A fine impression of the definitive state, from the standard book edition (apart from the deluxe book edition of 150, and the pencil-signed and numbered edition of 80). One of 5 lithographs published in Joan Miró Lithographs, Volume IV, the fourth volume of the catalogue raisonné of the artist’s work in the medium of lithography. Published by Maeght Édieur, Paris; printed by Atelier Mourlot, Paris. Catalogue reference: Maeght 1260; Cramer 249 VI.Miró was born in 1893 in Catalonia, Spain. Although he traveled extensively, it was his homeland that he identified with the most. His first independent paintings executed between 1916-18 showed the impact of Cézanne, Van Gogh, Matisse and Picasso. But it was during a trip to Paris in 1919 that Miró became acquainted with the leading avant garde artists of the time. Instantly, Miró was swept up with the tide of the Surrealist movement. After the war, he dramatically experimented with bold shapes, patterns and colors, painting in intense heavy brushstrokes. He looked to primitive arts, Romanesque architecture to Gaudi creations in Barcelona. From 1961-70, termed the years of maturity, Miró refined and reduced his palette concentrating on purely the essentials: the earth, sky, sea and heavenly bodies. From the 1970’s till his death in 1983, he experimented with various techniques such as splashing, trickling and dripping of paint. In his later years Miró’s work was tinged with spontaneity that became his signature. From the context of Miró’s overall career, his graphic work occupies a very important position both in quantity and quality. He worked in stencils, woodcuts, lithographs and etchings.. By the 1960’s he had mastered the etching process and sought new avenues of experimentation with relief prints in cement and the application of carborundum. Miró was constantly experimenting with materials, paint gestures and stains. In his last years, as a testament to his generosity, he set up a studio in Son Boter, Spain for young and aspiring artists thus continuing his legacy.