Miro, Composition (Mourlot 228; Cramer 34) (after)
1956

About the Item

Lithograph on vélin Paper. Inscription: Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From volume, Derrière le miroir, No. 87-88-89. June-July-August, 1956, published by Derrière le miroir, Paris; printed by Maeght, Paris. Notes: From Derrière le miroir, N° 46-47, published by Derrière le miroir, Paris; printed by Galerie Maeght, Paris, 1952. Notes: From Derrière le miroir, N° 20-21, published by Derrière le miroir, Paris; printed by Galerie Maeght, Paris, 1949. Notes: Excerpted from a Christie’s, New York lot essay, The life span of Derrière le Miroir was thirty-five years. Publication began in 1946. Aimé Maeght, initiator of Derrière le Miroir, had already made few attempts to start publications illustrated with fine printed lithographs in colours in the years prior to the launch of Derrière le Miroir. The name, Derrière le Miroir was suggested by Jacques Kober, manager of Galerie Maeght. The gallery had opened in 1945; the first number of Derrière le Miroir was released a year later. For this first issue Geer van Velde was invited to create lithographs to illustrate the publication. The lithographs in the first issue was printed by Mourlot, Paris. The first three issues of Derrière le Miroir were unsuccessful for Maeght as far as the edition size—the initial print-runs were far too large. From 30,000 for the first issue, the number was taken down to 10,000 for numbers two and three, until Derrière le Miroir number four was published in an edition of 1500. Maeght instituted a policy whereby unsold issues were recycled and used for the fabrication of new paper for the coming editions—this served to both conserve resources and also usually result in ultimate edition sizes far less than 1,500. With number four, the permanent format for Derrière le Miroir was established. Lithographs in colours were key; text was limited to comments on the featuring artist's exhibition taking place in the Galerie Maeght, and this catalogue format was defining to Derrière le Miroir. Galerie Maeght took on the leading role in Paris and presented all main artists including Braque, Matisse, Chagall, Léger, Bonnard, Chillida and many more. So too did Derrière le Miroir. The idea of a magazine was meanwhile still on the mind of Aimé Maeght. He found an insert as a solution. Two, and later four, pages of art review were inserted from 1952 onwards. In 1968 this find had ripened to independency and the dream of Aimé Maeght was now a tangible fact named l'Art vivant. Derrière le Miroir was on it's own again. Over 250 issues in a row. At that point publisher Aimé Maeght wished to make a mark with the publication of an hommage to all who once contributed to the magazine which came in the form of issue number 250, but was delayed by the death of Aimé Maeght. It was published after number 253 in 1982 and became a tribute to Aimé and Marguérite Maeght and 35 years of friendship with artists and poets. The era of Derrière le Miroir was closed with that final publication. JOAN MIRO (1893-1983) Joan Miro was a Surrealist Spanish painter who created artwork of imaginative fantasy. Miro was very much against the established painting methods of the time, and is often credited with being the founder of automatic drawing. Automatic drawing is the process of allowing the hand to move randomly on the canvas, leaving the artwork to chance. His dreamlike works contain impressions of playfully distorted animal forms, twisted organic shapes, and odd geometric constructions. A contemporary of Picasso, Miro towers as one of the great masters of modern art, and is amongst the most famous artists of the 20th century.

Creation Year:

1956

Dimensions:

Height: 15 in (38.1 cm)Width: 11 in (27.94 cm)

Medium:

Lithograph

Movement & Style:

Surrealist

After:

Joan Miró (1893 - 1983, Catalan)

Period:

1950-1959