![]() He engaged them in passionate conversation,” the critic Jacques Dupin wrote about the artist in his book. Miró had too much regard for his supplies and instruments to use them according to his own plans instead, he beckoned them. (Picasso, for instance, was known to add suet and nail polish to his prints in an effort to create unusual effects.) The former was generally content to work within the lengthy, well-established tradition of European printmaking, whilst the later was happiest when violating the norms and taking an unconventional route. Picasso’s and Miró’s approaches to the medium can be clearly contrasted. This involved the then-unusual technique of applying multiple colours to a single plate, which produced etchings like Serie II (above). In addition to developing the simultaneous colour printmaking technique known as “viscosity printing,” Hayter is recognised for his intaglio experimentation. In Paris and then in New York, he collaborated with Stanley William Hayter, another important printer (where the latter moved at the start of the Second World War). As delicate and lyrical as the music being performed are Miró’s lines. The 1933 drypoint Daphnis & Chloé, in which a goatherd playing a reed pipe charms two girl swimmers from the sea, was one of Miró’s achievements with Lacourière. The first of these was the great intaglio printer Roger Lacourière, who also created the Vollard Suite print series by Picasso. He established tight working relationships with the heads of reputable printing ateliers in each instance. Joan Miró prints can be broadly divided into three groups which are essentially the three main techniques he employed: intaglio (i.e., drypoint and etching), lithograph, and carborundum. lithography, carborundum, and intaglio (drypoint and etching). Three major categories can be used to classify Miró’s prints. His inspiration from literature would come from a variety of sources, with famous examples including the play Ubu Roi by Alfred Jarry, the poem Fraternity by Stephen Spender, and the mystic, mediaeval work Canticle of the Sun by St. The first prints Miró ever created were drawings for L’arbre des Voyageurs, a 1930 collection of poems by Tzara. Additionally, he made friends with a number of avant-garde authors, including Paul Eluard, Max Jacob, Tristan Tzara, Antonin Artaud, and André Breton. ![]() Early in the 1920s, he relocated to Paris and immediately joined the Surrealist movement. Miró was born in Barcelona in 1893, the son of a watchmaker. ![]() It is frequently claimed that Miró’s preference for calligraphic lines, which are such a distinguishing aspect of his paintings, naturally suited itself to graphic work. He also produced more than 2,000 pieces in the medium, just like Picasso. Miró had a steadfast dedication to printmaking, just like his countryman and peer Pablo Picasso. Joan Miró prints are very distinctive and instantaneously recognisable.
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