Terres de grand feu
A treasured copy belonging to René Char, with a signed presentation inscription on the front cover: “Pour René Char, fraternellement, Miró.”
The connection between Miró and Char originated after the war, through the intermediary of Christian and Yvonne Zervos. Their first collaboration was the edition of Fête des arbres et du chasseur in 1948, opened by a lithograph. Several PAB and GLM editions followed, culminating in 1964 with Maeght’s edition of Flux de l’aimant, illustrated with seventeen drypoints.
The previous year, Aimé Maeght had devoted this remarkable issue of Derrière le miroir to Miró, with the celebrated triple-page lithograph at its center.
Miró’s warm and fraternal dedication to Char is no mere gesture, but a sincere outpouring from the artist toward the French poet with whom he collaborated most closely. Plouvier notes, in the Dictionnaire Char, how “the irradiation of the inexpressible life that Char placed at the foundation of his creation found in Miró the equivalent of its space.”
Like Picasso, Brauner, Giacometti, de Staël or Braque, Miró, in René Char’s work, is elevated to the near-generic title of “substantial ally.”
An exceptional and rare provenance.