Joan Miro (1893-1983) - Parler Seul - lithographic licensed print 2003 - 60x45 *COA*

Joan Miró Lithograph (*)
This work reproduces one of the illustrations originally created by Miró for the poetry book “Parler Seul” (**) (Talking to Oneself), written by Tristan Tzara in 1947.
Published by Maeght Editeur in 2004.
Made on heavyweight cotton Vellum paper.
Signed in the plate.
Publisher’s and Miró Estate stamps on the reverse of the sheet.
Includes Certificate of Authenticity (COA).

Specifications:

- Sheet dimensions: 60 x 45 cm
- Image dimensions: 42 x 33 cm
- Year: 2004
- Edition: 1000 copies
- References: Cramer 17. Rauch 165
- Condition: Excellent (this work has never been framed or exhibited, and has always been kept in a professional art portfolio, so it is in perfect condition).

The work will be handled carefully and packed in a reinforced flat cardboard package. It will be shipped by registered mail with a tracking number.

The shipment will also include full insurance for the final value of the work, with a full refund in case of loss or damage, at no cost to the buyer.

(*) Joan Miró (1893–1983) was born in Barcelona, where he grew up and began his art studies. He attended the La Llotja academy against his parents’ wishes, as they wanted him to work in a more traditional profession. He later studied at the Escola d'Art of Francesc Galí and became acquainted with the Fauves and the Cubists.
The emotional landscapes that would shape him as a person and an artist were essentially Mont-roig, Paris, Mallorca and, later, New York and Japan. Mont-roig, a small town in the Baix Camp region, would serve as a counterpoint to the intellectual ferment he experienced in Paris, where he moved in the 1920s, among the Surrealist poets and the most creative artists of his time. There he met Arp, Magritte, Brancusi and Giacometti, and exhibited alongside Dalí, Tanguy, Meret Oppenheim and Max Ernst in several exhibitions on Dadaism and Surrealism.
He discovered the stimulus of Abstract Expressionism in New York in the 1940s. Later, in 1956, in the midst of the Second World War, Joan Miró left his exile in France and settled in Palma de Mallorca, a place of refuge and work, where his friend Josep Lluís Sert designed the studio he had always dreamed of. There he focused on sculpture and ceramics until his death in 1983.
His deep attachment first to the landscape of Mont-roig and later to that of Mallorca would be decisive in his work. His connection with the land and his interest in everyday objects and the natural environment would provide the backdrop for some of his technical and formal explorations. Miró rejected academicism, constantly seeking a unified and pure body of work, unaffiliated with any particular movement. Restrained in his forms and public appearances, Joan Miró expressed his rebelliousness and great sensitivity to the political and social events around him through his art. This contrast of forces led him to create a unique and highly personal language that places him among the most influential artists of the 20th century.

(**) “Parler Seul” represents a particularly effective collaboration between artist and author. Miró’s brilliantly spontaneous and amorphous images, drawn directly onto the stone with very few preliminary sketches, have the inventive verve of Tzara’s aleatory verses.
The original edition was published by Maeght Editeur and consists of 72 original lithographs by Miró, 49 of them in color, of which 18 are hors-texte. (*) Joan Miró (1893–1983) was born in Barcelona, where he grew up and began his art studies. He attended the La Llotja academy against his parents’ wishes, as they wanted him to work in a more traditional profession. He later studied at the Escola d'Art of Francesc Galí and became acquainted with the Fauves and the Cubists.
The emotional landscapes that would shape him as a person and an artist were essentially Mont-roig, Paris, Mallorca and, later, New York and Japan. Mont-roig, a small town in the Baix Camp region, would serve as a counterpoint to the intellectual ferment he experienced in Paris, where he moved in the 1920s, among the Surrealist poets and the most creative artists of his time. There he met Arp, Magritte, Brancusi and Giacometti, and exhibited alongside Dalí, Tanguy, Meret Oppenheim and Max Ernst in several exhibitions on Dadaism and Surrealism.
He discovered the stimulus of Abstract Expressionism in New York in the 1940s. Later, in 1956, in the midst of the Second World War, Joan Miró left his exile in France and settled in Palma de Mallorca, a place of refuge and work, where his friend Josep Lluís Sert designed the studio he had always dreamed of. There he focused on sculpture and ceramics until his death in 1983.
His deep attachment first to the landscape of Mont-roig and later to that of Mallorca would be decisive in his work. His connection with the land and his interest in everyday objects and the natural environment would provide the backdrop for some of his technical and formal explorations. Miró rejected academicism, constantly seeking a unified and pure body of work, unaffiliated with any particular movement. Restrained in his forms and public appearances, Joan Miró expressed his rebelliousness and great sensitivity to the political and social events around him through his art. This contrast of forces led him to create a unique and highly personal language that places him among the most influential artists of the 20th century.

(**) “Parler Seul” represents a particularly effective collaboration between artist and author. Miró’s brilliantly spontaneous and amorphous images, drawn directly onto the stone with very few preliminary sketches, have the inventive verve of Tzara’s aleatory verses.
The original edition was published by Maeght Editeur and consists of 72 original lithographs by Miró, 49 of them in color, of which 18 are hors-texte. .



























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