À toute épreuve
schema:publication →
[New York]: [Braziller]; [1984]
| schema:name | "[New York]: [Braziller]; [1984]" |
schema:subjectOf →
<nf554723821e44b3cbf8a8a7e106b2cbfb9>
| schema:text | Genève : G. Cramer, 1958. |
|
schema:additional |
<http:/ |
schema:subjectOf →
<nf554723821e44b3cbf8a8a7e106b2cbfb6>
| schema:text | Inleidende tekst en herdruk samen in één omslag. |
|
schema:additional |
aat:300435416 |
schema:subjectOf →
<nf554723821e44b3cbf8a8a7e106b2cbfb5>
| schema:text | ill. |
|
schema:additional |
<http:/ |
schema:subjectOf →
<nf554723821e44b3cbf8a8a7e106b2cbfb8>
| schema:text | Miró’s greatest illustrated book and one of the best productions of the twentieth century. From his first arrival in Paris after the First World War, Miró was fascinated by the avant garde and the links between the languages of poetry and painting. Friendship with Masson, and the studio they shared, enabled Miró to meet many of his literary heroes, including those Surrealists - then a rising movement - with whom he would collaborate. After the publication of his first signed and numbered lithograph in 1930, Miró illustrated works by Queneau, Péret, Char, Tzara, Breton and Eluard among many others. This work with Eluard was the third important collaborative project, which included Solidarité (1938) and Un Poème dans chaque livre (1956); Miró’s woodcuts for the book, begun in 1948 were not completed until ten years later. "I have made some trials which have allowed me to see what it was to make a book and not merely illustrate it. Illustration is always a secondary matter. The important thing is that a book must have all the dignity of a sculpture carved in marble". (Miró quoted in The Artist and the Book). An artist whose paintings might include rope, stones, sand, and myriad bird, animal, and human forms … could be expected to be inventive when asked to make a book around the poem of a good friend, using a medium he had never tried. His response was to use planks of wood, plastic wood, wire, old wood engravings, and bark paper to achieve the truly exuberant embellishments that dance on the pages of this perfectly produced book. (Riva Castleman, A Century of Artists Books). |
|
schema:additional |
aat:300435416 |
| schema:name |
"Books"@en
|
|
schema:same |
aat:300028051 |
schema:publication →
<nf554723821e44b3cbf8a8a7e106b2cbfb3>
|
schema:published |
[Braziller] |
schema:publication →
<nf554723821e44b3cbf8a8a7e106b2cbfb2>
| schema:location | [New York] |
schema:subjectOf →
<nf554723821e44b3cbf8a8a7e106b2cbfb7>
| schema:text | introduction by Anne Hyde Greet (22 p.) |
|
schema:additional |
<http:/ |
schema:publication :: schema:location →
[New York]
| schema:name | "[New York]" |
schema:publication :: schema:publishedBy →
[Braziller]
| schema:name | "[Braziller]" |