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120 Main Street, Upton MA 01568-6193

For more information or to purchase, please call 1-800-809-3343 or email us at spaightwood@gmail.com

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Updated: 6-6-15
Home / Gallery Tour 1 / The Cosmological Vision of Joan Miró / Gallery Tour 2 / Artists
A Virtual Tour of "Miró 2006," Part I / A Virtual Tour of "Miró 2006," Part II
Gallery News

Joan Miró: Le miroir de l'homme par les bêtes / The beasts as a mirror for man

Miró 1930s / Miró 1930s_2 / Miró 1940s / Miró L'Antitete / Miró 1950-53 / Miró 1953-56 / Miró 1956: Prevert / Miró 1957-60
Miró 1961 / Miró 1963 / Miró 1963-65 / Miró Flux (1964) / Miro Ubu Roi / Miró 1966-69 /
Miró Sans le Soleil / Miró Sans le Soleil 2 / Miró Sans le Soleil 3
Miró 1970-73 / Miró Lezard (1971) / Miró Beasts (1972) / Miró Lithographs (1972) / Miro 1974-79 / Miró Lithographe 2 1975
Miró Lapidari 1981

Heroic Poetry: Brinkman / Frankenthaler / Mitchell / Motherwell / Nevelson / Tàpies
Le miroir de l'homme par les betes I / The beasts as a mirror for man I (D. 566). Original color etching, aquatint, carborundum, and drypoint, 1972. 40 signed and numbered impressions plus 200 unsigned (as ours). Image size: 445x330mm. The portfolio is signed by Miró and the poet Andre Frénaud, and a copy of the justification page (with his xeroxed signature) will be provided with the piece. Price: SOLD.
Le miroir de l'homme par les betes II / The beasts as a mirror for man II (D. 567). Original color etching and aquatint, 1972. 40 signed and numbered impressions plus 200 unsigned (as ours). Image size: 445x330mm. The portfolio is signed by Miró and the poet Andre Frénaud, and a copy of the justification page (with his xeroxed signature) will be provided with the piece. Price: SOLD.
Le miroir de l'homme par les betes V / The beasts as a mirror for man V (D. 570). Original color etching, color wash, and aquatint, 1972. 40 signed and numbered impressions plus 200 unsigned (as ours). Image size: 445x330mm. The portfolio is signed by Miró and the poet Andre Frénaud, and a copy of the justification page (with his xeroxed signature) will be provided with the piece. Price: $3750.
Le miroir de l'homme par les betes III / The beasts as a mirror for man III (D. 568). Original color etching and aquatint, 1972. 40 signed and numbered impressions plus 200 unsigned (as ours). Image size: 445x330mm. The portfolio is signed by Miró and the poet Andre Frénaud, and a copy of the justification page (with his xeroxed signature) will be provided with the piece. Price: $2750.
Le miroir de l'homme par les betes IV / The beasts as a mirror for man IV (D. 569). Original color etching and aquatint, 1972. 40 signed and numbered impressions plus 200 unsigned (as ours). First the paper was printed using black ink, then the etched image was printed using white ink. Image size: 445x330mm. The portfolio is signed by Miró and the poet Andre Frénaud, and a copy of the justification page (with his xeroxed signature) will be provided with the piece. Price: $2750.

Numbers III and IV are also available as a pair priced at $4500.
The work was presented as loose sheets in a portfolio box with a text by the poet André Frénaud, five oritinal etchings by Miró, a collage made from thin metalic sheets by Miró on the cover (see above), and gnomic texts on full-page metalic sheets each measuring 440x325mm (17-1/4x12-3/4 inches). It was published by Maeght Éditeur (Paris, 1972). The work was dedicated as an homage to the genius of Hieronymous Bosch. The presentation case, the text pages and the collaged cover are available $1500. The individual etchings are priced above. We would be happy to make a special price to anyone wanting the entire ensemble illustrated above.
The sheeet itself is pure white; the seeming discoloration is a reflection from the sheet of red foil attached to the justification page.
According to the entry in the Oxford Companion to French Literature, by Graham Dunstan Martin, André Frénaud (1907-93), a , native of Burgundy, was a poet. For most his life he held an office job with French Railways. His two-year imprisonment in Germany after the collapse of France in 1940 is a main source of his first collection, Les Rois Mages (1943).

He has a great range of manners and tones: at times highly concrete and down-to-earth, as warm, humorous, and bluff as his own personality (see, in addition to the collection just mentioned, La Sainte Face, 1968, 1985)—at other times appealing to archetypal symbols, particularly in the long poems which he was unusual in continuing to write (e. g. La Sorcière de Rome, 1973). The key experience in Frénaud is ‘visitation’, in which a surge of energy (carrying with it a sense of unity) constructs a miraculous ‘château’ of words. In his trance, the poet has felt himself ‘another’, but is sadly restored to his everyday self at the end of the experience, and inspects his poem with mingled wonder and disappointment. Despite its great energy, Frénaud's poetry has a pedal-note of melancholy. His output is large: see also II n'y a pas de paradis (1962) and Haeres (1982), and consult the interviews of Notre inhabileté fatale (1979). According to Graham Dunstan Martin's entry in the Oxford Companion to French Literature, André Frénaud, (1907-93). was anative of Burgundy. "For most his life he held an office job with French Railways. His two-year imprisonment in Germany after the collapse of France in 1940 is a main source of his first collection of poems, Les Rois Mages (1943).

He has a great range of manners and tones: at times highly concrete and down-to-earth, as warm, humorous, and bluff as his own personality (see, in addition to the collection just mentioned, La Sainte Face, 1968, 1985)—at other times appealing to archetypal symbols, particularly in the long poems which he was unusual in continuing to write (e. g. La Sorcière de Rome, 1973). The key experience in Frénaud is ‘visitation’, in which a surge of energy (carrying with it a sense of unity) constructs a miraculous ‘château’ of words. In his trance, the poet has felt himself ‘another’, but is sadly restored to his everyday self at the end of the experience, and inspects his poem with mingled wonder and disappointment. Despite its great energy, Frénaud's poetry has a pedal-note of melancholy. His output is large: see also II n'y a pas de paradis (1962) and Haeres (1982), and consult the interviews of Notre inhabileté fatale (1979)."

Spaightwood Galleries, Inc.

To purchase, call us at 1-800-809-3343 (1-508-529-2511 in Upton MA & vicinity) or send an email to spaightwood@gmail.com.
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For directions and visiting information, please call. We are, of course, always available over the web and by telephone (see above for contact information). Click the following for links to past shows and artists. For a visual tour of the gallery, please click here. For information about Andy Weiner and Sonja Hansard-Weiner, please click here. For a list of special offers currently available, see Specials.

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