Mirh
Ti/.l,ed.FieW arrd T&e Hconse?-
TT'ce
of LgZ3-24
created-
At
nqid-cenmry" a
thc
-crrrnlaftI.re" Lit n-arure and Jer rl.rpeJ
avzutabli,ty of fiae.art pres$es occurred
i{is
rraliry_,
oi
Ftis
sr.nrbaliic
oqrr maltlng-
c{rrruki-
slgnrfr-rne srerLs-Erncs- rriengies" conr:.. er.es, ladders, rinrcng
etokeJ a
*magrc
other symhoLs-
serr".e
*t *unqr".'as
\li-r.r -aii. Eccirrnure Ereager inr'*Er"ed stith ?iJr-arrcei aff!-.Ls alld trriter:.
in
F"y
aews od xfdch found
Fa-ris.
{i\lAn!cru*sf}^er.:* methOd OI
geeeraiing r,iqcai a,nd
:r:i
o,.eri:,ai
iraagerq
an eioquent"
iuugirutive
s$ch as fufe ati,J Time" Custave von
tones of bril]larrt nrange-
Crosctrn-rc, flrrrrnerEy head of the
Craphic ,X-rr. Divisit n ,,f rhe Fe.iera!
[n later
Ast Frcject ofdre $fFA under
dominate rhe plctorial spaces of Mir6's
Franklin
oi- pr-rnrs ar
r,g {he
rer-iq-:r[
+t the
*:Jium
--vears,
single irnages tent{
tr-r
colon lithographs- [{n'rrizepoi.is tcat- t0
l-fu:Ean.r R.,rxr:eve*c " anC
anci repr<xiuc1;a1p f . 65preciaiiy- ca*r.
the
in
i 9lC ;u r inirnaati*rnal hderui,ial ex-hihi irofi oi cr\lor lirhorraphs" detuon.ffar-
,F"utclmari5nl,
!-s
s{'a} !o l\mencan popuiar magazins..
mt:lr nn rtle
.if
(cat- 7), rx,ith irc
sugresrinns of a rrrrxter, a hirC, and fi star,
Cuecirnnati A"m &durieutn. iregan
pn }Cc."
tiryu r,nire et $r6ngge
ir.
r*aaiferto c{ Surrealism; 6 pmr{&xurcr: r"1
Jacques Pr6l,ert and Georges
"'mrnd;capc'" rrbrant urttr con rrasrurg
aiteruan.!s" curator
*:tfeanl J
h,y
Jocvr
R,it emonr-Dessaignes- Peurc crrrnposr-
in color lir&.rpaphi"s6"urred
picicriai
l&r'ei
rer"ival
he F"roke arc-al f;.rnr a co;rnplicated
,r
For exarnple, irl n955" tera of his cotslr
u"hen
195u'}s
.ift en employed color lithoppaphl
pr{nts rvere publxhenl in rlre tmok
p,arrxed Cubist-irxsgrired stitrl iif,es, lendseap,,es-
Minair, pubhshed {<rr lv{ir6's ex!'ribirion
I..il i r.-,'.
-
in
*6.ersonagr'
as large.
l.xyuing.
and a&nost overw'Xaeluring" Stitrl, Mir6's prrnred vecahu-lan and his rnethrnds, l-ris
sparrrrljrg ot liih.rgraphic L.Iks. for
Etucpe anoi i:r &e UEeired State"s.
inlr,ince. are rich. anJ
l;r i'l:1. urrh ** rnural-.r,ed paintrng
.{n exl-ril'inr.:-r c;t:{oEue.
this Frlnl is open trr ne\A and Jir-erst
Tr:e Br-'sa c'f *re "+:{cnii,r'!4ir6 traresce*d,
orinna I i ir h.-ur,rphs. .rf prrnts publ
irii ea-iii-i Drir{rsrafil and ;reareJ ;'.:igetrineh rt iuceJ rllrar:es Fr.u;r, 1hcn
i.r li{o:.rrl,,t prinrrd i;: t954 tcar.6).
a-rt
ideai
<d r&e Suare';liist
p,eri*ri"
eJ
ori, h: a contirtui:us ianer r-iia{ogue , h* ;-ursore.i
d:;s r .xahuiary r'f cpar* -ha1.s
anci nruilr-*;rg*nic refer-ncc*.
ln tlle
Press i,n
c{)ntfi inin'g LslreJ
later vears, uas
ld<.e
ali hi-.
an-
inrerprer atiorts and a-qscriat ions,
coiumu:ricated from a mind teppine its cun source. Pat*irm P}:.g.d:l
t m.nrue rg:
11 .iti'n:i and llartangs \Lus.urn nI .f rr
-a*li=*]:*=':l*...-]a"..*,';'.::'':.."w-:4.-:'..:.*-F-5k*.@.*--;*'+.-r3\-i;-<.i.<4:!-
.
*9 I,O
joan Mir6 , Uruitled, 1950
Cover of Deri'r&e
fe
h
(Ma1,-June
W,
rtc,,
1950)
W4A
'
Lnntitled, I96,t
Cotorlithoetaph and
kom dre exhihiricn
pharolirhagraph on n-ove paper t4 1e ru.)Ix trO 3/4 (*-)rinches' Gin ot H- X-lotbrook
Frftw
.
"\ltred
'&e{ozt
57,1655
:'
:
C-clortithogr?Fhor{lraper' 7 r,r x I0 inches Grft ofJacklorel : ., GN{o,\ 72-1932
[-rntir-ted, 195] Fage 4 of DrrriEre Ie litroir, no. 57-59
/
14 tslta x 10 lslto'lx*res Patrons Itrnd Fgrctras;e
a
.:
Jwttdirf J*"S*o Pr6vert anrl Georges R.ihemont-Dessaignes (Paris: L{aeghi Edireuq 1955) ' Color lith%raphorr wove pa1p1rrurunted on rhick, wove paper From the boc*
l
h
'
,
' ,
GMOA 14_?58
,E;tsllmxV 3i4 inchm (sheet)
I;ll6x8inches(m<xnt)
l
'
Righr hafftrf a fold-otrt pge fmnn Mride\AWtdi,no" 57-59 - gurre-Augq$t 1953) , !.g
Crrlor$.rhcgr4honf,trrin"urovepryer
Mse fu fuiflier (The Lair
.'
Cilr 0f Alfted H" Flolbrook
of the Wild Boar)" 196?
C-nlor lithograph on paper
.
10x72/roinches
GMo,q 67.1699
.:
'i
o Frorn Derri?re fe ld;roa'" no" 125-726 (l\edl C-okrr tidrograph on rrove p.dpr
l{"ilNx I0 16mches
'
196l)
'
'
Stcrscene
Color lirhograph trn wove paper l I 7/a x 13 zru rnches
Gift of Al{ied H- }Iolbrtxrk craoa 7A.2617"
cmon 69-256? .5
'
. ,
'
cuon 65.t2lE
t-lnritld,1953
-
cacalogue dw l/rennkr&ess, 1954
Z
$trne-Augusr t953) Cokr lithog:aph .r. *o-e 141r",
,
ftM
,Arinorrncementofexhitritlonat Galerie fo{aeghu Paris, November l9?8
:
:
Cokrlithogmphonsrovefrrpâ&#x201A;Źr
.
Cift
33 3l4xzg:r/p inchs 921150 (edition) 0rDr. Ntamhal! D- Nathan
Tlac iffinge,of
Mlo.eryoilas
r,ep'r,ad,ueed",lr
rfus c,htek:hat ds printed on acid-fuee prupn-