An original signed lithograph on Guarro wove paper by Spanish artist Joan Miró (1893-1983) titled "Homentage à Joan Prats (Plate 3)", 1971. Hand pencil signed by Miró lower right and numbered lower left. Limited edition: HC I/X, (an Hors de Commerce impression aside from the deluxe black and white edition with wide margins of 25 in Roman numerals). Comes from the 1971 portfolio "Homentage à Joan Prats", a double set of 15 lithographs in color plus 15 lithographs in black and white (Mourlot No. 705-734). Printed by La Polígrafa and published by Ediciones Polígrafa both in Barcelona, Spain. Reference: "Joan Miró - Lithographs", Volume IV, 1969-1972 - Mourlot No. 707, page 105; Cramer No. 153. Provenance: one owner ever - private collection - Fort Worth, TX; acquired from Gallery One Gallery, Englewood, CO; acquired directly from Ediciones Polígrafa, Barcelona, Spain retaining the original receipt and print documentation sheet from the gallery and publisher. This work also comes with an extremely rare mini catalogue raisonne of the 1971 "Homentage à Joan Prats" portfolio. Framed in a silver contemporary frame and double fabric matting with plexiglass. Framed size: 34.5" x 41.75". Sheet size: 29.25" x 39.38". Image size: 21.5" x 29.5". In excellent condition. Rare.
The title of the portfolio translates to “Tribute to Joan Prats”. Joan Prats (1891-1970) was an art promoter and a close personal friend of Joan Miró. The fifteen lithographs that Miró has done in homage to his friend are by way of counterpoint to the Barcelona series, Miró's first great series of lithographs, which was in fact published by Joan Prats in 1944. In their black and white version, they are like a counterpoint of grief to that explosion of youth. And, when these fifteen black and white lithographs are supported by color, we see them, tenuous but persistent, a serene stain of mourning. Of absence, of infinite longing for that fertile friendship that lasted a lifetime.
Joan Miró was one of the most critically acclaimed artists of the 20th century. He pioneered the transformation of the two-dimensional picture plane into a receptacle of personal dreams and imagery, characterized by the suppression of descriptive detail. As a painter, sculptor, ceramicist, muralist, and printmaker, he created a visual vocabulary unique in the 20th century and had an enormous impact on the course of modern art. Miró was a brilliantly innovative artist who absorbed and then went beyond all the major art movements of his formative years: Impressionism, Cubism, Fauvism, Dadaism, and Surrealism.
Miró was strongly influenced by his Catalan heritage from the primary colors of local Romanesque frescoes to the curving, undulating lines and organic forms of Gaudi's architecture. After moving to Paris in the 1920 he was strongly influenced by the Surrealists, in particular the concepts of automatism (allowing the subconscious to dictate forms) and the exploitation of accidents. His work of the 1920s and 1930s thrust him to the forefront of the Surrealist movement. He revered the Surrealist poets becoming close friends with many and later collaborating with them on many artists' books, for which he contributed the illustrations to their poetry.
His interest in printmaking went beyond the books and he worked extensively in etching, aquatint, and lithography on small and large-scale works throughout his career. His vision of vast conceptual spaces populated by strange, playful organisms is a world that exists only in the dreams and desires of the imagination. It evolves out of an atmosphere of spontaneity in which the artist's conception of reality is inseparable from his inner experience. His masterful use of color, his creation of a pictorial language which functioned as both symbol and design, and ultimately his achievement of an art in which emotion and form had become identical, are unique amongst the 20th century masters.