Bon à Tirers, Working Proofs and Definitive Works on Paper by Picasso, Chagall and Miró opens this Saturday (November 17, 2012) at Galerie Michael. A bon à tirer (good to print) is a proof that has been approved for the printed edition. It serves as the version that all following must match. Our latest exhibit takes a look at the print work of Picasso, Miro, and Chagall and their process from the working proofs to the bon à tirer.
This exhibit allows a rare glimpse into the artistic and creative journey that results in the final work. From the experiments and broad ideas found in working proofs to the technical perfections worked out in a printing proof, these ingredients contribute to the well crafted and developed version of the bon à tirer. This exhibit explores the different mediums and tools during the various stages such as lithographic stones and linoleum blocks to reveal the nature of the artist’s process in tangible forms.
Stop in to Galerie Michael to see the exhibit in person or check out the full exhibition online. Be sure to download the catalog for additional background details and a scholarly essay by Emmanuel Benador.
“Prints have been for me a major art form. It has been a tool of liberation, enlargement and discoveries, even if at the beginning, I was a prisoner of techniques and constraints to traditional tools and recipes … The despotism of the tool was conquered progressively… I even was able to liberate myself from the paper.” -Miró (in Miró: Graveur, vol. I Lelong editeur, 1984)
Lezaerd Aux Plumes D’or Planche XV, Joan MIRÓ, 1971, Color lithograph on Arches paper, Color lithograph folded in center . studio proof/ printer proof. Signed and annotated with pencils marks and flash marks throughout. Accompanied by a letter signed and dated to Fernard Mourlot giving his instructions. , Signed lower right, #912318
Le Banderillero, Pablo PICASSO, 1959, Color linocut on Arches , ‘Epreuve d’essai’ of the fourth and final state, before the edition of 50 published by Galerie Louise Leiris in 1960. Printed by Imprimerie Arnéra. Among at least two impressions in addition to the three such proofs recorded by Baer. Ink stamp verso, “Imprimerie Arnéra Archives / Non Signé”., #912091
L’Odyssée I – Polyphème (The Odyssey I – Polyphemus), Marc CHAGALL, 1974-75, Color lithograph with additions in white and light blue wash, An artist’s proof aside from the edition of 250 and 30 numbered proofs. Printed and published by Fernand Mourlot, Paris. From Chagall’s two-volume illustration of Homer’s epic, comprising 43 color plates (six center spread) and 39 in-text plates in gray. , Pencil signed lower right, #912046