Adventures in the Print Trade: Giacometti

Monday, November 8, 2010

And the prize for the best title goes to... Joan Miró

This is one of my favourite Joan Miró lithographs, mostly because of the strength of the image with its vivid colour and lively composition, but also because of its hilarious title. It was created in 1952 in atelier Mourlot for the art revue Verve, published by Tériade. The double issue in which it appeared (no. 27-28) is one of the most sought-after issues of this legendary publication, as it contains not just this astonishing work by Miró but also Chagall's Visions de Paris (8 lithographs), Matisse's La tristesse du roi, Léger's La partie de campagne, and additional lithographs by Braque, Henri Laurens, Alberto Giacometti, André Masson, Francisco Borès, and Marcel Gromaire.

Joan Miró, The Dog Barking at the Moon

Lithograph, 1952

The full title of the Miró is lithographed in Miró's hand on the reverse of the print: Le chien aboyant à la lune reveille le coq le chant du coq picote le crane du fermier Catalan posé sur la table à coté du pourron. The dog barking at the moon wakes the cock, the song of the cock pecks at the head of the Catalan farmer resting on the table by the flask of wine.

Joan Miró, Le chien aboyant à la lune (title)

Lithograph, 1952

Like the other double page lithographs in this edition of Verve, The Dog Barking at the Moon has a central vertical fold, and tiny, barely-visible, threadholes where it was bound into the revue. And like almost all Verve lithos, there are additional lithographs on the reverse - in this case the title, and what seems like a preparatory sketch for the main composition.

Joan Miró, Preparatory study for The Dog Barking at the Moon

Lithograph, 1952

Below are a few more choice images from this wonderful edition of Verve, none of which comes close to the Miró for Monty Python-esque lunacy of concept or title.