La première nuit du printemps (Allegro Vivace, M.1244), 1981 by Joan Miró
La première nuit du printemps (Allegro Vivace, M.1244), 1981 by Joan Miró
La première nuit du printemps (Allegro Vivace, M.1244), 1981 by Joan Miró
La première nuit du printemps (Allegro Vivace, M.1244), 1981 by Joan Miró
La première nuit du printemps (Allegro Vivace, M.1244), 1981 by Joan Miró
La première nuit du printemps (Allegro Vivace, M.1244), 1981 by Joan Miró
La première nuit du printemps (Allegro Vivace, M.1244), 1981 by Joan Miró

La première nuit du printemps (Allegro Vivace, M.1244), 1981

Medium: hand-signed lithograph on Arches
Signature: signed 'Miró' lower right and annotated lower left
Framed size: 35 x 46"
Price on Request
Details
Medium: hand-signed lithograph on Arches
Year: 1987
Edition: 100

Sheet size: 23.87 x 35.5"
Image size: 20 x 24"
Framed size: 35 x 46"

Signature: signed 'Miró' lower right and annotated lower left
Reference:
Mourlot 1244

Literature:
Maeght (Ed.) & Cramer, P. Joan Miró: Lithographs Volume VI 1976-1981. Maeght Éditeur, 1992. pg. 166. no. 1244.


About the Work

"La première nuit du printemps (M.1244)" is a lithograph on Arches created by Joan Miró for his 1987 "Allegro Vivace" series. From the edition of 100, the artwork is signed 'Miró' lower right and annotated lower left. The artwork is framed in a contemporary black frame and has a framed size of 35 x 46". The artwork ships framed and accompanied by a certificate of authenticity.

Created in 1981, Joan Miró’s "Allegro Vivace" suite reflects the vitality and economy of his late lithographic work. The title, taken from music, suggests a fast and lively tempo, and the prints carry that sense of rhythm through animated black line, bright color, and shifting constellations of signs. Produced late in Miró’s career, the suite shows an artist still working with confidence, reducing his visual language to essential forms while maintaining a strong sense of movement and play.

"La première nuit du printemps," from the series, uses Miró’s familiar vocabulary of eyes, stars, floating forms, and bold black gestures. The composition is energetic, but carries distinct emotional tones. "La première nuit du printemps" has a different kind of rhythm. While equally active, it feels slightly denser and more atmospheric.

The title, "The First Night of Spring," introduces a sense of renewal and anticipation, and the composition supports that idea through layered movement, floating signs, and flashes of red, blue, green, yellow, and pink. The forms appear to gather and unfold, creating the impression of a night sky or dream space coming alive.

Miró uses color directly and sparingly, allowing red, blue, yellow, green, and black to function almost like musical notes. The marks do not describe a fixed scene; instead, they create a tempo of movement, pause, and response. This balance between spontaneity and control is central to the appeal of the suite. The images feel immediate, yet carefully composed.

This lithograph offers a clear view of Miró’s late graphic language: simplified, rhythmic, inventive, and accessible without becoming literal. It is not a narrative illustration, but a visual performance built from line, color, and movement. As works from "Allegro Vivace," like "La première nuit du printemps" capture the spirited character of the suite and the enduring freshness of Miró’s imagination.

About the Artist

Joan Miró (1893–1983) was a pioneering Catalan artist whose bold colors, lyrical forms, and dreamlike imagery made him one of the most influential voices of 20th-century modernism. After early training in Barcelona, he joined the Paris avant-garde in the 1920s, developing a distinctive visual language that bridged Surrealism, folk traditions, and abstraction.
While celebrated for his paintings, Miró devoted extraordinary energy to printmaking, producing over 2,000 etchings, lithographs, and woodcuts. Working with master printers, he transformed graphic art into a field of radical experimentation, from the politically charged Barcelona Series to luminous late lithographs like Grans Rupestres. His use of innovative techniques such as carborundum and sugar-lift aquatint redefined what prints could achieve, making them as original and vital as his canvases.
Today, Miró’s graphic works are prized by collectors for their rarity, brilliance, and enduring freshness, embodying both the history of modernism and the vitality of 21st-century taste.

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