Surrealist antecedents and colleagues, starting with Jarry's raucous 1896 creation of "Ubu Roi," A colorful pochoir poster he produced in 1937 toĪnd others, among them Robert Capa's searing 1936 photograph of aĪntiwar drawings by Spanish schoolchildren and Picasso's 1937 suite of Pair of Lovers" (1941), whose tapestrylike, overall composition of abstract, biomorphic and Surrealist Modern shows the exquisite "Beautiful Bird Revealing the Unknown to a Works on paper known as "Constellations." In their intimate size, narrative sequence and hints of savage Sisters," also from 1938, show women frantically waving their arms inĥ0 prints, published in 1944, still displays the savage elements of his Stars, suns, phallic symbols and linearities that are ubiquitous presences in Miró's work. The Giant" (1938), another grotesque, open-mouthed face enlivened Monster face itself presage the visage of Franco in "Black and Red." Pitifully from her shoulder, her bosom fronted by a small dog in a white Horn emerging from her neck, a feeble red arm and hand protruding Moon" (1936), a brightly colored pochoir (made by the use of stencils), is The "Black and Red Series" belongs, as do a number of other etchings in the show, to the "savage"įocuses on the down side of humanity. Inįrom the first copperplate, one reversed atop the other, one in red, oneįorms that speak of horror and mutilation in a tone not too distant from Two etchings were combined to create the remaining compositions. ![]() Menaced by an ogre's head, a hair-raising icon of Franco with a long The second print, a horizontal, is somewhat closer to realism. In starkĮloquent language of signs and symbols - with the forces of war andĭancing insectoid creatures, a snail-like whorl and various linear elements. The large drama of the series belies the works' small size. Surrealism on his art, and the international reverberations of the Spanish Civil War. Themes: Miró's intense preoccupation with etching, which he wasįriend, the Polish painter Louis Marcoussis (1883-1941), and the development of his artistic vocabulary at the Of prints and illustrated books, demonstrates yet again the remarkable Surrealist predecessors and contemporaries, from Alfred Jarry to Salvador Dali and Picasso. ![]() Show includes some 150 prints, illustrated books, drawings, posters, photographs, paintings and sculptures, ![]() The small-scale series, including Plate 2, above, is the cornerstone of a show at the Museum of Modern Art. Joan Miro's 1938 "Black and Red Series" of etchings was a response to the Spanish Civil War. Responded - as had Picasso's painting "Guernica" a year earlier - to Museum of Modern Art, through February 2, 1999 Miro on Spain: Ogres and Visions Dance in Savage Webs of Tyranny Miro's bloack and red visions speak of war in a tone not too distanceīy GRACE GLUECK "Miro's Black and Red Series: A New Acquisition in Context" at the
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