There’s a clear contrast to be made between Miró’s approach to the medium and Picasso’s. This involved the then-unusual practice of several colours being applied on a single plate. Hayter was renowned for his experiments with intaglio and pioneered a method of simultaneous colour printmaking known as ‘viscosity printing’. Literary sources would prove to be a constant inspiration for him, with notable examples including Alfred Jarry’s play, Ubu Roi Stephen Spender’s poem, Fraternity and the mystic, medieval text, Canticle of the Sun, by St Francis of Assisi.Īnother major printer he worked with was Stanley William Hayter: initially in Paris and then in New York (where the latter moved at the start of the Second World War). ![]() The first prints Miró ever made were illustrations for Tzara’s 1930 book of poems, L’arbre des Voyageurs. He also befriended a host of avant-garde writers, such as Max Jacob, Tristan Tzara, Antonin Artaud, André Breton and Paul Eluard. He moved to Paris in the early 1920s and soon joined the Surrealist movement. The son of a watchmaker, Miró was born in Barcelona in 1893. Miró’s prints for literature: ‘fine works of art in their own right’ ![]() It was a process of finding the image through experiment, embracing accident, but also controlled and methodical.’ ‘He would cut up proofs and rearrange the elements, collating the pieces together in new patterns, adding daubs of colour in crayon, or glyph-like marks in India ink, and writing extensive instructions to his printer. ![]() ‘Miro’s approach to making prints was playfully improvisational,’ explains the specialist. ‘In terms of both the quality and quantity of his output, Joan Miró was one of the most important printmakers of the 20th century,’ says Murray Macaulay, Head of Prints at Christie’s in London.
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