Often viewed primarily as a painter, Miró was also an incredible sculptor and a prolific and dynamic printmaker, as well as producing ceramics, murals and tapestries.
Whilst Yorkshire Sculpture Park is unable to open its galleries during lockdown and in Tier 3 restrictions, this presentation is online only, featuring films and images. Many of the works in the exhibition are available to purchase, giving an exciting opportunity to own a work by this iconic artist: for more information visit the Miró shop on the YSP website.
During an interview in 1951, Miró was asked about how the public could get close contact with art in their everyday lives, given the barriers of cost and access, and he said, “one should never give up. I suggest the solution of colour prints”. Miró saw printmaking as a democratic medium that enabled his works to be circulated to and owned by a wide audience in a meaningful way that did not simply rely on photographic reproductions.
Across all the media in which he worked, Miró had a passionate, singular vision and an unmistakably rich visual vocabulary, bringing together signs and symbols, a bold colour palette, assured strokes, strong line, and a cast of enigmatic characters, or monsters as he sometimes called them.
Miró embraced and experimented with many different printmaking techniques. In the spirit of collaboration, within which he thrived, he worked with experts and learned from them, but always ultimately followed his own path to achieve the results he desired. Through his connection with eminent printmaker Robert Dutrou, in 1967 Miró was introduced to carborundum, a very painterly and textural print medium, which transformed the artist’s later graphic work and through which he said he created “images to rival any painting”. This technique allowed Miró to “express myself without a single hindrance, at a single burst of spirit, without being paralyzed nor slowed down by an outmoded technique that might risk distorting the free expression, purity and freshness of the final result”.
Miró worked with some of the most respected print studios in France and Spain, including Fernand Mourlot, and Aimé Maeght in Paris, and JJ Torralba in Barcelona, who produced many of the prints in this exhibition. His exceptional work as a printmaker was acknowledged in 1970 with the exhibition Fifty Recent Prints at the Museum of Modern Art in New York. Recognised as one of the last century’s most significant and revered artists, Miró’s work is held in major public and private collections all the world.