Ausrufzeit : ca. 16:29 Uhr (ohne Gewähr)
Eins von 200 Exemplaren auf Malacca pur chiffon (Gesamtauflage 253). – Im Druckvermerk von Verfasser und Künstler signiert. – Tzaras Gedicht war 1945 entstanden, mit dem Druck von Text und Lithographien wurde 1948 begonnen, die auf der Handpresse abgezogenen Lithographien, die vielfach auf den Textseiten eingedruckt wurden, waren erst 1950 abgeschlossen. – »This book represents a particulary effective collaboration between artist and author. Miró’s brillantly spontaneous and amorphous images, drawn directly on the stone with very few preparatory sketches, have the inventive verve of Tzara’s random verses« (Eleaonor M. Garvey). – Die Dichtungen Tzaras entstanden laut Impressum im »Hospital psychiatrique de Saint-Alban«. Tzara hatte »auf Einladung des Chefarztes und Direktors dieser Anstalt seine dortigen Beobachtungen aufgezeichnet. Es handelt sich hier um eine Art Selbstgespräch bzw. die poetische und seelenvolle Schilderung von Traumgebilden. […] Text und Bild, Autor und Künstler sprechen sozusagen dieselbe Sprache« (Sybille Bock, 1999, in »Französische Malerbücher […] Sammlung Christa und Wolfgang Classen«). – »The counterpart to 13 lithographies was ›Parler seul‹, again done in collaboration with Tristan Tzara and published in 1950. This ambitious project, for which Miró produced 72 lithographs, marked the beginning of a series of books in which the artist was to play an increasingly important role. Although from the outset Miró never considered his involvement in these books to be strictly that of an illustrator, in the early fifties his part evolved into that of an author who expresses his feelings after comprehending and thinking out a text. A book by its very nature calls for a rhythm and internal order that is attained by alternating pages of illustration with pages of text, and by the dynamics generated by the sequence of images itself. A decisive factor is the typography, since the size of the letters, the layout of the text and the intensity of the areas of print can contribute to the success or failure of what the artist is attempting to achieve through the images. Considerable attention was paid to this aspect in ›Parler seul‹ – and in future books – given the rigor with which Miró tackled each and every one of his projects.« (Rosa Maria Malet, in Cramer, S. 9). – Eins der schönsten Malerbücher Mirós.
Cramer 17. – Mourlot 102, 104 und 107.1-70. – LC 2001 127. – Monod 10809. – Rauch 165. – Chapon, p. 290. – ABF, p. 339. – A&B 206. – Slg. Classen 1999, Nr. 13
38,4 : 28,8 cm. [2], 111, [7] Seiten. – Schuber teils gebräunt und wie die Chemise leicht stockfleckig, kleine Einrisse im Bezugspapier. Umschlag gebräunt.
english description:
Includes 72 lithographs, mostly color, within the text – some full-page – as well as one used as the lining paper for the chemise and slipcase, and a color lithograph with collage on the front cover. Loose double-page leaves in original cover, chemise, and slipcase.
One of 200 copies on Malacca pure chiffon (total edition of 253). – Signed by the author and artist in the colophon. – Tzara’s poem was written in 1945; printing of the text and lithographs began in 1948; the lithographs, which were printed by hand and often overlaid on the text pages, were not completed until 1950
Slipcase partially discolored and, like the chemise, has some light foxing; there are small tears in the lining paper. Cover discolored.
